Showing posts with label writer. Show all posts
Showing posts with label writer. Show all posts
Tuesday, July 13, 2010
To Think for Oneself
Let us examine the three purposes of writing: to inform, entertain, and enlighten. To me, the second one is bottom of the list, though it is instrumental in the achievement of the two others. Every great teacher knows this intimately and readily laces his teachings with relevant and interesting stories, and humor.
The first purpose, to inform, comes second in my mind, whereas the last, to enlighten, comes first. To explain my attitude, I think it appropriate to draw your attention to my book A REASON FOR LIVING, where both of these purposes are pursued.
Part of my book relays factual or theoretical information about things like human physiology, nutrition, and universal evolution. This information relates to the current perception of reality in scientific circles. I am just a vehicle for it. Now, for two reasons, my role as a writer who informs his readers about scientific facts and theories comes second in my mind to my role as a philosopher who strives to enlighten his readers.
My main reason is that I regard wisdom as paramount, whereas the knowledge of the material world (i.e., the constituents, structure, and workings thereof) is not equally important, however useful it is on a practical level. Conscience comes before science, which in itself is incapable of providing humans with a sense of what is good, right, or sacred – in a word, with moral principles. An example of science without conscience is the destruction of nature and the violation of human rights by rogue companies who are efficient in their use, or rather abuse, of their environment and their workers to satisfy their greed.
My other reason is that my role as a writer who informs his readers about scientific facts and theories is indeed that of a mere vehicle. It is very much secondary to the role of researcher, which drives the scientific enterprise thanks to advanced instrumentation plus skillful, scholarly, and clever observations and rationalizations.
By contrast, my role as a philosopher who strives to enlighten his readers is in the driver's seat, so to speak. Not only is it concerned with everything that makes life worth living and gives humans a sense of purpose, but also it does more than mirror the light of wisdom; it generates it by force of thinking on the basis of experience and study.
Truth to tell, my readers can likewise think for themselves. They themselves can be philosophers and create their own wisdom while discovering and evaluating mine. Therefore, the light shining through in my book is there to help my readers see a range of weighty matters on which they can meditate to form their own thoughtful opinions about them. And since they can do so, I venture to argue that they should.
Saturday, May 22, 2010
Comic Books: Our Own Worst Enemy?
Like most comic publishers I spend quite a bit of time thinking about the state of the industry and how to make it better – well, truthfully, how to make my little corner of it better. After spending a lot of time thinking it over and discussing what everyone perceives to be the main elements leading to the downfall of comics (the distributor monopoly, for example), I realized what the biggest problem and killer really is: the industry.
I believe most of the problems that we encounter “in the industry” come from the industry itself. First off, comic companies tend to publish only for those who are already in the industry. Comic publishers usually target their marketing towards those who are already here and creators tend to create product only for those who are already well-versed in industry. Very rarely does the thought of bringing new readers in really ever pop up, which is insane. That would be like Hollywood only creating films for those who work in film and television. As wacky as it sounds, this seems to be the mentality of the industry at large.
Magazines like Cosmopolitan are fashion magazines, but their audience is the average woman (or girl) interested in fashion and not members of the industry itself. Their advertising stretches beyond fashion industry trade publications and into the mainstream itself, where its buyers reside. Why short sell your books only to the 50,000 or so members of the active comic community and not go for millions of people out there who enjoy action movies?
Comic publishers aren’t the only ones to blame, either. Creators themselves are as big a deterrent to new readership as anything else. If you want to know why, take a look at a modern comic versus one from as late as even the mid eighties and you’ll see one very big difference. No, I’m not talking about paper or printing processes. The art itself is the main problem with comics. Solid, clear storytelling has become a thing of the past. A new buyer will find most modern comics unreadable because the solid storytelling of days past (along with gutters – remember, full page bleeds on every page get confusing) is gone.
Do you know why a lot of new readers are picking up Manga titles? It’s because they are easier to read than US ones. Even with the flipped format, most Manga has straight forward enough storytelling that even the most uninitiated reader can follow what is going on and which panel comes next. This can’t be said about most US titles (indy or mainstream). The fact that the current trend in the US is for over rendered, poorly thought out computer coloring, doesn’t help readability at all.
Comics and comic art have become so inbred the only ones who can stomach them are their sister-mothers. But it doesn’t have to be that way.
The general public will read comics if you can get yourself out of the industry mindset and start creating comics for readers instead of for an industry more interested in John Byrne’s latest social blunder than in buying your books.
