This past May, at the Toronto Comic Arts Festival (or TCAF), we joined 20,000 other comic and art fans at the Toronto Public Library. Dozens of publishers traded, hundreds of artists talked, and literally thousands of books changed hands… but how many of them were about social issues? Very few. And if that was the case, why? Do people not care about social issues? If they do, which ones to they care about?
What people told us, and how they responded revealed some interesting answers…
First order of business is filling pre-orders from the lovely folks who supported me during my Indiegogo campaign–they are deserving of a comic on their doorsteps immediately, along with my most heartfelt thanks. It feels wonderful to have people around you who believe in your project.
This Summer has been such a blur of activity, I feel like I haven’t really had time to sit down and process my first publishing experience. From the get-go, I liked the idea of publishing creative work from someone other than myself for the first go at it–I feel like creating and producing are two very different processes that deserve their own special care and attention. Likewise, I wanted to give myself at least some mental time and space to look at the process as much from outside myself as possible–a hard thing to do when you’re staring your own brain child.
And so I impart to you the lessons I’ve learned from this experience from Day 1 – from initial planning, getting in touch with creators, editing, printing, fundraising, and retailing.
Make a Timeline. It’s not that we all follow calendars, but they help your brain foreshadow the journey in which you’re about to take part. Get a cheap calendar from the dollar store, or a get a big piece of paper, and lay out everything you think will be involved in the process of your project. Enjoy the Process. A lot of the editing work with 100 Year Rip-Off was incredibly tedious–essentially going over each image with a magnifying glass. But I actually enjoy this work, and find the focus involved therapeutic. If you find yourself going into territory that is boring or frustrating–but necessary for your project’s completion, find a way to make it a more enjoyable experience. Creativity, love, and care in work all stem from savored moments. Don’t rush it.
Make Connections. Anyone who has a project they want to share should always have this in mind. Everywhere you go, you have opportunities to talk about what you’re working on. Don’t get all shy and say “I don’t want to promote myself”. Stop it! You’re not shamelessly promoting yourself–you are promoting your work, which has a life all its own. And let me tell you, it’s way more interesting to talk about with your neighborhood barrista in the morning than the frickin’ weather or new version of the iPhone. Come off it. People love projects. They love hearing about what the people around them are working on. Share the process you’re involved in with others–and you will always find people who say, “When you’re done–save one for me.”
Seriously Calculate Finances. Seriously. I know everyone hates it, but understanding how much your project is going to cost is pretty important–especially when you’re asking people to help you out with money. This brings me to my next point, which is Indiegogo related.
Details of Delivery. Once your project is done, how’s it getting out to people? If you did a crowd-funding campaign, did you calculate for postage? How about international orders? These all seem like “good problems” to have, that you’re willing to table until you’re far enough along that they will come up–but think about them now. I included a promotional poster in with my Indiegogo campaign–one that I wanted to send unfolded to contributors. Well, after the campaign had ended, I found out that shipping it unfolded was going to cost 2-3 times as much as what people had donated for it! FAIL. Keep shipping in mind.
… I may add to this list later, but these are my immediate reflections on this particular project. I’d like to take some more time in the near future to really lay out the anatomy of the process, and perhaps turn it into its own How-To project.
The following is a little exhibition of the top student comics of the “Gender Through Comic Books” Massive Open Online Course (Codename: #SuperMOOC), which ran on Canvas.Net from the beginning of April to Mid-May of 2013. In a class of 7200, there were over 800 comic submissions, and these were the finalists. The top three are listed in order of the student body’s popular vote, beginning with #1 – Girls Don’t Like Dinosaurs…. ! Enjoy!
Girls Don’t Like Dinosaurs
by Natasha Alterici
For my story I blended together a few real-life anecdotes from my childhood; my mother trying futilely to make me dress like a young lady, the neighbor boy who told me “Girls don’t like dinosaurs!”, the exploration, and of course the dinosaur role playing. As a kid I was completely fascinated by dinosaurs, but I was also completely aware that this was not “normal” for girls. Looking back I think this is because dinosaurs are gendered toward boys and this is probably because they’re essentially a science-based play. Dinosaur-play involves lots of learning, about biology, natural history, geology, forensics, etc. If a girl is interested in animals or science they can play Barbie Veterinarian, but this isn’t a science-based toy, it’s just another form of dress up. You aren’t given opportunities to learn about how to care for animals, you’re given an outfit (sexy lab coat) and accessories (sickly baby animals).
Small and Waiting
by Nicole Marie Guiniling
In grade school I was told that a good essay was like a hamburger. You had a beginning and an end that reflected each other, with a meaty middle. (I even had a teacher go so far as to say that your thesis should be a “crisp, green line towards the top.”) Then I went to college, where another, arguably better Literature Professor threw that out the window and said that none of that mattered. A decent essay, he said, should look like Beyonce—an hourglass shape with a “KA-POW!” ending, so to speak. This definitely got some gasps and laughs when I first heard it in class 6 years ago. I thought it would be a little ironic to apply that method (if I can call it a method) to an assignment in a class on gender.
“Small and Waiting” is about me growing up, learning about gender roles, coping with the trauma of the worst aspects of that role (including eating disorders, body image issues, and assaults by men), and overcoming those challenges with a higher understanding of gender and systemic oppression in our society.
by Jacinda Contrerras
This is my brother and me when we were kids. He always wanted to hang out with his older sister and be like her, as he told me years later. Getting to wear a dress with a black towel wrapped around his head while poppin’ wheelies in our neighborhood was just a bonus.
My family consisted of one set of grandparents, my mom, 2 aunts, and 3 uncles. They grew up as migrant workers and believed that teaching children survival skills and street smarts outweighed raising proper little ladies and gentlemen. These hardworking adults were more concerned with the cost of clothes than whether they were buying pink for girls or blue for boys. So, I didn’t think of my toys as being girls’ toys or his as boys’. I owned the books, Hot Wheels & Tonkas that I allowed him to play with when he wasn’t annoying me, my brother owned the Atari and Star Wars action figures that he allowed me to play with when we were on good terms.
Eddie Blake did a great job with the art and inks, this story comes alive because of that.
Written by Ross O’Dell
Drawn by Raylene Winkel
Insert Title Here
By Greg Marcus
In high school (class of 1995) I was the staff cartoonist for the newspaper. In that time I managed to pick up some awards for my work. This strip in particular is a complete reworking of a strip that won an award from the Palm Beach Post. I rewrote it updating outdated ideas and things that are not accurate for my current age (Teacher crushes, mentions of things that were understood in 1995 but not today) I then redrew the entire strip using Adobe Illustrator.
All of the things mentioned in the strip are accurate, just not necessarily to the person saying them. I did test androgynous and have been known to loofah, but most of the things my friend said should be attributed to my wife. Although, I do enjoy a good mud mask from time to time.
Shawn Proctor’s writing has been nominated for Best New American Voices and published in several literary journals and anthologies, including Storyglossia, ThinkJournal, and Our Haunted World: Ghost Stories from Around the Globe.