A Freshly Updated List of Submission Guidelines for Every Comic, Graphic Novel & Manga Publisher Out There. Now you're ready for 2019.

pixel skylines
$LAYYYTER

blake kathryn
wallacepolsom
Lint Roller? I Barely Know Her
trying on a metaphor
cherry valley forever
Peter Solarz
Stranger Things
🪼
Claire Keane

roma★
macklin celebrini has autism

⁂
Three Goblin Art
we're not kids anymore.

if i look back, i am lost
hello vonnie

Andulka
AnasAbdin
seen from United States

seen from United States
seen from United States

seen from United States
seen from Guatemala
seen from United States
seen from United States

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States

seen from United States

seen from United States
seen from United States

seen from United States

seen from United Kingdom

seen from United States

seen from United Kingdom
@letstalkaboutwebcomics
A Freshly Updated List of Submission Guidelines for Every Comic, Graphic Novel & Manga Publisher Out There. Now you're ready for 2019.
rapidpunches:
SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE
I’m NOT an expert but I have some working experience I can share. You need experience to become great. Here is my set of instructions, tips, and notes towards making a 12-page comic.
My method is to work backwards. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen.
I even plan/draw the end page first. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&.
If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. (treat the first page and the 2-page splash as you would the last).
Roughly… the steps to making your comic is
WRITE
PLAN THUMBNAILS
DRAW
…BEGIN THE WRITING (DO NOT SKIP NO MATTER WHAT) like this, in this order:
How does it end?
Does the protag succeed or fail?
What is the turning point of their story?
What the protag do that led them there?
Where does it start?
Who is this protag?
EXAMPLE:
Guy gets mauled by a bear.
This is a fail on the guy’s half.
The bear must eat something or he’ll starve to death.
It’s the guy’s fault the bear can’t find other food. He caused the avalanche that buried all the cabins.
The guy is yodeling in an avalanche zone.
The guy is some guy.
CREATING “THE BEAT SHEET” Take the above stuff and reorder it to make sense.
This guy yodels.
Echoes roll.
Snow slides down.
Avalanche buries the mountain.
Cabins are engulfed.
This bear has no access to cabin food and garbage.
Bear eats this guy.
Expand. Blow up important beats for emphasis. Keep less important beats brief.
This guy is hiking in the snowy mountains.
He comes across an avalanche warning sign.
There is nobody around but him.
A dumb expression forms over his face and he yodels.
Echoes roll but nothing nearby is moved.
At the top of the mountain the snow drifts twitch.
Guy, satisfied, hikes away from there still yodeling.
Frozen snow cracks.
Snow puffs billow and great slabs of ice crash down the mountain side.
Guy sees this and hightails it to safer ground.
Animals, people, are all panicking and getting pushed over by the rushing snow.
Cabins are destroyed.
The guy takes cover by an outcropping of rocks, fastens himself securely to the rock face, and waits for the avalanche to die down.
Avalanche dies down.
A lone bear shambles over from the other side of the mountain.
The bear goes to where a cabin used to be (only roof tiles are left). Bear sniffs a dish satellite.
Bear forlornly eats a food wrapper.
Bear tries to dig.
Guy comes down from the rocks he as climbing and sees bear.
Bear stops digging and sees him.
Guy runs.
Bear chases him down.
Bear eats the guy.
BEAT SHEET COMPLETED!!!
After the beat sheet, write up all the sound effects and speech bubbles and conversation/dialogue you want to be in your comic.
Since comics are a visual medium, highest priority is given to the beats. If a story can’t be told with the art without the dialogue– you messed up and it’s time to rethink your life choices.
Try to keep all your text chunks as short as a tweet. Professionally you don’t want more than 25 words per speech bubble and no more than 250 words per page.
Next is translating the beats to pages…
STRUCTURE OVERVIEW:
[1] point of entry, in media res, hero intro
[2][3] conflict. establish conflict, setting, and mood by the third page. [4][5] rising action/false resolution to conflict/investigation
[6][7] turning point/plot twist/epiphany (this one epic image, to page spread is pivotal, spend a lot of effort into creating this)
[8][9] aftermath/“darkness before dawn”/struggle [10][11] recovery/“rise and conquer”/“fall”
[12] resolution/final end/cliffhanger
[front cover][interior] [interior][back cover]
——————–
My maximum per page is nine panels but I’ve seen pages that have way more. I like to have about 3 to 4 panels per row or less but I’ve seen the “rules” broken before. Advanced comic book artists manipulate time with the number of panels and the size of each panel.
remember, DIAGONALS!!! open up an issue of batman, superman, spider man, deadpool or whatever youre reading theyre everywhere.
———-
…DRAW IN THIS ORDER:
Page 12,
Page 6 and 7 (this is typically one large image that takes up the space of two pages),
Page 1,
