How Many Is Too Many? Frank Miller, one of the current elder statesmen of comic creators who helped redefine characters like Batman and Daredevil thinks there have been too many media adaptations of comics. Miller had success with both corporate comics and creator-owned projects like 300 and Sin City, but he now believes the medium needs to be appreciated as its own entity, instead of allowing the success of adaptations to impact its value.
I can’t say that there have been too many comic book adaptations, since I’m still waiting for Grendel, Alien Legion, and Something is Killing the Children TV shows, but I can say that too many of my clients are still trying to use comics as some secret back door into Hollywood, and it isn’t. Although we are living in an unprecedented era of comic adaptations in film, television, video games, and animation, the reality is that the vast majority of comics will never have media adaptations. Even though opportunities may expand as social media sites attempt to pivot to more long form content, most comics still will not crossover to a screen. Maybe creators wouldn’t cling to the maybe movie model if they understood the harsh financial and creative realities of getting a comic adapted into a movie. Maybe if a majority of creators could make a decent living in comics, they might not look outside of comics for relief.
Is it Worth Your IP? Here’s a creator question, “Is it easier to break into comics if you don’t care about keeping the rights? I have a few projects that I’m not married to that I wouldn’t mind losing control of if it meant they could be published.”
There are certain independent publishers who prefer to work with comic book creators who are willing to give up all the intellectual property rights for the chance to get published. I think some publishers build their entire business model on acquiring IP rights for free and then flipping those rights into other media. We call these publishers IP farms.
But as a general rule, I would advise against this approach for two reasons. First, many companies who want to acquire all your rights without paying you upfront are the same companies who won’t pay you royalties if and when the comic starts to make money. In fact, they won’t even let you know if the comic has made money at all. You don’t want that. Second, while you might not be enthusiastic about any particular project you’re working on, keep in mind that you never know which of your comics or stories will be a hit. The story you think is disposable might become the next Winnie the Pooh. The comic you think is your best work may never find an audience. You’re much better off negotiating every comic deal like it’s going to be the next big thing, even if it probably won’t be.
Which Came First? The folks at Lifeline Comics are providing some remarkable case studies for comic creators on their TikTok. As part of their series on how to build a comic book publishing company, they recently talked about the process they used to build a comic specifically designed to perform well on Kickstarter. By reverse engineering the demographics, psychographics, and genres that perform well in crowdfunding, they launched a project that more than doubled their previous funding levels, jumping from $30,000 to $80,000 with a single book.
Now my general advice for creators trying to establish themselves in the industry is to develop the story you’re passionate about first, and then find an audience for that book. Building a comic designed for a specific market and distribution channel goes against that theory, but that strategy may not be relevant if you already have a catalog in place and you’re experimenting with new ideas to expand your audience and your market. There are several ways to find success in comics. My methods might not be best for everyone all the time.
Comic As Calling Card: Cullen Bunn is a prolific comic writer who has had several creator-owned titles and freelance projects for Marvel. He was recently a guest on the Comic Book School Podcast talking about using your comic as a business card. The idea is that you have a much better chance getting the attention of editors and publishers if you can hand them a finished comic, instead of a pitch, a portfolio, or a script.
The reasons for this are simple. First, publishing a comic proves to the industry that you can finish something. A lot of creators say they want to make comics. A lot of creators start projects, but life often gets in the way of comics. Editors want to know you can reach the finish line. Second, a completed project shows the editor how you tell a story and how you express yourself in the medium. It’s much easier to figure out where you will be a good fit in their publishing plans if they can see your creative style in action. Third, if you have a finished comic, then editors know you have some knowledge of how comics are made. This means that while they may have to guide you on the specific process their company uses, they won’t have to hold your hand every step of the way. Handing an editor your comic doesn’t guarantee you’ll get work. Nothing does, but a finished comic is a stronger statement of your skill that a script or a series of pin-ups.
Is Philbo the Answer? ICV2 is reporting that indie comic distributor Philbo Distribution is making a number of changes for 2027 including adding a retailer catalog, going to flat pricing, eliminating minimum orders, and shortening their final order cutoff deadlines. Philbo is one of several distributors that emerged in the wake of the Diamond bankruptcy, offering an option to independent publishers who couldn’t get into the direct market through companies like Lunar or Simon & Shuster.
While these changes could make Philo a more attractive option for your comics, the analysis remains the same. First, figure out if your comic belongs in comic shops based on your market research. Second, make sure the financial terms Philbo is offering you works in your P&L without breaking the whole thing. Finally, make sure your understand your rights, revenue, responsibility and recovery in the contract before you sign anything.
Have fun.
Gamal
PLEASE NOTE: THIS BLOG POST IS NOT A SUBSTITUTE FOR LEGAL ADVICE. IF YOU HAVE A CONTENT, LICENSING OR INTELLECTUAL PROPERTY ISSUE, DISCUSS IT WITH YOUR LEGAL ADVISOR OR CONTACT C3 FOR A FREE CONSULTATION.
