Webcomic Workshop Podcast 77


Solving Webcomic Issues We All Face.

This podcast we discuss:

Dawn: RISE: Comics Against Bullying Kickstarter

Byron: Building your portfolio. Should I draw a variety of samples to entice folks to hire me or only show “real” works?

Drezz: I’ve recently begun work on a new comic project – this time, with a writer. Do you feel that having an artist/writer combo or team effort to produce comics produce better results (quality, timeliness, etc) or do they suffer the same fate and problems as single authors do.

Robin: Key points to include for a back-of-the-book-blurb, when that volume is in the middle of a series? How to make it accessible to new readers?

Chris: I want to cultivate my newsletter list. My sign-up on my web site gets ignored. Been reading about the success rate of newsletter pop-up windows but my web design sensibilities say bad idea. Thoughts? If a good idea, anybody have a favorite WordPress plug-in for this?

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  1. Another great podcast Gang!

    Robin: I’m trying to do the same thing with my comic, as far as honing the ‘perfect pitch’ for Cons and down the road for potential publishers. Outwardly it seems so simple but you want to capture your work perfectly and ‘capture’ your audience with it.

    Chris: Good luck with your newsletter! I can see how it could help you due to your success at Cons! For myself, it sounds like lots of extra work with not much of a payoff. A newsletter might be a good option for a Patreon level though.

    Thanks again!

  2. Chris Oatley is amazing, love his podcast!
    It takes several years to successfully build up a clientele for for freelance work (ive heard 2 years minimum). My generation does not use those artist directory books, we consider them scammy and ive never known an art director to use them (i think they are old fashioned so maybe older companies might still have them?). Save your money, invest in a good website, and cold call companies/clients that you like. For example my friend gathered a list of companies and sent their art department’s post cards with art and her contact info. Some people do email blasts! Its a good way to get noticed. Social media is also used for this as well.
    I completely disagree to have everything in your “style” in your portfolio . Have a strong portfolio demonstrating that you can do stuff in different styles and subjects matter is super important and what good directors look for, otherwise they will assume your a one trick pony. But keep making good work and impress them, you will get called back and recommended for more projects- word of mouth is key!

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