Lettering Comics in Clip Studio Paint – A Workshop/Presentation

On Feb 1, 2024 at 6 pm EST, I’ll show you how to letter your comics in Clip Studio Paint, why good lettering in comics matters, where to download fonts, and so much more!

There will be a Q&A section at the end of the presentation, as well, for the audience to ask questions.

Be sure to subscribe to my YouTube channel for upcoming workshops and tutorials!

I have other tutorials available for you to watch, including working with Affinity Publisher to format books AND Tips and Tricks for Clip Studio Paint: What I’ve Learned so far.

By the way, the Zine Club Pledge Drive is about to launch on KickStarter! Get first dibs when I launch by signing up for notifications.

Did you find this stream useful? Did I forget to talk about something? Got a question for me? Leave a comment below!

That’s all for now. Thank you for watching!

You. Are. Awesome.

How I’ve Run 11 Successful KickStarter Campaigns

Hold on to your seats, because I’m about to reveal how I have run 11 Successful KickStarter campaigns.

And unlike some folks, who put these kinds of secrets behind a pay wall, I’m sharing this learning for free in today’s post.

I started running campaigns specifically for comics way back in 2013. And I’ve averaged 2 or 3 campaigns per year since.

Now, here’s the thing: if you’re looking to raise millions of dollars, these tips COULD still help you. But keep in mind these things…

The most I have raised in one campaign is a little over $2,000, for Validation’s Final Push. This is still 419% of the asking goal. That said, I HAVE run one campaign that raised 800% over the asking goal.

How did I do it? Well here are my tips:

Know your BARE MINIMUM that you need to make a project happen.

Do the math. Factor in costs to print, shipping orders, KickStarter and credit card fees. Add up anything that could cost you money for the project. Know the bare minimum amount that you need to make your project come to life.

This is NOT the time for bells and whistles. If you’re raising funding to get a book printed, know the minimum you need to get JUST the book printed. And ONLY the book.

Often when I see first-time KickStarter campaigns launch, the asking goals are $3k or more – and yet the audience for it cannot raise that much.

And the asking goal is set so high so often because the math is just inaccurate. Because these folks ignore the next point…

Set the rewards to be easy on the budget – and related to the project.

Most of my campaigns are to get a specific product printed. Usually a book. So my rewards are copies of the book, MORE copies of the book, other books I have excess stock of, and something easy I can fulfill with little cost to make. Like commissions!

Often, when I see an unsuccessful KickStarter – and yes, this includes one failed campaign I have under my belt – the campaign fails because of one thing… The rewards offered cost extra to make. And the creator tries to tack on the cost of making those extra rewards onto the overall asking goal.

So for example: a creator may only need $600 to get a book to print…but they think “I could offer stickers! I’ll offer 3 different designs!” But those stickers cost an extra $500 to print. So they add it up and ask for $1100 on the campaign as the initial goal. But wait, there’s t-shirts they wanna make! And those cost $500 more to print, so they add it on and –

You see where this is going. Eventually there are so many rewards offered that the creator THINKS are essential. But they are stretch goals.

Offer stretch goals for after your bare minimum is met.

Stretch goals are goals to make when your campaign raises extra money past the initial asking goal.

Stretch goals are THE THING TO USE when you have extra products you could make, but are not considered essential to make it happen.

For example: if you want to get a book printed, stickers and T-shirts are NOT essential to make it happen. Make those your stretch goals.

Whether you succeed or not – POST. UPDATES.

I’m speaking here as both someone with successful campaigns AND as someone who has backed other campaigns. A creator who posts updates on the KickStarter page, before AND after the campaign ends, is a good creator.

I can count on one hand the number of people I have backed on KickStarter who have not posted updates. And those are the same number of people I would not support again if they launched another campaign.

Posting updates, even irregularly scheduled ones, is still better than dropping off the face of the earth.

And yes – you need to post these updates on the KickStarter page. There’s a link in the creator menu called “Post Update.” USE THAT FEATURE.

Updates can be little things or big things. Just keep your backers in the loop regarding the progress of the project they helped you launch.

Hopefully, with these tips, you can launch your own successful KickStarter, and make your project happen. I believe in you.

If you have any other questions, leave a comment below!

That’s all for now. Thank you for reading!

You. Are. Awesome.

Why Freelancers Should Have AT LEAST One Day Off Per Week

sleeping dragon sketch for blog post about why freelancers need one day off a week

I’m inspired to write this as part of my Freelance Lifestyle blog series for one big reason: because I think all freelancers should have at LEAST one day off per week.

The inspiration came after I watched a video from The Personal Philosophy Project about freelancing. I liked her other videos, but I wanted to see if there was something new in her approach to freelancing that I hadn’t thought of.

Unfortunately, in her video, she says, “freelancers never have a day off.”

NOT. TRUE. AT ALL.

Freelancers ABSOLUTELY need days off. The difference is that freelancers have to plan for them.

I have always made it a personal point to keep one day off per week. Even if I had to take a part-time job working retail or (most recently) at a gas station, I made it clear from the start with people that I keep ONE day of the week off. No exceptions.

(Part of the reason I left the gas station was because they were beginning to break that. They kept trying to call me in to work on my ONE DAY OFF. I repeatedly had to tell them no.)

I’m so dedicated to keeping one day of the week absolutely work-free because of one super simple reason:

To avoid burnout.

When I had the “freelancers work 24/7!” mentality, I burned out frequently. I had high anxiety and nearly had panic attacks. I would be irritable with everyone around me, client, friend, or otherwise.

