Crowdfunding has become a staple of the indie comic scene, with some books raising hundreds of thousands of pounds from their loyal fan base. For others, it’s a source of constant frustration as they fail to meet their targets. For us, it was O.K. In October we raised £1500 from around 140 backers, successfully meeting two stretch goals along the way. Hurrah and thank you to those that backed and shared our project.
However, in the spirit of full disclosure, £1500 gets nowhere near paying for the production of the comic. It pays the crowdfunding fees, printer fees, stretch goal fees, marketing fees… fees on top of fees on top of fees. The good news is, at the end of all that, we’re left with around 900 comics to sell. IF we sell them all, we will still be nowhere near paying for the comic. Making comics is expensive.
Think about it. You’ve written your story, planned your characters and got the script finished off. At this point, if you have the money, you may pay an editor. I didn’t, but I can totally see the value in it. The finished script goes off to an artist to produce concept art. What does your world look like? What do your characters look like? This costs money.
Next, an artist will produce layouts. How does your script translate onto a comic page? For me, this is my favourite part of the process. Seeing what I wrote come to life on the page. Working with Peter Habjan is a joy. He captures what I’m trying to get across and improves on it. There may be some back and forth, but he pretty much always strengthens what I have written. This process also costs money.
With the layouts decided upon, it’s time for the penciler to get to work. Now the comic is really starting to take shape. I always fall in love with the layouts and then the pencils arrive and… WOW! The roughs that I loved so dearly have been transformed into real life art. At this point I really feel like we have a comic. Remember, this process costs money.
The pencils then go away to an inker, something which was a strange concept to me at the start. Somebody actually gets paid to place inks over the top of the beautiful pencils – what? Looking back, it was such a naïve way to think. Peter inked issue 1 of HERD and Matthew Seaborne is inking issue 2. Inking is a real skill, and so far away from simply tracing over the pencils that such an opinion is laughable. I’m embarrassed that I ever held it. That’s why inkers cost money.
The artwork is finished at this point but, if you’re going with a colour comic, now is the time for a colourist. This is the part that I feel I’m still getting wrong as a writer. I don’t really give much direction to the colourist. When John Charles joined the team for issue 1, he did a great job alongside Peter with the colours. However, there was much back and forth which I’m sure he found frustrating. That back and forth was a direct result of the lack of guidance I provided. Despite that, John’s and Peter’s colours really helped bring the issue to life. You may have guessed, colours cost money.
Now is the time for the final member of the team to show what they can do, the letterer. Lettering is a pretty complex art form in its own right. There are rules to be followed, placement considerations, font and design choices. On top of that, the bubbles can take on a variety of shapes, textures and positions. It’s such a creative practice and when it’s done well, it’s simply brilliant. I had no hesitation in getting Rob Jones onboard for this. He has such an excellent eye for lettering that he improves everything he puts his hand to. That’s why you pay him.
I made Rob’s job pretty tough as I learned another lesson about making comics. Update your script as you go along. I guarantee that your final comic will not look like your first script, so keep it updated. Poor Rob had to work from scribbled notes, confusing direct messages and a whole host of farcical practices. This, at least, is something I’ve put right for issue 2. Rob also put the final PDF together, an task not to be underestimated.
What I really want to get across is that making a comic as a writer is a costly thing to do. It hurts your bank balance and, unless you are very lucky, you won’t make your money back from crowdfunding. This is something you need to consider before you start. Are you able to stick around for the long game? Can you keep making comics as you build an audience? Is your comic good enough?
For me, I’m fortunate enough to say yes to the first two questions. The last one… I guess we’ll find out. If you think it is, I can’t stress enough how much sharing links and artwork helps the indie community. We know you can’t always find the money to buy what we sell, but sharing a link is brilliant and we love it when you do.
Thanks for reading folks. Leave comments, message me, sign up to the mailing list and I hope this gave you some insight.