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b0ogie
01-11-2006, 08:55 PM
topic!

I am a slack.. and I know this.
I have all this drawing energy at work, wanting to do nothing more that grab my sticks and crank out some pages...
BUT - As soon as I step into my humble home, I find most everything else distracts me, and time doesn't simply fly, it travels at warp factor 9.
So, My answer to this slackyness is: I must blow up my computer, x-box, Ps2, PSP, TV, Dog, brother, and girlfriend. Or possibly take some motivating drugs (LEGAL).

So, other than my wallow in self slackassness... What gets you folks motivated to draw at the home? or in general?

theflash
01-11-2006, 08:58 PM
topic!

I am a slack.. and I know this.
I have all this drawing energy at work, wanting to do nothing more that grab my sticks and crank out some pages...
BUT - As soon as I step into my humble home, I find most everything else distracts me, and time doesn't simply fly, it travels at warp factor 9.
So, My answer to this slackyness is: I must blow up my computer, x-box, Ps2, PSP, TV, Dog, brother, and girlfriend. Or possibly take some motivating drugs (LEGAL).

So, other than my wallow in self slackassness... What gets you folks motivated to draw at the home? or in general?

well i write not draw, but i know what you mean. for me to be able to work, i have to be in my own space. i have an office that i lock, and pretty much shut the whole world out while i am writing. i turn the mp3 player on and shut out everything else and just go to work. once you get in the habit of doing this, it becomes natural. downside is i have trouble writing anywhere else, but there are tradeoffs in everything.

Scott Story
01-11-2006, 09:54 PM
deadlines motivate me. Seriously. That and the honest desire to get some stuff done before I die: Time's arrow points only one way.

P.R.E.Z.
01-11-2006, 11:14 PM
Good question. :)

Couple different motivations for me:

1. God. Seriously wanting to utilize my gifts to make a difference.

2. Because most of the stuff on T.V. is garbage and I know I can write stories better than that.

3. Wanting my wife to never have to work. She's done so much and I just want her to chill. If I can do that from making enough money with my writing, then I need to get to it.

4. Talk radio. When I hear about what's going on in this country and around the world, it moves me to write.

My goal is simple: three pages a day. May not seem like much but it adds up. I like what Oscar Collier says:

From what I've been old by many writers, three pages a day is a sensible quota. It is an amount that should keep you from panicking because it's not asking too much. You can sit down and write three double spaced pages. I know people who write letters longer than that.

Three pages. If I did that (and I do now), depending on the project I'm working on, I can have full rough drafts of the following:

1. An 84 page graphic novel in a month.

2. A three issue mini series in a month.

3. A 300 page novel in about 3 months.

4. Couple short stories.

I'm not saying this is polished material or that they can all be done at once. Just that if you set your mind to one of these, this is what you could turn out. Sticking to one project and then seeing it through to the end is a wonderful thing.

For an artist, I'm not sure what that would be but I'm sure the same principle can be applied.

Morganza
01-12-2006, 12:03 AM
What gets you motivated?

1. Lucious hooters!

Rob Norton
01-12-2006, 12:31 AM
What gets you motivated?

1. Lucious hooters!


dear god...this is why i like you so much man.

Dave Reynolds
01-12-2006, 12:32 AM
What motivates me...

I'm tempted to say "Booze" but eh, I'm feeling introspective right now.

I'd say the motivation comes from an inner desire. I mean I coudl say I have that drive but I don't really. I'm also a lazy slackass. I mean, instead of sitting at my art table finishing panel four of page 9, I'm online writing this while looking for Japanese hentai to "accidentally" come across.

I would say the biggest motivation is that quite frankly a lot of my life has been a lot of starts and no finishes and I want this to be the exception. As I get older I realize that need these completions.

And honestly, holding a finished page in my hands upon completion just feels awesome. I can only imagine what the book will feel like.

yakattack_one
01-12-2006, 09:50 AM
I have to say a desire to see my projects published.
Also My Wife and daugther are huge motivation. I want to be able to support them and let my wife quit working and stay at home with my daughter. If my wife wants to go to college then that is there as an option for her.

Also I am tired of doing Customer Service and having to go to work everyday.
I just want to stay at home and write, letter and color comics.

Final thing is seeing the pride in my wifes face when I say that I finished a script or another project.

Mark Bertolini
01-12-2006, 09:58 AM
What gets you motivated?