and then the rest.
ONLY “DEVIATION” ALLOWED:
Page 12 and 1*
Page 6 and 7,
and then the rest.
*Draw the first and last page as a spread in situations where the beginning of the story mirrors the end of the story.
Cover is dead last.
———-
(If at the very end you find out you need more pages and it’s absolutely unavoidable and totally necessary you have to add them in fours. Try to stick to 12 pages for this crash course.)
——————–
FURTHER NOTES:
Plan and draw the pages in spreads (the twos) since this is how it will appear in print and when you submit them to an editor for review guess what, the pages with an exception to the first and last will be reviewed as spreads.
You at most only need one establishing panel of the setting and environment (scene) per page.
Forget “true to life” perspective outside of the establishing panel). Practice diagonal composition of objects and subjects within panels. For dynamism.
You don’t have to present the text all in one go (one paragraph or bubble). You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel.
Less important moments have smaller panels and or lesser detail. More details (or more word bubbles) slow down time. More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass)
Know your light sources. Control the blacks. Control the values.
TIPS | COFFEE? :3 | dA | IG | ♡ | ❤ | ⋆
(more coming soon 11/22/2016)
Some sample pages from Andrew Loomis’s series on how to draw comics, 1939-1961, concerning perspective and composition. (The changes in font and layout stem from the fact the pages come from different prints.)
I tried to collect the most useful pages, but of course I’m limited to only 10 images per post.
This is a follow-up of sorts of the Disney “how to draw comics” handouts I posted earlier, and which can be found HERE.
Update PSA!
Hi everyone! First off, thank you so much to everyone who has followed this blog. I apologize for the radio silence.
I didn’t announce a hiatus because week after week I kept thinking I’d be able to get back in the saddle. And I really wanted to. But the issue is, it’s actually extremely time consuming to write reviews! I like to put a lot of thought into them. I reread the chosen webcomic a couple of times and take extensive notes. What with my graduating uni, moving, dealing with multiple family emergencies, and desperately trying to keep up with my own webcomic amidst my own chronic health issues, well... you need to pick and choose your battles.
I would really love to get back on with reviews very soon, especially because a few comics I was holding out on have now updated enough for me to have enough content to review.
Thanks for being patient!
Let’s Talk About Witchy!
Please be sure you’ve read Ye Olde Disclaimer so you know what this is.
Beware… SPOILERS AHEAD!
Let’s Talk About The Weave!
Please be sure you’ve read Ye Olde Disclaimer so you know what exactly is going on here.
Beware… SPOILERS AHEAD!
Let’s Talk About Heartstopper!
Please be sure you’ve read Ye Olde Disclaimer so you know what exactly is going on here. Beware… SPOILERS AHEAD!
Let’s Talk About Lovespells!
And again, before we continue, please be sure you’ve read Ye Olde Disclaimer so you know what exactly is going on here.
Beware… SPOILERS AHEAD!
Cleaning out my filing cabinet, I found this handout that I made for my mini-comics class. Hope it’s helpful! Remember, it ain’t only for comics. Self-publish short stories, collections of drawings or sketches, or blank for journals/sketchbooks, etc.
(Reblogging because I’m doing a talk for teen writers tomorrow and sending them to tumblr is a lot more cost efficient than printing up a ton of handouts)
Let’s Talk About Novae!
Before we continue, please be sure you’ve read Ye Olde Disclaimer so you know what exactly is going on here!
And beware… SPOILERS AHEAD!
Ye Olde Disclaimer
A few things to note before reading the webcomic essays:
These are reviews masquerading as analytical close readings...or maybe vice versa. The focus will be on what I like, and examining the themes etc.
As is the nature of webcomics, almost all of the series’ I’ll look into are unfinished/in progress. So rather than looking at the essays as my final, definitive opinion on the work, think of it as my impression of it as an unfinished story. I will be revisiting these as they progress, or when they are completed, to put forth my updated views.
I will not be offering any harsh criticism unless there is something severely glaring that I would like to point out that impedes the reading experience. I am not interested in nitpicking the comics or being mean about it. This is supposed to be a Good Time. Well, as much as reading an essay could possibly be a good time.
HOWEVER, if the creator wants me to give them a critique of the comic, I would be happy to follow up with one.
I don’t see myself as some kind of comic authority or perfect creator who does no technical wrong or something so writing these essays giving unsolicited critique feels weird. Therefore, only when asked!
Thanks!
(Web)Comics Resources
Below are some fantastic resources to get you going in the webcomics hellscape. This list is not all-encompassing, but is a means to get you started- or, perhaps, to find a helpful tool you didn’t know about before.