Some places to consider for your books (depending on its target audience) are non-chain book stores, new age shops, record stores (Tower is starting to have a great selection of indy and small press ‘zines), libraries, corner markets, magazines with a similar areas of interest, schools, local area mailer compilations (such as the little coupon books you get in the mail), area events (concerts are a great spot), swap meets, arcades or game stores. There is an endless list of places that might be willing to carry your work if you let them know it’s out there. You might have to spend some money to advertise. Get used to it. The old adage, “you have to spend money to make money,” is true for any business.
Here are some tips for making your books more accessible to general audiences:
1) Market your books outside of comic-specific areas. Figure out who might be interested in your book and pursue those outlets. There are tons of places out in the world that would be willing to sell your comic…but they have to know it exists first. I’ve had success at art festivals, flea markets, record stores, sci fi magazines and more. Get as creative with your marketing and sales as you do with actually producing your book. It’s worth the extra effort.
2) Get rid of full page bleeds on every page. Don’t be afraid of negative space around your pages. It will actually open up your pages and keep them from looking cramped.
3) Don’t forget the gutters! Overlap panels are interesting from time to time, but gutters help to keep the art readable and from blending together. They’re also great for pacing in your storytelling.
4) If you’re going to color your books, don’t go for the over-rendered look that most comics use. It’s muddy and unclear. Look at animation or places like Disney Adventures for reference on coloring. Most “cartoony” books are well colored because they want to make sure the work is readily accessible to readers of all ages. Not every panel needs to be a fully digitally painted work of "art."
5) Think of storytelling. The most important thing in a comic is that you do not lose your audience. If at any point your readers get confused as to where to read next, then you’ve failed at your job as a storyteller. And, remember, “style” is no excuse for poor storytelling (or poor artwork in general, but that’s a rant for another time)
6) Don’t have large blocks of text or dialogue in each panel. There’s an old unwritten rule in mainstream comics (and one that has been largely forgotten or ignored): never have more than 26 words in any balloon or caption box. Anything more than that and the words will run together, potentially causing readers to skip over sections of what is on the page.
7) This one is going to cause any comic collector to cringe: get rid of issue numbers. Or, if you just have to have them, place them in the indicia only. Issue numbers are one of the big obstacles for new readers, especially in periodical product like comic books. A reader needs to be able to come in on any issue and not have to worry about having to read 10 back issues to know what’s going on. Sure you can let them know there are other stories they can read (and, which will be available in trade paperback), but don’t make those stories required reading. Follow Cosmo’s lead (or Playboy’s) and just have the month and year on each cover. Comics should be entertainment first and foremost. Get out of the collectible mindset.
8) Forget the mantra, “comics aren’t just for kids anymore.” It’s old, played out and is part of the death sentence of the industry. Creators have spent so much time trying to prove that comics can be for adults that they’ve forgotten to build the next generation of fans by only making comics for older fans who are already in comics. Without young readers there is no future in the industry. As a second part of this thought, just because your comic has adult language, nudity and graphic violence doesn’t automatically make the book for adults. Vertigo and “Ultimate” writers take note.
9) Be prepared to get your hands dirty and do some work. Publishing is a business and, at first, you may find yourself putting in as much time marketing as you do creating. That’s not a bad thing.
My heresy will end with this statement: the only way to save comics may be to let the comic industry, as it exists right now, shrivel up and die. It’s on the road as it is, with everyone racing to tear whatever pieces they can get from its still (barely) living corpse. The industry isn’t the heart of comics and didn’t make them, so dare to be different. Put down the latest issue of the comic industry death watch, Wizard. Ignore the party line that an indy book will sell less than 250 copies – there is a world outside of the Geppi chokehold.
A bit of inspiration for you: Nifty's main title, the Cadre, sells over 5000 copies per issue and 90% of that is outside of the comic industry. Not bad for a black and white, mainstream style super hero comic.
The world is a big, beautiful place full of potential new readers. You just have to venture out and find them.
I believe most of the problems that we encounter “in the industry” come from the industry itself. First off, comic companies tend to publish only for those who are already in the industry. Comic publishers usually target their marketing towards those who are already here and creators tend to create product only for those who are already well-versed in industry. Very rarely does the thought of bringing new readers in really ever pop up, which is insane. That would be like Hollywood only creating films for those who work in film and television. As wacky as it sounds, this seems to be the mentality of the industry at large.