1. Lucious hooters!


Yeah, but...motivated to do what? (And with which hand?)

Buckyrig
01-12-2006, 01:56 PM
I am motivated by anger, frustration, and bile.

ShanE
01-12-2006, 03:15 PM
Me, I want to maintain my family at home with me, so I take on huge chunks of work with tight deadlines. If you put yourself in a possision of "do or die" you WILL find a way to be motivated. Especially since if you consistantly blow deadlines and do choppy work, the word gets aroung REAL fast in the indie commmunity. So unless you want to be your own barrier to personal success, get your self in some projects and GET THEM DONE. DON"T let people down or it will haunt you like in-laws.

D.J. Coffman
01-12-2006, 03:50 PM
Money and COcaine.

Jason Berek-Lewis
01-12-2006, 03:56 PM
Yeah, but...motivated to do what? (And with which hand?)

When it comes to hooters, I am ambidexterous :laugh:

What is motivating me right now is that after 3 or 4 years or hard work, I am starting to break through. Seeing artists do concept sketches, or being interested in working with me, motivates me. Applying for writing positions motivates me. Having small press studios approaching me to write for them is certainly motivating!

However, the greatest motivator of all is the work for hire contract. Once you sign one, you are obligated to be motivated :laugh: ;)

Phatman
01-12-2006, 04:23 PM
My motivation is usually 10% inspiration and 90% desperation. I usually move on things when they need to be done. I'm always motivated and inspired to draw. However, drawing what I want to draw and what I need to draw are two different things.

daredevil 666
01-14-2006, 09:59 PM
I tend to set goals/deadlines for myself.
Also, having some awesome music in the background really gets the creative juices flowing.

Calloway
01-15-2006, 06:13 PM
money.

Gary "Franchise"
08-30-2007, 11:24 AM
:cool:

I found this on a web site with my name on it and thought it was funny.
so I'm passing it on to the "up and comers" for a "different" perspective on making it.


THE DEVIL'S BIBLE OF MAKING IT IN INDY COMICS

DAY ONE, JUST OUT THE GATE...YOU CAN DRAW BETTER THAN ANYONE, YOU WRITE AS WELL. YOUR INKINGS SO-SO BUT YOU CAN HIDE THAT UNDER "STYLE". THE MOST IMPORTANT THING IS.. YOU LOVE COMICS MORE THAN A DAY JOB AS A WAGE SLAVE.

What have you got going for you? no one knows you.
Whats against you? no
one knows you.
YOU NEED TO MAKE YOUR NAME "A NAME".

But who are you?
(...and what the F#@K ever happened to Terrence Trent D'Arby anyway?)
To find out about you people are going to look you upon on the Web.

Find a lonely middle aged failed Sci-Fi writer who works as a middle manager of a fast food resturant or Kinko's who fancies himself "a publisher who can't draw, but writes" with money and an great idea he wants made into a comic book epic. Tell him you'll do his magnum opus under a different name if he'll also publish your book. Tell him it's a good idea for you to illustrate his book under an assumed identity because it makes his company( you as the only artist in his studio, will have to draw his company logo based on a wacky , hastly scrawled sketch on a ketchup smeared napkin)appear larger.

later in your career it will be easy to distance yourself from this (also you) dudes comic by saying " that's not my work, I knew the guy ,but he went nutz and now he does prison tats. I heard he had legal troubles in memphis...something involving gerbil wrestling." most importantly you will get your comic published. Since he's footing the bill, get some meals out of him and rides to cons.
Then have him publish a portfolio of twenty images of your book's heroine and also some stickers of the same twenty images...
but first...

step 1: A) Create a young sexy female character( she's the sex that sells the book), she should have a nick name that has double meaning in the broad sense and will later become her code name (anything other than 'Whisper' or the exotic and highly erotic 'Banana'.). She's going through changes that make her different. she's an out cast. Give her lots of panels about introverted self doubt and finding herself in the
world and morning the love she lost.

Give her a cool martial arts weapon(penis) to master, lose... regain (this will later be made into a high dollar fan collectable replica) while doing what ever the hip kids are doing at the time, knitting in coffee houses, skateboarding in sushi bars, power laundry. (you can find this current affairs crap and photo reference in any magazine rack.or by paying attention to thirteen year olds)

She should have a doomed relationship with an x-sports loving slacker who is really dumb and really sweet and is the type of guy the fan would be if he
wasn't a comics geek. He should die saving her within the third issue.

