You know, not only would I love to buy a hardcover sketchbook collection released every few years, a collection of essays would be good at some point. Even just a softcover or digital version. You've tales to tell and much insight.
This is so informative! What a pioneer your were (and still are!) I self publish for all the reasons you list here, plus the creative control, though of course it’s much easier now thanks to crowdfunding. I also do deals with various publishers from time to time, like Delcourt who published our book in French, and I’m always very meticulous about contract figures and definitions. But it always feels like such a battle, and I was only writing last week on my stack how the terms and conditions should all be much more transparent when new creators sign. People often say “get a lawyer” and I do, but what they don’t realise is after ten years I now know more key information about the peculiarities of a comics or GN deal than these lawyers do. (They generally come from a book or film background, and the special opportunities for creative accounting in comics and graphic novels are legion.) I always ask for basic stuff like a precisely defined figure for publisher expenses before we all start earning royalties, but it’s rarely included voluntarily or as standard. And it absolutely should be. There’s this general assumption among artists and writers that a) you’re on your own at signing time and b) the contract is a puzzle and a trap, and it’s your fault if you don’t lawyer up and don’t solve the puzzle and spring the trap, because your weren’t rich or smart enough. “Silly you!” It’s an odd attitude when so much else in the comic creating community is collaborative and supportive. And after all these years, watching new creators fall into these traps again and again breaks my heart. It really shouldn’t be like that at all. So kudos to you for helping, and for talking so honestly about these vital issues for so many years. 🙏👏
I'm reading the script for a horror film... it has so many absurd demands!!
Seriously, I follow the work of several Mangakas, and many of my favorites have developed health problems due to the stress of work and have been forced to take long hiatuses.
I feel a pang in my heart while I'm reading this Saga, at the same time I admire your willpower!!
When I saw the picture of the studio area, I immediately spotted the chair and asked myself how the hell could she work in a chair like that? Then I read the caption... you suffered.
You know, not only would I love to buy a hardcover sketchbook collection released every few years, a collection of essays would be good at some point. Even just a softcover or digital version. You've tales to tell and much insight.
Thank you!
This is so informative! What a pioneer your were (and still are!) I self publish for all the reasons you list here, plus the creative control, though of course it’s much easier now thanks to crowdfunding. I also do deals with various publishers from time to time, like Delcourt who published our book in French, and I’m always very meticulous about contract figures and definitions. But it always feels like such a battle, and I was only writing last week on my stack how the terms and conditions should all be much more transparent when new creators sign. People often say “get a lawyer” and I do, but what they don’t realise is after ten years I now know more key information about the peculiarities of a comics or GN deal than these lawyers do. (They generally come from a book or film background, and the special opportunities for creative accounting in comics and graphic novels are legion.) I always ask for basic stuff like a precisely defined figure for publisher expenses before we all start earning royalties, but it’s rarely included voluntarily or as standard. And it absolutely should be. There’s this general assumption among artists and writers that a) you’re on your own at signing time and b) the contract is a puzzle and a trap, and it’s your fault if you don’t lawyer up and don’t solve the puzzle and spring the trap, because your weren’t rich or smart enough. “Silly you!” It’s an odd attitude when so much else in the comic creating community is collaborative and supportive. And after all these years, watching new creators fall into these traps again and again breaks my heart. It really shouldn’t be like that at all. So kudos to you for helping, and for talking so honestly about these vital issues for so many years. 🙏👏
I love this post, full agreement. Will get into it more later.
I'm reading the script for a horror film... it has so many absurd demands!!
Seriously, I follow the work of several Mangakas, and many of my favorites have developed health problems due to the stress of work and have been forced to take long hiatuses.
I feel a pang in my heart while I'm reading this Saga, at the same time I admire your willpower!!
Thanks, Colleen, I wish you all the best ^^
Seeing your photo from 1989, now I see where Kelley Jones had the idea for Calliope's hair in the 'Dream Country' story arc.
As for your tale of horror, I wanted to cry.
And the industry still function like this even today? WoW! :(
I doubt he got it from me, but big hair was a thing then, LOL!
When I saw the picture of the studio area, I immediately spotted the chair and asked myself how the hell could she work in a chair like that? Then I read the caption... you suffered.
Neil Gaiman liked your post on tumblr.
Colleen 1989 had all the hair.