Hi guys! Sorry for being so inactive lately, but this semester I have been working on my senior thesis. For this final project I decided to do my own rendition of the folk tale, Hansel & Gretel, but as imagined as an animated film! I will be uploading some more stuff in the coming days, but this is the bulk of it :) Enjoy!
- So thank you very much once again. It does mean a huge amount to me. I am sorry I can’t be there with you, I’m actually filming at the moment. But have a fantastic evening, and thank you again.
Daniel Radcliffeaccepts the award for Celebrity Straight Ally of the Year via recorded video at the British LGBT Awards
frustration-man: Hello Meredith! as a cartoon lady, how do you spend your average day? How much time do you put on your comics each day, how do you manage your time? Thank you :)
Hi! I haven’t talked about time management in a while, so here goes.
I wake up at 7:30 and start work around 9:30 most days. I work from home. I take about an hour for lunch. I generally stop work at dinner time or evening gym time. Then I’ll watch a movie or go out. I get to bed around midnight.
My week is very regimented. Barring extreme workloads or personal disruptions, it’ll go:
three evening gym trips
two mornings at the dog park
one day of teaching
one day every 2 weeks of bulk grocery/supply shopping
one session every 2 weeks of figure drawing
one day of thorough housekeeping
one day off from work*
*generally the first thing to go
I spent many years early in my comics life working ‘til the wee hours of the morning, finding my health difficult to maintain, shirking my social life, feelin’ bad, and being unproductive to boot. I have ADHD and I spend a lot of time weeding out the distractions and productively modifying my behavior.
Some tips:
eat at home, and don’t eat garbage. I know no comics kid will ever listen to me on this one, but I’ll keep trying. Keep a fridge well-stocked with good meals and snacks you can make whenever. Costco (I’m a fan!) and bulk groceries will save you money and trips to the store. Learn to keep and store and maintain fresh food.
when it gets busy, lose everything you can before diet, exercise, and housekeeping. If you feel bad and your work/life space is dirty, you won’t work well.
make a daily list - a realistic one - and stick to it. Finish the list as often as you can. This is a way to positively reinforce your productive habits. If you almost never finish your list, your list is too long.
in addition to daily lists, keep a calendar of your month, complete with deadlines and breakdowns of what you’ll be doing each week. In your first draft, leave room for a couple days or lost work. They happen!!
when your day seems impossible, it probably is. Lose one obligation and feel the cool wave of relief wash over you…. ~*AHHHH*~
on exhausting days, make no promises. I never commit to intense work on a Thursday after class. I know I’ll be cooked when I get home – why commit to a weekly sesh of disappointing myself?
make time for breaks. Schedule them in and earn them. Maintain your friendships and leave the house. There is nothing cool and romantic about being “the busy guy”.
consume media other than comics and cartoons. I’m always baffled with students’ lack of influences. Is this time management? I’m not sure, but it’s part of a healthy diet like anything else. Good influences will energize you….. CREATIVELY.
I know folks who do good work without this shit, but it’s all been invaluable to me with my compulsions and tendency for distraction. As my body ages and I have less energy for late nights and marathons, I need it even more. It took many years to build a routine like this. Work on yours bit by bit, and stick to what works. Here’s to a happy freelance home life!
On
May 1st, 2015, Oni Press will be opening submissions to the public. We
are on the hunt for new stories from new creators, featuring characters
that reflect the diversity of the world around us. Oni Press has always
valued content and execution, and we are looking for creators and
projects that can support our goal to publish excellent, varied and
original work.
WHAT WE’RE LOOKING FOR:
PITCHES
- Cartoonists and writers, we’re looking for pitches. If you’re a
cartoonist who can write and draw we’d love to see what you have.
Writers, this is the day you’ve been waiting for—we
are looking at story pitches without necessitating an artist attached.
If you already have an artist lined up you think is up to snuff,
fantastic! But if you’re a writer who needs help finding an artist, if
your pitch is THAT good, we will help partner you up.
