It does not. Unfortunately, Facebook has become pretty hostile to Pages that are unwilling or unable to pay lots of money to ensure posts are seen by their fans. And we are most definitely unable to afford that…!
Antony and Chris are both on Facebook, however. Feel free to friend them ;)
A reader just emailed me this, and I think the answers might prove useful to other young writers. I’ll anonymise the sender, but honestly, I’ve had questions like this a hundred times.
Just wanted to say thanks for sharing so much about your writing process and story - your articles and advice have had a huge impact on me.
I’m a graphic designer and commercial illustrator, though it has long been my dream to create comics, which I’m now actively working towards. I’ve picked up Scrivener on your recommendation (which is fantastic) and am soaking up as much as possible on storytelling and comic writing.
Two quick question for you, if you have the time -
1. What would you say is the thing that I should be focusing on / studying now when learning to write and establishing myself as a writer?
2. What is the most important thing to note when it comes to stepping across from one world (design) into another (writing)?
And my answers:
Glad you found all that stuff useful :) as I’m sure you understand by now, having read my articles, every writer is different and what works for one won’t necessarily work for another. So with that caveat in mind…
1. If you’ve literally never written fiction before, then the most useful thing you can do is just write short stories, in prose, before you tackle anything else. Learn to tell a story, and make words do what you want them to, before moving into a particular medium.
If you’re already along that path and now just focusing on comics, I’d say the two best approaches are to read other writer’s scripts, and especially then compare them to the finished product; and break down existing comics into scripts. That is, take an issue of a comic you like, and literally write your version of the script that would have resulted in that comic being drawn. That can be a really valuable way to learn about pacing.
2. On the one hand, recognise that you have a better visual sense than many writers. You may have a good eye for composition, a strong idea how you want a page laid out, that sort of thing. On the other hand, acknowledge that *you are not the artist*, and what you’re making here is a collaboration, not a diktat. Let the artist express themselves through the work. As long as they’re following the script, and the story still makes sense, you have to give them leeway to do their thing. That’s why they’re the artist, not you.
And good luck to anyone else setting out on the same path.
Portland, OR (February 21, 2014) – It is with a heavy heart that Oni Press announces the medical retirement of longtime editor Jill Beaton. Since starting with the company in 2007, Beaton has been an integral part of the Oni Press team. Beaton oversaw a body of work that includes acclaimed…
"A prehistoric forest, an eerie landscape including the trunks of hundreds of oaks that died more than 4,500 years ago, has been revealed by the ferocious storms which stripped thousands of tons of sand from beaches in Cardigan Bay."
You may recall I mentioned that we overprinted issue #1, as opposed to going for a quick sell-out and 2nd print. In fact, we overprinted a cool 1000 copies.
This was mainly so that retailers could get extras in their stores quickly — a 2nd edition takes weeks to print and ship to stores, but an overprint means the extra copies are sitting in a warehouse ready to roll out for delivery immediately.
Honestly, it was a gamble. 1000 extras isn’t cheap, and if nobody had bothered re-ordering them, it would have eaten into our profits.
But we knew THE FUSE is the kind of book that needs time to find its audience, for word of mouth to spread. So we took that gamble. Now it’s paid off, and we’re kind of gobsmacked.
So on behalf of myself, Justin, Shari, and Ed, THANK YOU once again to everyone who bought and read THE FUSE. You’re our kind of people.