Mikako aims to take the world of fashion by storm but stumbles when love comes into season in this coming-of-age tale from the creator of Nana!
Welcome to Happy Berry! No, this isn’t a fruit stand, but the label dreamed up by aspiring fashion designer Mikako Koda. In her quest to make a name for herself in the fashion world, Mikako enters Yazawa Art Academy, a prestigious art school, alongside her strictly platonic childhood friend Tsutomu. But there’s one problem—Tsutomu’s uncanny resemblance to a rock star skyrockets him to popularity and leads him to date the prettiest girl in school. Now, Mikako can’t help but wonder if what she feels is jealousy.
Peppy and creative teenager Mikako wants nothing more than to make it as a fashion designer. But when she enters art school alongside her lifelong friend Tsutomu, she finds herself distracted by his sudden popularity and subsequent love life. Despite her feelings, Mikako forms a club with Tsutomu and her friends to sell their creations at local flea markets. What begins as an exciting day quickly turns sour when discord arises between members in the group.
Some of you may remember the queer comics documentary, No Straight Lines, in which I make a 30 second appearance? This excellent film is now available to stream for free on the PBS website and will be available for the next 3 months!
This documentary is about five queer comic book artists journeying from the underground comix scene to mainstream acceptance. The highlighted artists are Alison Bechdel, Howard Cruse, Mary Wings, Jen Camper, and Rupert Kinnard, but there are dozens of other short appearances by queer cartoonists from the Bay Area, most of whom are my friends and my peers. Here’s the blurb from the PBS website:
When Alison Bechdel received a coveted MacArthur Award for her best-selling graphic memoir Fun Home, it heralded the acceptance of LGBTQ+ comics in American culture. From DIY underground comix scene to mainstream acceptance, meet five smart and funny queer comic book artists whose uncensored commentary left no topic untouched and explored art as a tool for social change.
instagram / patreon / portfolio / etsy / my book / redbubble
Comic about Aisu Creamery and their farm-to-pint ice cream 💓 Aisu was created by farmers from Chino Farms and their pints are distributed from their roadside stand. Makoto Chino and Elina Hood believe quality flavor captures the peak ripeness of their berries 🍨🍓💞
I just got cool stuff in the mail from @shinesurge‘s Patreon and I just think getting cool stuff in the mail from artists is a win-win situation in these Trying Fucking Times, so here are a handful of friends and acquaintances with pledge-for-mail systems that I’m aware of.
ARIA BELL (Kidd Commander) - Twice yearly postcard prints. There’s a tier for just the postcard + bonus sticker, and a deluxe tier that includes tricked-out packaging and other surprise ephemera related to the characters and comic. Really fun and immersive, and different every time. Considering the amount of work that goes into making these things, either tier is a steal imo.
JULES RUIZ - Monthly mini zines, just starting up again after a hiatus, so now is the perfect time to sign up for a zine in January. The zines run the gamut from queer/trans autobio to natural history to explicit work, with incredibly detailed and thoughtful art. A cheaper digital-only tier is also available, but the physical zines are extremely worth it.
COYOTEPRINCE - Quarterly prints featuring exquisite art of supernatural entities (we’ve had ghosts, faeries, cryptids, vampires and werewolves so far). The October cards have metallic foil accents, and every postcard comes with a newsletter that covers a semi-obscure facet of (usually) nineteenth-century life.
SUPERPOSE - I don’t even know how to begin to describe the stuff Joe and Anka send to their mail-tier patrons, it’s like augmented reality for their webcomic. Characters’ family polaroids, tourism brochures for the comic’s location, DIY papercraft projects, and fanfic written by cast members are just a few of the things I’ve seen them do.
JOB SATISFACTION - Quarterly postcard prints related to my webcomic. These also come with a newsletter, sometimes featuring in-depth character or worldbuilding material that doesn’t make it into the comic, microfiction, ciphers, and shop talk on my process for the art. Occasionally I do fun wax seals or bits of in-world ephemera. And the characters in the art are hot, so there’s that.
These are just the ones I’m aware of in my little niche social circle. I don’t think enough can be said for anything that diverts your attention from the screen for a more personal connection with the art and stories you enjoy, even for a few minutes.
KIMBALL ANDERSON - I send out mini-comic type stuff every month. Sometimes it’s more like visual poetry or collage, sometimes it’s weird artsy stuff, sometimes it’s long form projects split up into sections (I’ll always catch people up if they sign up in the middle of one of those). I’ve got a sampler box set (link here) you can get too, or just look at the pictures to get an idea of what I do!
Hello, long time follower just on other platforms and I love your work. I am currently getting my Masters in Comics and Graphic Novels, and do tell me if this an inappropriate question but how much do you make? Like a month doing comics and art? Also what do you do on a day to day basis? I'm worried about my future after I graduate.