PORTFOLIOS
- Illustrators and colorists! If you think your work is up to snuff and
you are looking to be paired up and you think your artwork would fit in
amongst some of the best storytellers in comics, now is your chance to
prove it.
WHO SHOULD SUBMIT:
Anyone with a unique perspective and a firm grasp of the comics medium.
WHAT WE WANT TO SEE:
An excellent sense of storytelling and well-developed characters with a definite perspective.
WHAT ASSOCIATE EDITOR ARI YARWOOD WANTS TO SEE:
I got my start in literary journals and feminist pop culture critique (shoutout to Bitch).
I’m looking for complicated and nuanced characters with a developed
perspective. I want to see diversity and originality, and I want stories
with underrepresented characters—all I had in my formative years was Livejournal and The L Word, and no one should have to rely on The L Word to
see themselves reflected in media. I’m a big fantasy, sci-fi, romance,
and literary fiction fan, but most of all I want to read something I
haven’t seen before. My favorite movie is Walk Hard: The Dewey Cox Story, because life is a rich tapestry.
WHAT EDITOR ROBIN HERRERA WANTS TO SEE:
I
started off in the YA/Children’s book world and I think that world has a
lot of crossover with the comics world in terms of story and execution.
I want fully-realized characters (not necessarily “strong” or even
“likable”) with agency and direction. I want unique perspectives and
different takes. I’m into a lot of different genres: high fantasy,
science fiction, contemporary, literary, romance, coming-of-age, and
anything that has to do with weird food-based Battle Royales. Or Battle
Royales in general. (I wrote my graduate thesis about point of view
choices in Battle Royale and The Hunger Games.)
WHAT SENIOR EDITOR CHARLIE CHU WANTS TO SEE:
The
biggest thing I would like to see from incoming submissions is more
diversity in not only the voices we publish, but also the kinds of
stories and characters in our books. For too long a period of time,
we’ve seen way too much of the same ideas from the same narrowing
demographic of creator get pitched to us, and the only way to change
that is to evolve the pool of creators we are talking to. If you are a
female writer or artist, someone who identifies as a person of color, or
LGTBQ, consider this an invitation and please come pitch us. We’re not
looking for affirmative action in our books by any means, but with the
readership growing larger by day, it’s important we find space for new
voices who bring new ideas to the table while still maintaining the same
level of pop appeal that defines the Oni Press library. As the tentpole
and genre focused member of editorial, I’m hoping to find fast-paced
and ambitious books that center around grounded, believable characters
with the same diversity as the world we live in, and most of all, books
that are fun, accessible, and original.
WHAT EDITOR IN CHIEF JAMES LUCAS JONES WANTS TO SEE:
Oni
Press has always been a place focused on publishing comics for an
audience inclusive of a wide demographic. With other publishers finally
catching up, it’s important for us to continue to break boundaries and
continue to grow the diversity of our line. Our catalog has always been
diverse, but it’s time for that variety to be reflected in the
characters starring in our books and the creators making them. I’m
looking for inventive stories with rich characters, a thoughtful
approach to comic book storytelling, and a dedication to craft. You
should be pitching us fully realized, considered pitches that continue
the long Oni Press tradition of character-driven narratives that don’t
fit in with other publishers’ conventions.
WHAT WE DON’T WANT TO SEE:
Superheroes! They have their place but their place is not with us.
Avoid
pitching long-form series or stories in oversaturated genres such as
supernatural noir, zombies, vampires and gritty detectives with a dark
past.
Please
also avoid delicate subjects such as rape and sexual abuse as fodder
for exposition in genre stories–using rape as a plot point betrays not
only a lack of sensitivity but also a lack of creativity when creating
compelling female characters.
We are not accepting any prose or poetry – we’re a funnybooks publisher!
THE NITTY-GRITTY:
-
The submission periods will operate on a two-months open, two-months
closed schedule. Our first submission period will be open from May 1st
to June 30th.
- All submissions should be submitted electronically through our Submittable site, located here: https://onipress.submittable.com/submit.