She should fight an exact copy of her who is ruthless and made all the wrong (slutty)choices because she has no heart. This enemy should die because she has no heart. (probably killing her boyfriend and stealing her weapon.)

Trying to regain the weapon she should run into a cool mysterious secret agent type who is older and will explain the rules of the game as they unfold around the girl (this person is key to introducing sadistic world dominators, evil cycloptic cyborgs, and mutated reptile ninja cults later.
(if anyone in the comic is going to be black. this is your best bet So Hollywood can Keep Samuel L. Jackson in work. ) His codename should be something that represents a huge grown-up establishment
such as a church official or a governmental office. He should display wealth power and the seeds of apocalyptic corruption. (Try and stay away from the ominous 'O.J.' especially if you're blond)

The villains are the only one in the book who should wear "costumes". This isn't a superhero book and so will be safe from criticism, and very "Vertigo-esque". Buy black raybans, black jeans and three black t-shirts.

There should be a shadowy anti-hero boyfriend( who wears black ray-bans, black jeans, and black t-shirts.) who gives cool advise, warns against getting too deep and says to beware the suits. He's a black clad artsy bad ass and poetic when he needs to be. Everyone fears and respects him, but, he has some tragic flaw and a dirty past he hints at but won't come right out and say(the clinic)and so he thinks he's tainted and doesn't want to infect the girl. just protect her. he replaces x-sport boyfriend as doomed love interest.

Then you add the grizzled veteran warrior(he will become her balls) who just doesn't give a shit. (maybe an animal moniker like Ted, Grizz or Chooch...well maybe not Chooch.) He knows the rules of the game but, prefers to break them. Beneath his scars he has a heart of gold and will add comedy relief with his lack of social graces and be the representative of the wall she will continually smack into. The harsh reality of the game. He'll let her fall to harden her, but he'll kill anyone who tries to harm her. (he's the loud dangerous uncle, his counterpart is the wild sexy aunt who gets her into risque trouble)

when she regains the weapon
and takes her place as a bigger piece in the game you have compleated your first story arc.
this story arc should be reenforced by paper merchandising--stickers,
collectible cards and posters.

At this point it's a good ideal to get five comic book retailers and form a cabal. The first retailer you will have order ten thousand copies. You turn around and have the next retailer buy eight thousand copies from the first retailer ( the remaining two thousand left with each retailer will be sold at an in store signing. (you've printed 10,000 issue # 1 comics, but the first two retailers have turned in 18,000 in in store sales) You continue to do this trickle down voodoo economics until you have sold 32,000 copies of your printed 10,000 number ones. You now have a "hot indy title " and a sold out issue # one) Then it's time to dump the publishing guy who bent over backwards humoring your every whim and was compleatly befuttled why you sold so many books but his book was never finished because of creative differences. Compleatly slander his name at cons as someone who tried something "uncomfortable " with your girlfriend while you were out of town promoting your book on a college signing tour...

now with big numbers under your belt approach a established, artsy hipster company who publishes autobiographical/ slice of life comics and fantasy/cowgirl mermaid comics drawn by spiky-haired hipster chicks with tatoos and eyebrow peircings and unshaved guys in obscure retro cartoon t-shirts (see: Herculoids) and dark sports coats. Almost everyone working at this company or reading their books will have some form of black horn rimmed glasses

While at this company, you will not turn anything they need in on time, nor will you return their phone calls. You will how ever keep all their answering machine calls as prof that they hassled your creative process.

Your second story arc will be half assedly written, throwing around lots of literary allusions awkwardly forced into the work. These will show you're worldly and well-read. Switch from the black t-shirt and black wayfarers and trade up to the untucked black silk dress shirt and little round black glasses.

Your storyline: Your heroine, now secretly hooked on heroin, has miscarried the omega child and is now a bigger player in the game. A new female villan reconizing her as a threat and dispatching various unique freaky agents (ladder steps) for her to defeat. They should kill someone special to her that represents the final piece of
her real life, so she's crossing a burning bridge into the game that she can never return from ( It helps a lot in establishing the books emotional integrity if the victim is young and in a wheel chair or has spent most of their life in an institution staring at a gold fish bowl). Your Heroine can wax and wane alot of verbal introspection about childhoods end and being a big girl now. She should question the motives of everyone around her. This
story arc should end open ended after hints that soon "all will be revealed and a character close to her will betray her as another character dies trying to save her". It should leave more questions than answers and a frightening new aspect of her gift should emerge making her of more interest to shadowy governmental agencies that have numbers in their titles NC isn't good enough, you apeal to a wider sci-fi audience by adding the random number, ie, NC-17. the closer it sounds to a listing in the periodic table,the more science fiction-ey-er-esque it sounds.)

the second story arc should begin the merchandising of cloth: t-shirts,thongs,handbags and garments. Never have these made in a size higher than small. That way only emaciated kids can wear them creating a sense of elitism and snobbery at cons.

