Welcome to this new, hopefully regular way for me to attempt to organize all the questions folks might ask about me or my work. I'll do my best to answer them, and I have a healthy backlog of these to get through! I'll still dig through my inbox on Tumblr here, but I just don't spend a ton of time here, and it's not the best way to get ahold of me.
ANYWAY, more after the cut (because I don't want to gum up your dashboard with a long post)
No holds barred, no IP or people off-limit: You can do a graphic novel adaptation of anything (or anyone's life story). What (or who) are you choosing?
With that in mind, I wanted to write and draw a book about an alternate universe Wanda in middle school having to navigate the quagmire of pediatric mental health services through the American public school system on top of figuring out her reality-warping powers. Like, what would the challenge of developing the tools for self-affirmation look like for a middle school girl who can change reality at will or by accident? How can she figure out and center what’s real or not if reality itself is literally malleable around her? How would she confront the emotional and physical gauntlet of being a tween when a mental health spiral could upend the fabric of the universe? That sort of thing. The whole arc of it was inspired by seeing how difficult it was for my little niece, who has similar brain issues to me, and her mother try to get adequate mental health support services for her in school, even with an IEP. It's a doozy of a process!
Anyway, the timing just didn’t work out. I’m just too tied up in projects I’m excited about at the moment, which is such a nice problem to have, honestly!
Thanks so much for your question!
If you have any Office Hours questions for me, feel free to drop them here anonymously or through my website contact form.
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.
Your art brings me a sense of nostalgia for something that was never mine, but that I somehow miss all the same... I don't think I'm making any sense, but you have a beyond captivating style. Do you have a shop or any other way to support you?
My Patreon is where I make longer, more involved posts about my process. It's where I put most of my commentary and behind-the-scenes stuff, and I tend to post stuff from projects that I'm working on and haven't been released just yet. I'm working on writing more posts that are free to the public so people can subscribe to it like a newsletter without having to pay for it.
My INPRNT Store is where you can buy prints of my work. I love INPRNT's print quality. It's the best. Plus, INPRNT gives artists the biggest cut of any print service I can recall - 50% for art prints, 40% for canvas prints, and 30% for metal and acrylic prints. They're great.
My debut graphic novel, The Magic Fish, has won a bunch of awards, and I still find myself doing a lot of author talks and tours in new language territories for it. I'm immensely proud of it. If you can't buy it, please request it at your local libraries. Requesting and checking out books at libraries is a fantastic way to support authors because it encourages the library to keep it in circulation! This has become especially important nowadays since book banning efforts have occasionally swept this book up in their lists because of its queer themes and exploration of immigrant experiences. This book is available in English, French, Italian, Korean, Brazilian Portuguese, and eventually German and Spanish (I think?) as well.
My Tarot Deck, The Star Spinner Tarot, was my first project published through a traditional book publisher! It was the project I started right out of college to teach myself how to be an illustrator, so I'm still very fond of every image I created for it. I would try and order it through a brick-and-mortar bookstore if possible because there are a TON of knock-off decks circulating around the world for some reason. I've linked to Powell's here. There are two official versions, one in English and one in French (Le tarot des royaumes célestes).
Thank you so muchfor sharing your « unconventional » journey into comics, it’s reassuring me about doing studies for other areas of art tho i hope to work on them in the future
hey!! i'm also vietnamese and your love unlimited comic about karma made me genuinely sob, i love that you gave her a real vietnamese name. i also think you absolutely nailed her character and how important control is for her!! i can't wait to read the next issue
YAY! I’m so happy that you’re enjoying the first part! I had a lot of fun writing and drawing it, and I hope readers stay tuned for the next five parts. Her old name always struck me as very strange, and I’m very happy they let me adjust it. You can read a little bit more about it in this interview I did with Marvel.
One thing I didn’t mention in the interview is that when I was brainstorming her new name, I texted my mom a bunch like, “Mom does this name sound weird? Would a girl be named this? You’ve named humans before!” And she very sweetly gave her feedback with absolutely no idea what it was for, bless her.