Thank you so much! This is a great question, and I wish more people would be candid about answering it because I'd like creators to demand more money. This will be a very long post! Keep reading if you're interested. MASSIVE info dump below.
I think earnings in comics and books can look wildly different for almost every creator, and it depends on a lot of things. With that in mind, I make a slightly different amount every year. I view my finances mostly through page rates, contracted projects, and passive-ish income. Because I'm terrible at math, I'm just going to tell you how much I make per contracted projects, plus some relevant information in terms of Life Stuff. This will be very long, and I will highlight some important details that people maybe don't like to talk about very much.
Please also bear in mind that I live in Minnesota, away from all my major publishers and editors who are situated on the coasts, so my cost of living is much more manageable.
Background: Building a Foundation (2012-2018)
I graduated from college in 2012 and lived with my parents until 2018. I did not have to pay rent or worry about food, so I got to save up a lot of money to invest in developing as an artist–paying for printing zines, making merch, travel to conventions, table costs, and secure hotel accommodations. This helped enormously, and I would not have been able to spend six years developing my portfolio and connecting with comics peers and professionals without my parents. They were very supportive, even if they had no idea that I was developing professionally as an artist (LOL, they're very proud of me now, but they truly just thought I was being a weird internet gremlin the whole time). They're also not wealthy people by any means. My parents immigrated to the US in their 20s as refugees with absolutely no money and one baby (it me, I am the baby), but they each became pretty successful small-business owners in their own right and were able to help put me through school with minimal debt, even through the financial crisis in the late aughts.
I started making art in 2012-ish as well, but only semi-professionally, and barely on purpose. I was employed full-time in a non-art job between 2013 and 2018 at a local non-profit that specialized in pediatric therapy. I occupied a role as their front office person/corporate assistant. I made about 40k a year at that job, with benefits, and I made a negligible amount of money doing art and making comics. I should also note that throughout this time, I was working 40 hours a week at my day job, commuting between 2-4 hours a day depending on the weather (my commute was an hour for each direction in good weather and up to three hours if it snowed), and then working on comics for 3-4 hours in the evening, every evening. This meant that I would frequently be working anywhere between 65-85 hours a week for five years, and I do not recommend this! I burned out pretty bad! I didn't go to art school or learn about comics, either, so I felt like I had to spend time building my portfolio to make up for lost time. I didn't even know I wanted to make comics until maybe two years after I graduated from undergrad.
I did manage to build a nice portfolio and connect with people who were making the sort of work I liked to make, so the portfolio-building did help. I posted regularly online in different platforms and steadily grew an audience over the years via Tumblr (heyyy!) Instagram (which I personally loathe), Patreon (stressful, but necessary and also getting more comfortable to use!), and Twitter (which I have very mixed feelings about, but I'll miss it if it dies). I did a few short comics with writers whose work I admired. The Fresh Romance Anthology in 2015 was my first major published work, and it was with writer Marguerite Bennett, who remains one of my absolute favorite people. I was so inexperienced at the time, and she would check in with me to make sure I got paid for my work, and then she would follow up with everyone responsible if I was not properly compensated. Not everybody is this on-the-ball about making sure their colleagues are treated well, and she absolutely set the bar for me going forward.
Doing It For Real + Some Numbers (2018-2021)
In 2018, I put together a pitch document for The Magic Fish (if you'd like to see my pitch document, here is a Dropbox link to it! It's just a book report for a book that doesn't exist yet, and I hope you find it helpful if you need it), shopped around for an agent, and found one I'm very happy with (Kate McKean at Morhaim! She's amazing! She runs a newsletter where she gives you the lowdown on how the publishing industry works, so if you're interested in Books, you can check out her writing over at Agents and Books). Then my agent shopped the pitch around to editors and publishers, and Random House Graphic won out. Also, every time she negotiates a contract for me in my home market (the US), she gets 15% cut, which is entirely worth it to me. She does so much. It's incredible.
Random House Graphic's offer wound up being for two books at $45k each, with pretty standard royalty rates, I think around 10% in general, though there are stipulations around royalties that I can't remember off the top of my head (and also bear in mind that you do not earn royalties until your book sales have earned out your advance, and not all published books earn out). To me, this is a lot of money! BUT the graphic novel took two full years to make, so that $45k needed to last me until 2020, which is not livable if you're on you're own. Also, the advance is paid out in chunks at certain milestones of project completion. I'd get a few thousand at a time for the script, another few for the thumbnails, more for the inks, and on and on until the book is done. I would not start to get paid for the second book until I started working on it.