What are Webcomics?
What are Webcomics?
The Theory of Webcomics
A rundown of Early 2000’s webcomics
The History of Webcomics
Underground Comix and Webcomics
The Chicago School of Media Theory: On Webcomics
*A Criticism/analysis of the book The History of Webcomics
Masterlists:
*PaperCatPress’ Weekly Roundup of Artist Opportunities*
Webcomic Alliance
Carey Pietch’s NYC comics student resource list
Incomprehensive Masterlist of Trans Webcomics
LGBT Webcomics Tagpacker
Queer Cartoonists Database
Cartoonists of Color Database
Art Director Contacts
Masterlist of printers
Resources for Comickers**
Chicago Artist’s Resource
Fractured Atlas
SAIC’s Free Resources for Artists PDF
SAIC’s Job Search Sites List
SAIC’s Resources for Self Employment and Freelancing
**Some links are broken
Comic Production:
Biggest Mistakes When Starting A Webcomic
Grants, Fellowships, and Residencies for Cartoonists
How Do Comics Visualize Sound?
Jamie McKelvie’s Comic Book Page Breakdown
Precision Colors Printer Ink Refills
Gail Simone’s Comics Survival Kit Blog
Panel Layout: The Golden Ratio
Fake iOS7 Texts
Blambot Comic Fonts
DaFont*
* WHEN USING DAFONT PLEASE BE SURE TO CHECK THE TERMS/CONDITIONS/LICENSING POLICIES OF THE FONTS YOU DOWNLOAD. Check the readme.txt when you download too. Sometimes even completely free fonts have conditions regarding commercial use or alteration.
Digital Art Resources:
Digital Brushes
Perspective grids (photoshop)
Ron Chan’s CSP/MS5 Double Stroke Brush
Color Scheme Generator
Making a Programmable Keypad
Marketing/Selling:
The 1000 True Fans Theory
Webcomic List Sites
Project Wonderful
How to Advertise for Free on Project Wonderful
The Webcomic List
TopWebcomics
Comic Rocket
Archive Binge
The Zine Club
How to Get Traffic Without Spending a Dime
8 Basic Branding Tips
Artigrades Comics Marketing Club
WebcomicChat
ComicBookHour
Comic Tea Party
Health:
The 20/20/20 Eyestrain Rule
Book: Draw Stronger
Staying Healthy Tips
Stretches for Artists
Hand Stretches for Carpal Tunnel
Higher Education:
Disclaimer: I know college/art school is not necessary in order to be a successful cartoonist. These are just a few examples in case art school is what you really want to do. There are many other options and paths and all are valid if you utilize them to your advantage. However, if you have any questions about art school, feel free to ask me! As an almost-graduate of SAIC, I am happy to answer any questions.
Center for Cartoon Studies
SAIC
MCAD
Emerson
SVA
CCA
Podcasts:
Drawing a Dialogue
CMYK
Tight Pencils
Graphic Novel TK
Speech Bubbles
The Art Corner
Writing/Reference Resources:
Resources for the Muse (writing)
Kris Noel’s Blog (writing)
Funky Reference (EVERYTHING)
Character Development
Writing Resource Library
Guide to Plot Twists
Creating a Solid Plot Structure
Getting to Know Your Characters
Character Writing Exercises
Types of Characters in Fiction
Tip of My Tongue
The Fantasy Writer’s Exam
The Twelve Character Archetypes
Fantasy World Mapmaker
Written Sound Dictionary
Sound Effect MP3s
Food History Research Service
Comparing Heights
The Internet Movie Script Database (for practicing?)
Reference Folder of Fat Bodies
Recommended Reading:
Note: Sure, not all of these are about webcomics or even comics at all. But I believe firmly in having a wide range of references and there are valuable things to pick up from all of them!
Let’s Print a Comic
Let’s Kickstart a Comic
Graphic Artists Guild Handbook of Pricing and Ethical Guidelines
Fashionpedia: the Visual Dictionary of Fashion Design
Cartooning: Philosophy and Practice
Black Comics: Politics of Race and Representation
Manga in Theory and Practice
Vanishing Point: Perspective for Comics from the Ground Up
Framed Perspective Vol2
Elemental Magic: The Art of Special Effects Animation
Color and Light: A Guide for the Realist Painter
Force: Dynamic Life Drawing for Animators
Drawn to Life: 20 Golden Years of Disney Masterclasses
Understanding Comics: The Invisible Art
Framed Ink: Drawing and Composition for Visual Storytellers
Encyclopedia of Black Comics
Creating Your Own Webcomic Site:
WordPress’ Comic Easel Plugin
The Grawlix CMS*
How To Host Your Own Webcomic Site
Best Webhosts 2018
*The site is down indefinitely but the blog and forums are still up, and the CMS is downloadable.
Free Webcomic Host Sites:
Tapas
LINE Webtoon
Tumblr’s Webcomic Theme
Smackjeeves
ComicFury
ComicGenesis
Webcomic Collectives:
Hiveworks
Mary’s Monster
Sparkler Monthly
Ink Drop Cafe
Spiderforest
Comicadia
Tomgeeks (dead)
Comicker Digital
Conventions/Events:
Con-Mon Convention Tracking
CAKE
Chicago Zinefest
SPX
TCAF
VanCAF
C2E2
APE
MICE
ECCC
Thought Bubble UK
Airfare Watchdog
The Chicago Visual Arts Calendar
Where to Get Things Made and Where To Buy Supplies
ArtsCow Custom Merch
Table Displays
Artist Alley Survival Guide
Comics Journalism/Writing:
POME-Mag
Comics Alliance
Book Riot
The Beat
Paste
Love in Panels
Yes Homo Reviews
The Comics Journal
Comic Crusaders
This list is a static page on this blog and will be periodically updated with new info.