This fashion wave should be timed for the release of the first story arc now gathered with new pages of art work that extend the scenes and re-enforce the scenes you're actually currently being illustrated for and incorporated into the second arc pages on your drawing table. This way the new art work does double duty and gets twice sold. This is also
the time to repair the weaknesses in your first story arcs art and panel layout, as well as any historical, or factual screw-ups in writing or continuity. It doesn't matter how much you screw up with the art in the individual comics as long as it's corrected by the graphic novel. (too many fingers on the sword hand *poof* never happened.)

The graphic novel is what the fans will remember and what you will show hollywood, reveiwers, future publishers and hot potential dates.

Now, citing creative differences, crazy deadline hassling phone messages,irregular payment scheduals, lack of product face time and overall professionalism and the fact that you want to jump to color, it's time to move up the publishing food chain and start renting and pimping that big "Image-inary eye"

the third story arc( supported by the "director's cut reissues" of your first two re-colored,re-lettered, re-imagined story arcs with new painted covers) should be crap. crap .crap.crap. lots of rehashed flashbacks reusing artwork and scenes from the first and second books. Only now they have new depth and meaning. You can put twelve pages of artist
sketches, photos of fans and retailers and letters pages about your graphic novels easing someones cancer experience, or inspiring a college book report, or helping you understand your partners needs in the bedroom. Since you're penning these letters yourself(ala Penthouse)... you can do a call and
answer technique where you have a "fan" recognize some deep meaning in something you vomited on the page (ink drip,coffee stain,non erased non-photo blue pencil line) and you as creator are glad they were enlightened and spiritual enough to have picked up on that and expand more about how much you were influenced by *insert intellectual's name and their seminal novel, films or art work of increadible genius*. Peppered in between these are the bread and eggs letters of how great it was to meet you at such and such con because your so polite, shy, talented and sexy and not as stand offish as the other talent from the big two. Then in responce to those just happen to mention where you will be appearing next, or what collectable you have availiable.

pt 2 follows.

Gary "Franchise"
08-30-2007, 11:26 AM
:p

part 2 cont:


The third story arc should be enhanced with a reissue of number one graphic novel in a foriegn language. first issue of second graphic novel with expanded fan photo section and photos of clay sculpts of action figures, the actual action figures, busts, new line of posters, collectables and the excaliber of merchandising the model of the martial arts weapon. hard bound collectable book...now
you should start dropping hints about hollywood, screenplays being written, a novelization...

YOUR CAREER MAP IS AS FOLLOWS:

At the beginning of year one...You take your original 20 images of your heroine and put them everywhere on fan web sites. Post long agreements to what ever is being posted on fan sites listing your name and the fact that you created (hopefully not Banana). (minor alterations in the images, raise an arm ,change the background, if you like. Post a a long crazy, interesting bio everywhere... deviant art. comic space. myspace. yourspace. hisspace. RussianAirspace. Friendster. Even create some faux-fan sights and post hastely scrawled fan art of your character in stupid poses.

These twenty images should also appear in your comic repeatedly(they are your backbone) as part of the story. You are creating not so much a book as an icon ( and cutting and pasting frees up video game time.). Take the stickers you had printed and plaster every surface of everything around the local comic shops in the town holding the next big con. If you know a con is coming up, get to town a few days early
and meet retailers about doing in store signings.... them slap one of your sticker in their john stall.
At the con, at eye level on each and every urinal( ladies con some dude into doing it for you, promise him a cameo as a zombie in the next issue.) Every surface that a fan will pass or come into contact with. Anything left , drop off at a local skate board shop for customer give aways to establish instant street cred.