Earlier in 2018, I'd moved in with my partner, so we managed paying the bills and groceries together. Luckily for me, I had also completed a full tarot deck as a separate personal art project to help build my confidence as an illustrator, and my agent sold the tarot deck project (The Star Spinner Tarot) to a different publisher for a $15k advance, so I had some extra wiggle room in 2018. I quit my day job because this was a rare instance in which a book deal provided me with enough money to live on making art, with the caveat that I shared financial responsibilities with my partner. By this time, my Patreon, which I started back in 2015 I think, was also earning anywhere between $800-$1000 a month, which was really great semi-passive income. I'd post process shots and WIPs a couple times a week, and that really helped from month to month.
In 2020, The Magic Fish was published and got a lot of really lovely press. It debuted on the Indie Best-Seller list, and it got pretty popular in schools and libraries. Suddenly, my responsibilities expanded to also being a public speaker (side note: if you make a book about topics of some academic interest, make a generic powerpoint presentation about it now! I'm so serious!). I stopped tabling at conventions (the pandemic), but I would also be paid for speaking gigs in between. I'm not an enormously in-demand public speaker, so I usually asked for an honorarium of about $500 from schools and institutions for online appearances, though I'm about to ask for a lot more because it's cutting into a lot of the time I need to make comics and hit my deadlines. As people are more comfortable meeting in person, I usually ask for a speaking fee of at least $1500, and it must be after they've already taken care of my travel and accommodations. I'm not very well versed in the standards for speaking fees for debut authors, so this might not be standard! It's just my best estimation of the value of my time and effort for that instance.
Speaking of comics and deadlines, I sometimes take on smaller projects for DC (you might have seen these) and Marvel (shhh it's not been announced yet), and the page rates for those, as they've paid me, are usually as follows: $90 per page for writing ($45 for plotting and $45 for scripting), $160 for pencils per page, and $90 for inking per page. I've never colored or lettered, so I don't know those rates. I do regularly talk to other writers and artists, and the rates for writers are all over the place and seem to depend on whether you've signed an exclusive contract with either of those companies. I don't know what a contracted penciller or inker is paid by them, or if that's even a thing that happens? I also sometimes do comics cover work, and I usually charge between $1200 and $1500. I tend to charge a bit more for covers these days because I personally don't like doing covers all that much.
Starting to Reap the Benefits Maybe? (2021-2022)
In 2021, I started getting royalty checks for both Star Spinner Tarot and The Magic Fish. These payments will vary wildly, and I think they will naturally peter off as time goes on, and I'll need to make more books and projects. In both cases, I was surprised. I think at one point a random check hit my bank account for like $20k and I nearly fainted, but some of the other royalty checks will be much more modest. This process of getting paid is also immensely eased by having a good agent! I cannot stress this enough!
Then both the Star Spinner Tarot and The Magic Fish got foreign language licenses, and those come with small advances of their own, each between $2k and $3k, from what I can recall, with varying royalty rates depending on the publisher who acquired those rights. Those royalty rates are, in my limited experience, more modest than my American publisher's, come to around 7% or 8%. The Star Spinner Tarot got an official French edition, and The Magic Fish has been licensed for publication in Italian, French, Korean, Brazilian Portuguese, and Spanish so far.
Since 2021, I've also signed on to draw two more graphic novels for other people, and my agent is able to demand higher advances for me, even when I'm only doing the drawing part.
My Day-to-Day
I think that's about as comprehensive as I can be about numbers. On a daily basis, my schedule depends on whether I'm writing or drawing. Graphic novels are long projects. I'll be writing for months at a time and then drawing for even more months or even years after. I spend a lot of time answering emails for speaking requests, and my agent will sometimes pass along emails about legitimate project requests (another advantage of having an agent is I don't have to sift through scam emails or shady collaborators). I spend way more time answering emails and trying to iron out my calendar than I'd like.
I'm currently working on my second graphic novel for Random House Graphic, and I'm extremely excited about it.
Another thing I've learned is that I like to bounce between projects, but they have to be between a paid project and a personal project. If I'm juggling paid projects, I get overwhelmed and stressed. If I can work on a paid project and then also make personal art, I can feel some relief and maintain a positive relationship with my work. If you can ever get to a point where you can manage to do this, I highly recommend it. I never want to hate making comics, and this balance of personal-to-paid projects helps me keep loving the work.
Closing Thoughts
My only hesitation in talking candidly about all this is that I'm not sure my professional trajectory is applicable for most people. I think I've had a uniquely positive experience once I got off the ground, and I know most people's journeys are very much not this smooth. In a lot of ways, I got very lucky. And along the way I had help, especially before I got my foot firmly in the door. I don't think I make stratospherically high amounts of money, but I know this is still an atypically stable amount for a lot of artists and authors. And even so, I anticipate that some years will be better or worse than others.
Obviously, I couldn’t cover absolutely everything, but my hope is that this will be a good starting point for you to figure out what you need to plan for the future. Best of luck! Thank you for your question! I’m sorry it’s so long.
