Frankly, I have better things to do than fight with people online, but let me just say that I acknowledge that many (and, in fact, most) people in comics have trouble making a living.
Well said, Colleen. I do think a lot of succeeding in comics boils down to sticking with it, and sustaining personal relationships. I'm in the process of shifting the focus of my newsletter (and dormant YouTube channel) toward lessons and perspectives gained after 20 years in comics, and this is definitely stuff that's been in my mind.
I also think aspiring creators interested in sustained careers need to understand that Marvel and DC are stepping stones toward one, and not final destinations. And more and more, not necessary to building a sustainable career. The most valuable tools creators can possess are their own ideas.
I’m not a creator myself, but this really hit home. I work as a consultant for startups, and some months feel like we’re thriving, others, we’re getting by. I’ve also dealt with medical issues over the years that knocked me off track at times, but somehow, we made it through.
AI has impacted nearly every industry, but I think content (content writing, copywriting etc) and art have felt it the most.
Thanks for sharing this (and all your other stories). You’re a legend.
This reminds me so much of stand-up comedy. A few people are huge, a few people can pay a mortgage, and the rest have day jobs. The market is so flooded with aspiring comedians, that what was a $250 headline spot in Sydney in 2000, in 2025 pays $175. Meanwhile, median rent in Sydney in 2000 was $250 a week and is now closer to $750. A week of gigs could cover your rent for over a month, now you can't afford to make a living from it without ancillary income.
Back in 2011 I realized I was never going to 'break into comics'. However, the advent of webcomics meant that I could absolutely be a creator, so long as I allied with an artist.
A few artists and a number of years later, we're going to press in physical format. The big book it took my artistic partner and I nearly 4 years to finish at a page a week speed, as well as the catalogue of back issues.
I did spend a year apprenticing to an old pro who had been at this for 50 years, and I learned a lot about the industry, the people in it and how your Spider-Man rule was quite accurate. As they cheerfully informed me, being a legend doesn't make for a commercial footprint, and yesterday's successes aren't paying tomorrow's bills- not in comics.
Frankly, I have learned more about how to navigate the business of comics from you via this Substack.
I make comics because I love to tell stories, and I love the graphic storytelling medium. Of course I would dearly love for my work to catch on and succeed. But at least I produced it- the work is real, and it might just survive beyond my lifetime to inspire others, or entertain beyond my lifetime. That's the real goal- to hope my stories connect with people.
As always, thank you for your frank and unvarnished (yet never pessimistic) perspectives!
It happens for everyone. But you can be in fashion and out of fashion no matter what you do. I know some amazing letterers who could not get work for a long time, because so many people use computer lettering now, and they don't know what quality lettering is. I know some writers who had a good run and then a few flops, and then nothing.
The BEFORE and AFTER shots of your studio set-up are... well, 38 years in I'm still stuck at the former. I may be in the gutter but I'm looking at the kerb!
I like this article. It seems very balanced and reminds me of my son who, with other creators, published their first comic last year, thanks to a very successful Kickstarter campaign. When I told a friend about it, he said, "Wow, your son's making bank now." No, he's just getting started, and he's working hard and networking, forming relationships with other creators. It's not easy, financially, but he thoroughly enjoys what he does, and he works at it every day even though he has a full-time day job.
Fortunately, he is level-headed and realistic about what he considers "success." I'm just happy to see him doing what he loves and following his muse.
As a fan of comics I find myself wishing there were some way to make the industry better both for starting out and for making a living. I truly enjoy the medium and the work that artists, writers, colorists, inkers, letterers, and any others I'm forgetting, put into the comics.
As someone working to start their own webcomic at almost 50, I'm glad I'm going into this not expecting to make it big, or even be more than just another weird webcomic on the internet. If I make even a single dime at this I'll be surprised, but like I said, I love the medium and want to put a story out there. :)
Wow...that wicker chair from the old days looks really uncomfortable. Sorry, but I can't even see a cushion. You are tough as they come! But its still an awesome work space. Love the guitar, just in case you need to take a break but keep the creative juices going. Do you still have it? :)
If so I wouldn't get rid of it either. I pined after that thing for decades. And if memory serves, it was used in episodes of Star Trek TNG as set dressing. I think it was most often seen in Dr. Crusher's office... which only fanned the flames of desire even more.
It's the Joe Colombo Boby, which was a gift, new, decades ago. In good condition it's worth a fortune now. But mine's pretty grubby, and is partly melted from close proximity to a heater. Still works perfectly.
BTW, they come up for auction occasionally, I've seen them got for from $150 - $1700. It's a bargain below $300, mine has lasted without fail for decades, a real workhorse and very practical.
Love the now and then studio photos, I have similar pairing on FB. I haven't made a lot of money doing self-publishing but met a lot of great people and even inspired one to do more comics, so that's good,
Have a creator friend, who though did some stuff for DC, Marvel and TSR comics, has dementia and hospitalized and lucky he has the VA paying for most of it.
I thought I would add that some of my worst income years were during times I was as healthy as a horse and running 40 miles a week. I just didn't get paid very well.
I believe this goes for all the creatives. The majority are getting by. A few are doing decent. A very few are actually successful. And even a smaller are influential.
So apparently I can't edit this comment... Anyways, I wanted to mention I'm speaking from my experience from the outside. I just notice a lot of in the creative field don't make money.
Well said, Colleen. I do think a lot of succeeding in comics boils down to sticking with it, and sustaining personal relationships. I'm in the process of shifting the focus of my newsletter (and dormant YouTube channel) toward lessons and perspectives gained after 20 years in comics, and this is definitely stuff that's been in my mind.
