§ As revealed by Faith Erin Hicks in the above tweet, the New York Times Graphic Novel best sellers lists are teeming with female creators, especially on the paperback list where Kieron Killen and Jamie McKelvie are the only male representatives. The hardcover list has 2 1/2 female created books, and there’s at least one on the manga list. I’ve been telling you this for FOUR YEARS.
§ This has been linked all over (and I’m adding it to my resources page) but Greg Pak has a great primer on how to run a Kickstarter that covers all the basics. He is, after all, a fine writer.
§ Oh yeah, I have a resources page for breaking in to comics and survival tips. If you have any links to add let us know!
§ Guy Delcourt owner and publisher of Delcourt, one of the biggest and most successful French comics cublishers, did the interview rounds at San Diego but his chat with Tom Spurgeon is my favorite:
SPURGEON: Why do you think that is? I know there are people all throughout the French-language industry who would love to see deeper penetration into the English-language market, and I’m even aware of a push at the ministry of culture level for BD to have the same level of penetration here as manga has. Why in general do you think we haven’t seen that broader effort catch fire here?
DELCOURT: First of all, manga is very marketed. It’s a whole bunch of work, with a lot of similarities, and it’s propelled by movies, television series, anime, whatever. That’s not the same of France. France is more of an industry, more a collection of individual stories and books than a big group. That’s one big difference. The other thing is that the French-sized album in print is so different than the US-sized comics that it’s difficult to penetrate. I think that comic book shops don’t know what to do with them. They don’t fit into their racks. They’re not easy to market. Because they are series, there’s a risk in taking volume number one, number two, number three. If it catches on with number four, you have to buy back issues, which may not be easy because print runs aren’t great. There are cultural and technical differences that have made it difficult. Digital, of course, makes everything different.
§ Tim Hodler has an equally awesome interview with Dan Clowes about The Complete Eightball.
A lot of the work was from about issue seven on. It was very early digital stuff where they just didn’t know what they were doing at that time, so they would scan it at 300 dpi instead of 1200 dpi and, you know, shrink the x margin and not the y margin, and just do all kinds of just obscene stuff to the artwork. I didn’t want to reprint that stuff. Some of those covers are missing half the lines because they were scanned so poorly. But of course I had also sold almost all of that original art, so we had to track down the owners numerous times and then try to con them into sending us the artwork so we could rescan it. It was just an incredible laborious process.
§ I’m sure you all saw this Vanity Fair profile of Noelle Stevenson by JOanna Robinson, but did you notice it was tagged Comic-Con? A Comic-Con article about comics! Stevenson’s Nimona is one of the comics on that best-seller list, BTW.
§ And so is this book which came out a while ago, but I just got it at Comic-Con and I can’t wait to read it! It has charts and everything.
§ Over at Panels, they spent the afternoon drawing Kate Beaton’s Fat Pony, star of its own book, recently out. A fine use of time.