Magazines like Cosmopolitan are fashion magazines, but their audience is the average woman (or girl) interested in fashion and not members of the industry itself. Their advertising stretches beyond fashion industry trade publications and into the mainstream itself, where its buyers reside. Why short sell your books only to the 50,000 or so members of the active comic community and not go for millions of people out there who enjoy action movies?
Comic publishers aren’t the only ones to blame, either. Creators themselves are as big a deterrent to new readership as anything else. If you want to know why, take a look at a modern comic versus one from as late as even the mid eighties and you’ll see one very big difference. No, I’m not talking about paper or printing processes. The art itself is the main problem with comics. Solid, clear storytelling has become a thing of the past. A new buyer will find most modern comics unreadable because the solid storytelling of days past (along with gutters – remember, full page bleeds on every page get confusing) is gone.
Do you know why a lot of new readers are picking up Manga titles? It’s because they are easier to read than US ones. Even with the flipped format, most Manga has straight forward enough storytelling that even the most uninitiated reader can follow what is going on and which panel comes next. This can’t be said about most US titles (indy or mainstream). The fact that the current trend in the US is for over rendered, poorly thought out computer coloring, doesn’t help readability at all.
Comics and comic art have become so inbred the only ones who can stomach them are their sister-mothers. But it doesn’t have to be that way.
The general public will read comics if you can get yourself out of the industry mindset and start creating comics for readers instead of for an industry more interested in John Byrne’s latest social blunder than in buying your books.
Some places to consider for your books (depending on its target audience) are non-chain book stores, new age shops, record stores (Tower is starting to have a great selection of indy and small press ‘zines), libraries, corner markets, magazines with a similar areas of interest, schools, local area mailer compilations (such as the little coupon books you get in the mail), area events (concerts are a great spot), swap meets, arcades or game stores. There is an endless list of places that might be willing to carry your work if you let them know it’s out there. You might have to spend some money to advertise. Get used to it. The old adage, “you have to spend money to make money,” is true for any business.
Here are some tips for making your books more accessible to general audiences:
1) Market your books outside of comic-specific areas. Figure out who might be interested in your book and pursue those outlets. There are tons of places out in the world that would be willing to sell your comic…but they have to know it exists first. I’ve had success at art festivals, flea markets, record stores, sci fi magazines and more. Get as creative with your marketing and sales as you do with actually producing your book. It’s worth the extra effort.
2) Get rid of full page bleeds on every page. Don’t be afraid of negative space around your pages. It will actually open up your pages and keep them from looking cramped.
3) Don’t forget the gutters! Overlap panels are interesting from time to time, but gutters help to keep the art readable and from blending together. They’re also great for pacing in your storytelling.
4) If you’re going to color your books, don’t go for the over-rendered look that most comics use. It’s muddy and unclear. Look at animation or places like Disney Adventures for reference on coloring. Most “cartoony” books are well colored because they want to make sure the work is readily accessible to readers of all ages. Not every panel needs to be a fully digitally painted work of "art."
5) Think of storytelling. The most important thing in a comic is that you do not lose your audience. If at any point your readers get confused as to where to read next, then you’ve failed at your job as a storyteller. And, remember, “style” is no excuse for poor storytelling (or poor artwork in general, but that’s a rant for another time)
6) Don’t have large blocks of text or dialogue in each panel. There’s an old unwritten rule in mainstream comics (and one that has been largely forgotten or ignored): never have more than 26 words in any balloon or caption box. Anything more than that and the words will run together, potentially causing readers to skip over sections of what is on the page.
7) This one is going to cause any comic collector to cringe: get rid of issue numbers. Or, if you just have to have them, place them in the indicia only. Issue numbers are one of the big obstacles for new readers, especially in periodical product like comic books. A reader needs to be able to come in on any issue and not have to worry about having to read 10 back issues to know what’s going on. Sure you can let them know there are other stories they can read (and, which will be available in trade paperback), but don’t make those stories required reading. Follow Cosmo’s lead (or Playboy’s) and just have the month and year on each cover. Comics should be entertainment first and foremost. Get out of the collectible mindset.
8) Forget the mantra, “comics aren’t just for kids anymore.” It’s old, played out and is part of the death sentence of the industry. Creators have spent so much time trying to prove that comics can be for adults that they’ve forgotten to build the next generation of fans by only making comics for older fans who are already in comics. Without young readers there is no future in the industry. As a second part of this thought, just because your comic has adult language, nudity and graphic violence doesn’t automatically make the book for adults. Vertigo and “Ultimate” writers take note.
