Make Comics Podcast
The Comics Experience Make Comics™ podcast provides ~15 minutes of advice per episode on all aspects of creating comics and breaking in to the industry.
Join Comics Experience founder and former Marvel and IDW Editor Andy Schmidt and his co-host Joey Groah as they discuss making comics! (Also, big thanks to the co-host of the first 50 episodes, iFanboy’s Josh Flanagan!)
Do you have a question about making comics you’d like to hear discussed on the podcast? Email us at info@ComicsExperience.com.
If you’re going to make your work public, you’re going to be subject to criticism. But there’s good criticism and bad criticism, and knowing the difference of which kind to listen to, including your own, is a major tool in your development as a creator.
All the work and practice and scripting and art in the world, no matter how good it is, can’t stand up to the fatal blow of a bad pitch. In this episode, Josh and Andy talk about what goes into a good pitch for a comic book, whether it be as a writer, or a series to a publisher.
People talk about making comics all the time, but mostly they’re talking about plotting, scripting, drawing, inking, coloring, lettering and all that. But what about after you’ve got the pages done? How do you get it printed? What do you need to print a comic book? How about files? There are a lot of questions, and we try to set you straight, or at least in the right direction.
Another question came in and this one is about endings, and the best way to do it. Is an ambiguous ending OK? What works best in comics? Spoiler: there is no answer.
We get a listener question about writing dialog, and the best way to achieve. Like many different writers, both Andy and Josh approach it differently, as there is no one way to get it right, but we go over enough ways that you should be able to come away with something helpful. It probably needs a polish.
Andy and Josh answer a question about character design in comic books. What goes into what these characters look like, and who is responsible? Like so many things in comic books, there’s no one answer, but between the two of us, we certainly talk a lot.
If you want to be a comic book artist, there are a lot of paths to take, but when it comes to education for comic book artists, there’s no clear route. There are several kinds of educations available, specialty programs, and specific courses, as well as a healthy number of self-taught prodigies. In Andy’s experience as an editor, he talks about what he’s seen and looks for in artistic training, and what the important things to learn are.
Josh and Andy blaze through a series of questions this week. Robert wants to know what qualifications an editor needs. Emily is looking at her first contract and needs help! Sally wants to know if there’s such a thing as a writer’s portfolio.