On the Web start bashing the big two and posting your support for other Indy publishing companys and their artists and how you look forward to meeting with them at the cons. (they have no idea how big or small you are, all they have is the Web to check you out...and you're everywhere!!!!) cyber-smoooze people you want to work with... (except for Troy Boyle. Those Strawberry-Kiwi waffles that he promises he'll make the morning after...Myth!! He never calls.)...So you can introduce yourself at cons... compair them to industry greats...ego stroke. ego Stroke! EGO STROKE!!!! EEEGOOO-- Hu-Hmmmmphaaaa--- HHHUNG-Ungh!!!,
oooooohhhh. Yesss. Was it good for you? cigerette? Strawberry-Kiwi Waffle?

be everyones best friend.

Always dress appropriate for the arena. I recommend Teflon. Never advertise anyone elses product (IE: Herculoids) on your teeshirt. If doing an in-store signing give free t-shirts to everyone working behind the counter a few days before you get there. They will wear them.
Send flyers to every arts and literary organization, record
store, head shop, and press agent from underground newspaper in the town. Every library has a community happenings board. Offer discounts coupons to librarians.(Will libraians show up? no. Will the part-time shelvers who nicked the coupons out of the mail room. Yes.)

Create a cool postcard at one of those 1000 postcards for $99 places and address and mail them to corpurate mail rooms all over the city of the con saying "F#%&K the suits, Lets get Drunk, High and Naked and Burn this Mother F%#$Ker Down!!! Escape the mailroom and come to the con and see me for a free poster!!!!". Now, will this postcard get hung up on the wall and passed around for amusement? Every flunky eventually moves up. Cultivate the little guy, especially in the entertainment industry. Everyone knows someone who likes comics. Funny
fact: comic stores are open during cons. There's always the low man on the totem pole behind the counter because everyone else is at the con. During lunchtime, This is the guy to pop in on and smooze and leave stuff with.

Support your retailers...get them to place big orders for signings... then get them to take you out to dinner... ask them if you can sleep in the store because your cars too uncomfortable for one more night. They'll find you somewhere you can stay.

Meet super fans at cons, ask them to show you around town after dinner, check out their favorite local bands or watch them get your character and autograph tattooed on their shin bones, ask them to show you their comic collections, homemade costumes and action figure dino-ramas... now that you're friends with your new official fanclub president...stay at their
house way to late and ask them if it would be ok to crash on their couch. what greater moment is there for a fan than to become part of your inner circle?(Steven King's Misery is the exception to the rule) You've just done away with the expense of hotel rooms...For the rest of your career till you
can get the con to spring for your room. Then you can play cons against each other like Vegas casinos for comps. If you can't cultivate these superfans, then sleep under your table at the con or in your car rather then forty guys in a room for ten bucks a head. You must maintain a sense of mystery about yourself. But if you do score these superfans prepare to be pampered like a comic book Raja!! Strawberry -Kiwi Waffles for everyone. ah-hahaha-ha!!!

be everyones best friend

live off granola bars and coffee and cheap fast food if you can't get the con or fans to take you out to lunch.
A superfan will overlook a "forgot my wallet at the con (they'll
get a free graphic novel and poster signed buy you for fronting your bill. and that lonely dude at the comic store will order Dominoes pizza for you both and pay for it out of the register...just telling it like it is, baby.)

Always stand at a signing or a con, or make sure that you have a tall stool to keep you at eye level with the march of fans. Don't be like mushroom man all hunched up in a ball under that Hot Topic stocking Cap, hiding behind his sketchbook. You reach out to shake hands, this stops them at your table. Ask them what kinds of comics they read. Pick up one of yours ask them what they think. Sell them three 2.95 comics signed for twelve dollars dollars and when they hand you fifteen, tell them you can't make change and through in an extra book. You do the math. (sign them inside the cover or put the fans name on the cover...this makes the book worthless and they can't resell it later when your a name for huge money) always have your own bag with a sticker on it of your character, your name and your photo. (the same photo you better have printed on the back cover of your book. When you actually need to work for the big two you've been trashing all along, it's your career, not your icon, you want them to be buying the rights too. ) They will carry your image around the con, subliminally inducting the masses. You can bet Mushroom Man's product will never be sold at Hot Topic. Next year there will be a new Mushroom man hunched under that same sketchbook in artist alley wearing his Hot Topic stockingcap, but it will be bearing your logo.