9) Be prepared to get your hands dirty and do some work. Publishing is a business and, at first, you may find yourself putting in as much time marketing as you do creating. That’s not a bad thing.
My heresy will end with this statement: the only way to save comics may be to let the comic industry, as it exists right now, shrivel up and die. It’s on the road as it is, with everyone racing to tear whatever pieces they can get from its still (barely) living corpse. The industry isn’t the heart of comics and didn’t make them, so dare to be different. Put down the latest issue of the comic industry death watch, Wizard. Ignore the party line that an indy book will sell less than 250 copies – there is a world outside of the Geppi chokehold.
A bit of inspiration for you: Nifty's main title, the Cadre, sells over 5000 copies per issue and 90% of that is outside of the comic industry. Not bad for a black and white, mainstream style super hero comic.
The world is a big, beautiful place full of potential new readers. You just have to venture out and find them.
Tuesday, April 6, 2010
Become a Profitable Home-Based Freelancer
Freelance writing can be one of the most rewarding home based businesses ever and the benefits are many.
You can stay at home with your kids, and even if you are homeschooling you can freelance part time and homeschool the other part of the day
Becoming a freelance writer does not have to be hard. It’s a matter of deciding what subject matter will be your specialty and keeping up to date on that topic with the latest information available whether that is a blog or forum or even subscribing to a particular print or trade magazine.
For all practical purposes you have to become the expert in that field. Freelancing and specializing on a particular topic can make you well known in your community and you can get requests to speak at certain civic organizations, schools and other special events
You need to decide who you clients are going to be and whether you will farm your services out to newspapers and online publications, start your own publication, or do both.
The sky is truly the limit as freelance writing is one of the most flexible home based businesses you can undertake. Another option you may want to choose is to write advertising or pamphlets for local businesses as a copywriter.
Becoming familiar with the advertising field in addition to the writing professional would be helpful in that you will gain a better understanding of how advertising copy is worded and other little nuances that are indicative of that field.
If you think you need to bone up on your writing skills or you feel you did not do well in high school English. Don’t fear. There are plenty home and online correspondence courses that will have you writing like a pro in no time at all. Also you may want to checkout any extension courses offered at your local community college in your own town.
There are a number of online opportunities available to freelance writers. New websites are popping up every day and if you have web designing skills in addition to writing skills, you can write you own ticket.
There are so many local businesses that do not have websites yet, nor do they have the expertise of a writer. You could offer them a valuable service by providing both a basic website and the written copy for the pages.
Overall freelance writing can be a very profitable field and with a little imagination you can have a new career started from your very own kitchen in very little time at all.
Be sure to view our free “Be a Profitable Freelance Writer” video on our homepage then join our “Wealthy Business" newsletter and receive a free gift to help you get started in business on the internet within 3 days.
You can stay at home with your kids, and even if you are homeschooling you can freelance part time and homeschool the other part of the day
Becoming a freelance writer does not have to be hard. It’s a matter of deciding what subject matter will be your specialty and keeping up to date on that topic with the latest information available whether that is a blog or forum or even subscribing to a particular print or trade magazine.
For all practical purposes you have to become the expert in that field. Freelancing and specializing on a particular topic can make you well known in your community and you can get requests to speak at certain civic organizations, schools and other special events
You need to decide who you clients are going to be and whether you will farm your services out to newspapers and online publications, start your own publication, or do both.
The sky is truly the limit as freelance writing is one of the most flexible home based businesses you can undertake. Another option you may want to choose is to write advertising or pamphlets for local businesses as a copywriter.
Becoming familiar with the advertising field in addition to the writing professional would be helpful in that you will gain a better understanding of how advertising copy is worded and other little nuances that are indicative of that field.
If you think you need to bone up on your writing skills or you feel you did not do well in high school English. Don’t fear. There are plenty home and online correspondence courses that will have you writing like a pro in no time at all. Also you may want to checkout any extension courses offered at your local community college in your own town.
There are a number of online opportunities available to freelance writers. New websites are popping up every day and if you have web designing skills in addition to writing skills, you can write you own ticket.
There are so many local businesses that do not have websites yet, nor do they have the expertise of a writer. You could offer them a valuable service by providing both a basic website and the written copy for the pages.
Overall freelance writing can be a very profitable field and with a little imagination you can have a new career started from your very own kitchen in very little time at all.
Be sure to view our free “Be a Profitable Freelance Writer” video on our homepage then join our “Wealthy Business" newsletter and receive a free gift to help you get started in business on the internet within 3 days.
Subscribe to:
Posts (Atom)