I’m feeling shy so I’m on anon, but can you advise on pronouncing your name correctly? When I see it on your Twitter it your work, my brain doesn’t know. I’m not familiar with Vietnamese pronunciation so I want to learn it rather than making it up in my head.
This is a question that I’ve been getting more and more, and I’m so glad you asked! I figured I’d make this so I have a nice and easy explainer I can also use later.
esteemed trungles, i come with an important question. What is the best romcom to watch in winter?
ESTEEMED omg incredible. I don't think I've ever been esteemed before, so I'll do my best to live up to it.
SO I'm a little late on this question for Holiday rom-coms, but it's still winter here right now, and I love rom-coms. In no particular order:
The Holiday (2006) - Kate Winslet! Jack Black! Cameron Diaz! Jude Law! John Krasinski for some reason (he shows up for like three minutes)! Kathryn Hahn (also in the same scene as John Krasinski)! Also there's a little, itty-bitty A Knight's Tale reunion because Rufus Sewell shows up and so does Shannyn Sossamon, which I find to be very sweet. Jack Black is cute as Christmas and hot as breakfast in this movie, and he somehow did this straightforwardly sweet rom-com AND Tenacious D in The Pick of Destiny in the same year. The man has RANGE. You get two romances in this movie, and I think the Kate Winslet one is much more of a high-budget Silver Screen romance while the Cameron Diaz one is much more a Hallmark Channel romance, which I think is great because I love both kinds of romances.
When Harry Met Sally (1989) - This movie is iconic, and I love it to bits. I always have it saved to my phone so I can watch it on literally every plane ride just in case I get stressed out. Meg Ryan is incredible in it as a neurotic and incredibly self-assured woman who develops a friendship with Billy Crystal's character over the course of about a dozen years. Bruno Kirby and Carrie Fisher play some hilarious supporting characters. This movie is also lovely in that the most dramatic character arc belongs to the male love interest. Like, yes, Meg Ryan's character also grows, but there's no change to her world view or her wants and desires because she's not hurting anyone with the way she navigates those things, and Billy Crystal's character grows into someone you could imagine having lunch with, a far cry from when we first meet him. It's also very well-written. I downloaded the script just so I could pick it apart and learn from it.
Single All the Way (2021) - KATHY NAJIMY AND JENNIFER COOLIDGE ARE BOTH IN THIS MOVIE. I don't know what I was expecting, but this holiday rom-com charmed the thermal socks off me. Michael Urie and Philemon Chambers play best friends who fake a relationship so Michael's family will stop badgering him about there being no romance in his life. It's a fake dating movie, and it is also a delightful subversion of the Hallmark romance. Michael Urie escapes his big city life back to his small hometown where he meets an extremely hunky local spinning instructor (lol) played by Luke McFarlane, who is a literal mainstay of many actual, literal Hallmark romance movies. It's great. I enjoyed it immensely.
Moonstruck (1987) - Cher and Nicolas Cage star in this movie, and it's sort of difficult to describe. It's very funny, and it's heightened by how every single actor plays their character with the seriousness of a prestige drama. Olympia Dukakis and John Mahoney are also in this, and they're both delightful. I still occasionally yell, "I lost my hand! I lost my bride!!!" out loud at random intervals in the year. Keeps my loved ones on their toes.
While You Were Sleeping (1995) - This movie is a charmer and a half! Sandra Bullock stars as a lonely woman who works at the L in Chicago who falls in love with one of the passengers. One day, he falls victim to an attempted mugging and falls onto the tracks. Our heroine saves his life, but he winds up in a coma. A series of misunderstandings leads his entire family to believe that she's his fiancée, and polite shenanigans ensue (except in the case of one testicle-inspection, which might be regarded as pretty impolite, but it's very sweet in context). I also find Bill Pullman extremely blandsome and regular-looking to the point of being sincerely erotic. I don't know how this happened.
And I think that covers my wintry rom-coms! I watch all of them year-round, but these ones all vaguely take place in the winter-time and sometimes have a little bit to do with the holidays season.