I also think aspiring creators interested in sustained careers need to understand that Marvel and DC are stepping stones toward one, and not final destinations. And more and more, not necessary to building a sustainable career. The most valuable tools creators can possess are their own ideas.
I’m not a creator myself, but this really hit home. I work as a consultant for startups, and some months feel like we’re thriving, others, we’re getting by. I’ve also dealt with medical issues over the years that knocked me off track at times, but somehow, we made it through.
AI has impacted nearly every industry, but I think content (content writing, copywriting etc) and art have felt it the most.
Thanks for sharing this (and all your other stories). You’re a legend.
This reminds me so much of stand-up comedy. A few people are huge, a few people can pay a mortgage, and the rest have day jobs. The market is so flooded with aspiring comedians, that what was a $250 headline spot in Sydney in 2000, in 2025 pays $175. Meanwhile, median rent in Sydney in 2000 was $250 a week and is now closer to $750. A week of gigs could cover your rent for over a month, now you can't afford to make a living from it without ancillary income.
Back in 2011 I realized I was never going to 'break into comics'. However, the advent of webcomics meant that I could absolutely be a creator, so long as I allied with an artist.
A few artists and a number of years later, we're going to press in physical format. The big book it took my artistic partner and I nearly 4 years to finish at a page a week speed, as well as the catalogue of back issues.
I did spend a year apprenticing to an old pro who had been at this for 50 years, and I learned a lot about the industry, the people in it and how your Spider-Man rule was quite accurate. As they cheerfully informed me, being a legend doesn't make for a commercial footprint, and yesterday's successes aren't paying tomorrow's bills- not in comics.
Frankly, I have learned more about how to navigate the business of comics from you via this Substack.
I make comics because I love to tell stories, and I love the graphic storytelling medium. Of course I would dearly love for my work to catch on and succeed. But at least I produced it- the work is real, and it might just survive beyond my lifetime to inspire others, or entertain beyond my lifetime. That's the real goal- to hope my stories connect with people.
As always, thank you for your frank and unvarnished (yet never pessimistic) perspectives!
What wonderful comments, thank you!
Does the good year/bad year issue happen with all facets? I guess does it happen more on the art side than the writing side or colorists or letterers?
It happens for everyone. But you can be in fashion and out of fashion no matter what you do. I know some amazing letterers who could not get work for a long time, because so many people use computer lettering now, and they don't know what quality lettering is. I know some writers who had a good run and then a few flops, and then nothing.
The BEFORE and AFTER shots of your studio set-up are... well, 38 years in I'm still stuck at the former. I may be in the gutter but I'm looking at the kerb!
Great post!! More strength to us.
I feel ya buddy, lots of folks in that situation.
Great advice and reality check. Yet still encouraging once one faces the economic facts.
As always, an insightful blog! Thanks so much!!!
I like this article. It seems very balanced and reminds me of my son who, with other creators, published their first comic last year, thanks to a very successful Kickstarter campaign. When I told a friend about it, he said, "Wow, your son's making bank now." No, he's just getting started, and he's working hard and networking, forming relationships with other creators. It's not easy, financially, but he thoroughly enjoys what he does, and he works at it every day even though he has a full-time day job.
Fortunately, he is level-headed and realistic about what he considers "success." I'm just happy to see him doing what he loves and following his muse.
Wonderful, I wish him all success. If you like, please post info here so I can share it with others.
https://substack.com/@finkinkinc?utm_source=global-search
https://www.finkinkinc.com/
Thank you.
As a fan of comics I find myself wishing there were some way to make the industry better both for starting out and for making a living. I truly enjoy the medium and the work that artists, writers, colorists, inkers, letterers, and any others I'm forgetting, put into the comics.
As someone working to start their own webcomic at almost 50, I'm glad I'm going into this not expecting to make it big, or even be more than just another weird webcomic on the internet. If I make even a single dime at this I'll be surprised, but like I said, I love the medium and want to put a story out there. :)
Wow...that wicker chair from the old days looks really uncomfortable. Sorry, but I can't even see a cushion. You are tough as they come! But its still an awesome work space. Love the guitar, just in case you need to take a break but keep the creative juices going. Do you still have it? :)
I hope you still have that SG 😉😊
Alas, no. It turned out to be worth a fortune and I thought it was better to finally sell it and let it go.
Is that taboret the one with corner hinges?
If so I wouldn't get rid of it either. I pined after that thing for decades. And if memory serves, it was used in episodes of Star Trek TNG as set dressing. I think it was most often seen in Dr. Crusher's office... which only fanned the flames of desire even more.
I know, I know, I'm so beyond help :D
It's the Joe Colombo Boby, which was a gift, new, decades ago. In good condition it's worth a fortune now. But mine's pretty grubby, and is partly melted from close proximity to a heater. Still works perfectly.
BTW, they come up for auction occasionally, I've seen them got for from $150 - $1700. It's a bargain below $300, mine has lasted without fail for decades, a real workhorse and very practical.
Love the now and then studio photos, I have similar pairing on FB. I haven't made a lot of money doing self-publishing but met a lot of great people and even inspired one to do more comics, so that's good,
Have a creator friend, who though did some stuff for DC, Marvel and TSR comics, has dementia and hospitalized and lucky he has the VA paying for most of it.
Sounds like many of the monetary issues comes from America's rubbish health system.
I thought I would add that some of my worst income years were during times I was as healthy as a horse and running 40 miles a week. I just didn't get paid very well.
You may be surprised to learn that with or without health care issues, most creators can't make a living in this business.
I believe this goes for all the creatives. The majority are getting by. A few are doing decent. A very few are actually successful. And even a smaller are influential.
So apparently I can't edit this comment... Anyways, I wanted to mention I'm speaking from my experience from the outside. I just notice a lot of in the creative field don't make money.