Never sit and sketch, or do sketches. Unless you need the money. Have them look through your
portfolio instead....and select a "limited edition signed print" for
$10.00-$25.00 (this is a 11*17, $ 2.95 color copy from Kinko's, if you run out find a Kinko's near the con. Make more) These now are worth ten to twenty-five dollars because you said they are. So when you give them out as extra's to super fans who spend fifty dollars or more, they "mean alot" Don't waste time doing sketches in artist alley/ it takes time away from customers...err fans. Use the cheaper artist alley table as a place to plant your sexy spokes model girlfriend to sell your books while you mingle in the con...have
the model give an exact time for when you will return. This guarentees that you will have at least four fans show up creating a crowd. Artist alley is usually a
very tight walkways. Any road bloke created looks like more people lining up to see you. Speak softly so everyone will have to bend down with keen interest. This will be mistaken later as fans watching you sketch when no actual sketching has occured. Crucial to this point is having someone take a photo of your crowded table. Post these publicity shots on your faux-fan
sites. Have photos taken with every handicapped or sexy fan... (He's a great humanitarian and also has time for the ladies...he's no mushroom man.) Post these on your fan sites. Anyone with a posted photo will tell other friends to go to your site to see them.

Instead of doing sketches at the con for $ 50.00, take $300.00 commisions. Buy a huge pad of bristol and do a very loose interpretive sketch then cover
it with a flap of tracing paper and send it to them media rate. everybody likes mail. Everybody loves cool mail. They will receive your hastly drawn piece of crap in the mail with their utility and credit card bills. They will have it professionally framed and matted ( probably at the same national chain art store you bought the bristol and tracing paper on sale at) and it will actually look pretty descent in their dismal eastern European yurts. The iceing on the cake is having someone photograph you at an upright artists easel wearing a specially
prepared tee shirt splattered with multi colored paint. Send a copy of this with the work and post it on your fan sight as "working in your So-Ho studio at three A.M. listening to Mingus"

Trade graphic novels with other companys, You can resell these at a local halfprice books for gas money home.

Sit in with con retailers and ask them if you can take a turn at selling books (remember your beautiful chick sells your stuff for you in artists alley, flirting with geeks and nerds) Chastise the retailer for not having enough copies of your books and ask them if they'd be interested in doing a
signing...while slipping a custom bookmark with your heroine's image and your website into every book you sell. Shake the retailers hand while someone photgraphs it for your website, get his business card. you put the photo and the contact info in your book's
4 page faux letters section to show retailer support. Have a contest in your book for which retailer can sell the most books. You also only print letters from superfans or people more famose than you so everything seems legit. You are "Fight Club"

be everybodies best friend.


part 3 follows.

kdmelrose
08-30-2007, 11:28 AM
:huh:

This thread has been dead for 19 months ...

Gary "Franchise"
08-30-2007, 11:29 AM
:banana:

Part 3:

Take out a small ad in trade papers in their back pages,that looks like a small interview with you rather than an ad. use adjectives like fantastic vision, altered conscience, disturbing story telling...then turn around and
quote the journal/trade using your adjectives out of context and crediting the journal. When the trade calls you on it say it was a mixup at the publisher and printers then tell them you'll send them a press packet and you'll do a short interview to make it up to them. send them graphic novels, a
signed (kinko's) print. Copies of your manufactured bio. Use the best of whatever they say on the next cover. Make sure to put a copy of the interview on your web
pages. Tell them you'll send them some art for their Christmas cover. wait three weeks after it comes out in print (everyones who makes decisions is still out on holiday) and send the magazine a very low balled envoice for payment. The accounting person will check into it. If they pay you great, if they call you on it. Claim it's another mistake from higher up and you'll clear it up. Tell them you'll make it up to them by doing a cover
for them at the quoted low price.

Shake hands with geeks and find out what they do, then get them to plaster your icon on it and do it for you.

Constantly refer to everything you do (even sex) as "a perfect jumping on point for new readers", "a bold new revisioning of a timeless classic) refer to everyone in corespondance you don't know as "You Guys" or "Industry Legends" be as friendly and accomidating as any waitress at the Las Vegas Hard Rock Cafe.

be everyones best friend. Twice.

Start to organize these superfans into tight little cells. Find out how many of them attend university. Get them to show your work to professors hounding them until they admit the American Graphic Novel is a legitamite Literary Form and tell them your available to speak at lectures

Have them get local libraries to
request your graphic novels. To tell events and happenings newspapers when you'll be in town and tell them you'll be available for interviews (they will refer to your previously set up faux web sites and fan sites)

Don't be afraid to manufacture super fans and use them as press agents. They're trying to doge the same bordom you are. Rewrite your bio... Hint at a spiritual awakening in Tibet and having an imposter in Russia trying to sell signed limited edition prints of your "work" on E-Bay. Begin to describe the prints and original page layouts in your portfolio as your "earlier body of work". Where before you dabbled in the medium of sequintial art, you now are working in the vein of post modern myth making, Referring to yourself in the broad sense an artist working in the comic book genre, start to infiltrate local art scenes and get shows of your original art. Swipe entire sections of interviews of contemporary artists from Painting and Sculpture Magazines and just add them to your interviews.