It’s not the best way for you to shine.

Also, working 24/7/365 is the best way to make your home an absolute mess that you never clean. Working constantly is also a good way to never cook for yourself, or make time for your friends or pets or family.

You. Need. A Day Off.

What day of the week should you keep off? That depends on the work that you do.

My recommendation is to find the slowest day of the week in your work schedule, and make that your day off.

For me, for the longest time, that was Sundays. But now that I’m back to freelancing full-time (and a surprising amount of work is only available on the weekends), I’m considering changing it to Wednesdays.

But whether it’s Sunday or Wednesday, I fully plan on keeping a day off.

Because dammit, I need a rest and a recharge.

In this way, we are like phones: if you keep your phone running 24/7, it WILL overheat, slow down, glitch, and run out of battery FAST.

Same goes for you.

So I urge you, if you truly want to embrace the freelance lifestyle: Give yourself one day out of the week to just shut off and recharge. You’ll thank yourself for it later. I promise.

Thank you for reading.

You. Are. Awesome.

How I’m Preparing to Freelance Full-Time (Again)

preparing to freelance full time image post of author appearance artist alley table setup

If you’re a patron on Patreon, you know this already, but I turned in my two week notice at the local gas station I work at part-time. I’m now preparing to freelance with a more open schedule than ever before.

For the last year or so, this has been the situation: because of the part-time gas station gig (with indeterminate hours from week to week), there were times that making comics had to go from a full-time job to a part-time one. Then right back to full-time. It was a strain on my energy AND the energy of my clients.

Now that I’m leaving that station job, I’m freelancing more fully again.

So what am I doing to prepare myself?

Well, first thing’s first, I turned in my two week notice at the gas station, rather than just walking out or saying, “I QUIT.” This is not just to protect my ass just in case I need to get the job again. It’s also more professional of you to turn in a notice, instead of leaving at the last minute.

For the last week and a half to two weeks, I’ve been analyzing my income streams, which are these:

  1. Patreon (this includes producing The Legend of Jamie Roberts). It’s a weird day when you realize your passion project is paying for your groceries. A weird day, but a GREAT day.
  2. Making comics for clients. I have one dedicated client whom I’ve been working with for years. I have two whom I work with when they have work for me (which is intermittent at times). And I’m hoping to get more clients to draw/write/letter/design for.
  3. Commissions, which encompasses anytime someone wants me to draw their D&D characters or even family members or pets. This is usually through KickStarter, but I get occasional odd requests.
  4. DoorDash and/or other labor. However, I live in the middle of nowhere, so DoorDash isn’t as lucrative as it would be in a major city.
  5. Ko-Fi. This is still new, so I’m not sure how much this will bring in. But I’m keeping it in the income stream lineup.
  6. Consignment Deals. This one I only have to check in once every 3 to 6 months. So the income is not as regular as the other streams. But it pays out once a quarter, so it works.

KickStarters WOULD make the list, but they are exceptionally situational. Also sporadic.

I’m looking into other income streams. I’m considering going back to Gumroad to sell ebooks through (I want to avoid Amazon as much as I can). Otherwise I’m looking for new clients to fill out the gaps.

I’m also looking to launch a new KickStarter campaign. But you should sign up for the (free) email newsletter for more details on that. I’ll talk about it with subscribers in their inboxes tomorrow.

If there’s an idea that you think is worth considering, make a suggestion below. I’ll look into it.

Thank you for reading!

You. Are. Awesome.

How (and Why) I Script My Comics Like I Do

One of the backers of The Legend of Jamie Roberts, Chapter 1 had asked to see some scripts for the comic as part of the PDF reward. This question made me realize that my scripting process is not like how I’ve seen other comics makers work on their scripts.

Why?

Well, most comic makers I know only WRITE the script. Usually in a movie-script-like format, in which it goes like this:

Panel 3:

Billy stares at Marc Macaw in disbelief. Marc Macaw realizes his gaff and smiles a bit sheepish.

BILLY: …I’M A DINOSAUR.

MARC: Right. Sorry. Stupid question. Let’s do a practice run, shall we?

Truth be told, this format is how I write my rough draft of my comic scripts.

The only comic I’ve made that this didn’t apply to was Johnson & Sir. That one, I wrote out the story page by page. It’s not a method I would recommend to anyone unless you’re writing gag comics.

My other comics, from Thoughtful Dinosaur to The Case of the Wendigo to The Legend of Jamie Roberts, have been scripted in this pattern:

  1. Rough Draft: type it up in my version of a comic script format.
  2. Second Draft: Read the rough draft and thumbnail the pages. I make adjustments as I go.

Sometimes the second draft is a re-typing of the rough draft. If that’s the case (like with The Case of the Wendigo), the thumbnailing stages will actually be my Third or even Fourth draft.

What are thumbnails?

This is a term I stole from animation – it means to VERY roughly sketch out how a page looks. I’m talking stick figures and bubbles. Thumbnails are in a sketchbook and are meant to just show how the page would look in a rough layout.

I find thumbnailing the pages to be helpful, even if I wait several months between the rough draft and the thumbnail draft (or, Thumb Draft, if you will).

When I work on the Thumb draft, I can sketch out how the page looks according to the script. And if I don’t like how many words a character says, or I don’t like how certain scenes pan out, I can draw a different result.

As a visual person, it helps me to SEE how a scene pans out, rather than just read about it.

So if you’re having an issue in your comic script, try drawing it out in rough stick fugure-ish form. It may help you visualize the scene easier.

That’s all for now. Thank you for reading!

You. Are. Awesome.