Most reviewers are lazy and would rather copy your copy than write something new. They will refer to facts from your fan sites and preprepared biographies

Start to volunteer for fan panels on simple subjects like monsters in
comics. bad girls in comics. what ever you can suggest to comics promoters and then derail them into arguements on cultural athstetics and visual anarchy. Ask the audience "when does a line stop becoming a line..." and storm off crying. Reffer to the old guard you've been praising as parsites who lost their vision Claiming they're holding the art form back. Then get some well respected writers or artists who are no longer hot and "Tarintino" their careers by asking them to write the foreword to your graphic novel and put their bio on your websites. Get photos of you shaking everyone whose anyones hand at the con ,and get their contact info. "Shindler" this photo in the mail in a one dollar frame and a copy of your graphic novel with a dedication explaining how much of an influence they were to your career and saying you'd love to work with them on a project in the future as some as management stops farming you out (ghost illustrating the covers to romance novels....the moneys good, but my first love is comics". Now they have a dark secret about you to pass on to editors...medical illustrating, kids magazine,

Just so it's obscure enough that they won't look into it... the dark secret constitutes the real deal beneath your surface. "you are an even harder worker than anyone knows and your paying those dues" instant respect among the older generation, they'll pass you around like a dirty joke and wave
when you stop to bullshit with them. you can later get lots of useless inside info on the big two.

When you talk to the hip young guys at the big two you can say you don't want to repeat the blank incident" like "blank did"... they'll talk about it around the water cooler and bring it out later to give themselves the added appearence of being in on the history of the company....and they will become "old skool" by proxy...get promoted and you have an instant in When you decide to take an undervalued forth string character and move him to the cutting edge by adding ninja's and sex.

Take all critism of your work from continuity purest who will flock to the web to bash you and spin docter it and update it into your
your revised bio eliminating their comments as a threat. Include phrases like (on the surface my work may appear to be too derivitive for the detractor that are so quick to jump to conclusions...But my art work comes from a very personal part of my journey as an artist. I'm so influenced by the cultural ebs and flows around me that this is my statement adressing those fluxtuations. My art is very transitory and trancendental. ( Ie, I stayed out to late dancing at the clubs now that I can get hot art chicks that ripped off this pose from issue #138 of Iron man and I took the robot from an ad I found for swedish toothpaste to meet my printers deadline.) To the uninitiated it may be crude and
simplistic, but I've tried to tap into a child like sense of whimsey...(yeah, I totally half -assed inking this page and so I splattered a whole bunch of red ink on it with a toothbrush and drew a big bullet in the foreground rather than do the whole space station on mars layout that was in the script they sent me) making all negative critism seem shallow and not well thought out. so people will think twice about critisizing you. in fact they will aplaude you for
your depth. Now is the time to start dropping obscure literary quotes from various existentialist authors and sighting them as influences on your work. reintroduce the Kama Sutra and the works of Henry Millar and Anis Nin making it easier to get laid at comic cons.

By now people will have began to sell your work on Amazon dot com. take advantage of this... scroll down to the review section and use your manufactured superfans to turn you into a god. Every time your name is "googled" qoutes from these reveiws will come up. You own the web by amasing territory. Call Google and have any hits to anyone else with the same name removed one at a time sighting Stalkers, this will eventually give you the first four slots.

Link to everything under the sun. Send out sease and desist Letters adressed from your compeatitors to your other competitors. then when they start bashing each other on the internet step in and bye the voice of reason...the peace maker warning each party to shake hands and be mature and professional. Editors will see you as level headed, a pearl in the midst of rabble rouses.

Then a funny thing happens. The illusion becomes real. You let it all (every element you've created) begin to blend into a hyberium of
who you are. You have pleased the fans. They are happy. because they're not bored anymore. You've become everyones best friend. You have"Steerpiked" your way to the top of the comics foodchain. You are a fan favorite.
You have critical acclaim.
The big two need you.

your three graphic novels



You have become the comic book antichrist.

This will also work in business and with countries.



try just one of these tricks and if it works for you do the rest. Modify them to suit your needs in comics, and depending on your station on the comicbook for chain.

this is a work submitted humbly for your amusement

Gary "Franchise" Francis, 2007

down21
08-30-2007, 12:58 PM
https://www.blogger.com/start

kdmelrose
08-30-2007, 01:01 PM
:laugh:

Justice41
08-30-2007, 01:10 PM
All I wanna know is how does a Guest get to post?

kdmelrose
08-30-2007, 01:13 PM
I think it's because that user hasn't posted since the last forum-software update. In a lot of older threads -- like a year-plus -- some of the people show up as "guest."

JAQ
08-30-2007, 09:48 PM
I have all this drawing energy at work, wanting to do nothing more that grab my sticks and crank out some pages...
BUT - As soon as I step into my humble home...That's your problem right there: going home. Seriously. One of my most productive periods was when I was taking 2-hour lunch breaks at work, hiding in the storage room, and drawing. I was off the clock, and everybody knew I'd be "out" until 2:00, so I wasn't stressed out over the time. I was guaranteed an uninterrupted two hours a day... away from the TeeVee, away from the InterWebs, away from the BoyFriend, etc. Just me, the bristol boards, and the office supplies, in the middle of the day when I was A) awake, and B) still fresh. It meant I had to work an hour later than if I took a standard 1-hour lunch break, but it also meant that when I got home, I could just relax and do whatever, since I'd already put in my 8 hours at the day job and my 2 hours at the drawing table.

BobRivard
08-30-2007, 09:57 PM
Jerking off!

Get that outta the way... I'm good to go.

Other than that, not missing deadlines and pissing people off and subsequently being broke because I can't get paid. That's motivation for working on somebody elses project.

For my own project... just looking at some sweet artwork or watching a kick ass movie usually does it for me. Sometimes music works to sustain the insperado.

newageartist
09-03-2007, 05:36 PM
im motivated by my family and fellow peers the most. my family has been there for more in supporting my career as a penciler. they understand that this is a hard field for us all. when i attend studio meetings with fellow peers and seeing what they have. makes me puch harder so i can see their faces when i am done. sure money and all that jazz pushes me to. but just to say to someone that works 14 hours a day at a job, that i work at home and do what i want will be priceless. but family is byfar my biggest.

WCG Comics
09-05-2007, 04:01 AM
Having a routine is important. For me it's a necessity, but it nevertheless keeps me on track. I have a family now, so I work most evenings after the kids and wife are asleep, from about 9:30 pm to anywhere from 11:30 pm to 1 am or so. On weekends, I work Saturday mornings as well, and whenever I can squeeze in some time during the day. It helps to have a supportive wife. I'm at the point where I get really antsy if I can't get to the drawing board.

Other things that motivate me:
Reading work that inspires me, particularly the older strips that got me into my present work, like Terry and the Pirates, the Spirit, the work of Alex Toth.
Working on a story that is clicking for me and wanting to see it to the end.

JJ McKool
09-05-2007, 06:35 AM
4. Talk radio. When I hear about what's going on in this country and around the world, it moves me to write.

My goal is simple: three pages a day. May not seem like much but it adds up. I like what Oscar Collier says:

From what I've been old by many writers, three pages a day is a sensible quota. It is an amount that should keep you from panicking because it's not asking too much. You can sit down and write three double spaced pages. I know people who write letters longer than that.

Three pages. If I did that (and I do now), depending on the project I'm working on, I can have full rough drafts of the following:

1. An 84 page graphic novel in a month.

2. A three issue mini series in a month.

3. A 300 page novel in about 3 months.

4. Couple short stories.

I'm not saying this is polished material or that they can all be done at once. Just that if you set your mind to one of these, this is what you could turn out. Sticking to one project and then seeing it through to the end is a wonderful thing.

For an artist, I'm not sure what that would be but I'm sure the same principle can be applied.
Huh, it's funny, there's always those common sense things like that, but they don't actually have any effect until somebody says it, and acknowledges it. That just made a lot of sense, I knew it already, but I never even gave it a thought before because it was, "common sense." Thanks, I think that helps me a lot.

Talk radio does it for you too, eh? I don't listen much, but I catch Alex Jones every once in a while, and he just seems to get my blood pumping, doesn't matter what he says, he's just so crazy that it gets me motivated.