Any physical submissions will be destroyed without reading. Please do
not email (or tweet at) editors directly with pitches. It will just make
us grumpy.
- All submissions should should have your name, email and phone number on every page. They should also begin with a cover letter telling us who you are, who your project is for and how it fits at Oni Press. Also feel free to include any previously published comics work or comic-related education.
-
Expect a response to your submission within one month. Everyone will
get a response but not all responses will be personalized—we simply
don’t have the time to do so.
SUBMISSION GUIDELINES:
- Writers:
- Pitches should be:
- A logline - [what’s the idea/concept]
- A one-page synopsis / overview - A short summary that contextualizes who your project is for and how it fits into the marketplace
- A 3-5 page outline - give us the full beginning, middle and end of your story so we can see your execution.
- A sample comic script containing at least two scenes, consisting of at least eight pages and no more than twenty pages. This should be a comic book script, NOT a screenplay.
- Artists:
- Submissions should be:
- A portfolio with at least eight sequential storytelling pages with FINAL LINE ART / INKS. No pencils, just final inks [or the digital equivalent] by you.
- No covers, pinups, etc. SEQUENTIALS ONLY.
We only care about your ability to tell a story. Adding pin-ups of
Marvel/DC superhero characters are not an opportunity to wow us, it’s
mostly just wasting our time. Again, SEQUENTIALS ONLY.
- Please make sure your sequentials include characters of both genders and at least one person of color.
- Cartoonists or Writers w/ Artists: Combine the two categories above!
- Pitches or submissions should be:
- A logline - [what’s the idea/concept]
- A one-page synopsis / overview - A short summary that contextualizes who your project is for and how it fits into the marketplace
- A 3-5 page outline - give us the full beginning, middle and end of your story so we can see your execution.
- A sample script containing at least two scenes, consisting of at least eight pages and no more than twenty pages.
- At least 8 sample pages of sequentials from the project being pitched.
- Note: The creative team in your pitch is the one we expect to see actually working on your book. No switcheroos!
- Colorists:
- Submissions should be:
- A portfolio with at least eight pages, containing at least two different scenes, from at least two different artists.
* Sorry, we are not currently taking submissions from pencillers, inkers, or letterers.
That’s it! We hope to hear from you soon.
Sincerely,
The Oni Press Editorial Team
James Lucas Jones Editor-in-Chief Charlie Chu Senior Editor
This is a cap of the tweet from Ian Jones Quartey himself, I highly doubt he would spread a ruse. Just because the open call was deleted doesn’t mean it was a ruse, there was MOST LIKELY A MORE LEGIT REASON FOR IT BEING DELETED. It may get reposted, it might not, just don’t slander good people’s names.
and then there’s also this. It isn’t a scam so don’t worry! (x)
“Thank you so much for applying to the Steven Universe Open Call.
Your excitement means so much to us! We are receiving a high volume of
applications, so there is no need to re-apply.
We will take a look at your work and if it’s a match for the position requirements, you will receive a follow-up email.
We appreciate your submission! However there are a lot of
applications and we have to be selective. Even if you do not hear back
from us, please continue your artistic endeavors!
This is a cap of the tweet from Ian Jones Quartey himself, I highly doubt he would spread a ruse. Just because the open call was deleted doesn’t mean it was a ruse, there was MOST LIKELY A MORE LEGIT REASON FOR IT BEING DELETED. It may get reposted, it might not, just don’t slander good people’s names.
and then there’s also this. It isn’t a scam so don’t worry! (x)
Henry Selick’s James and the Giant Peach was first released on April 12th, 1996.
Henry Selick initially considered doing the whole film in stop-motion, but decided on a blend with live-action to cut down on costs. This took 12 years to reach the screen. Roald Dahl himself was convinced that the property would never make a viable film. (x)
Okay but do you know what I really, really love about Rebecca Sugar? Do you know why she’s my freakin’ inspiration?
she is twenty seven years old. TWENTY SEVEN. AND LOOK WHAT SHE HAS DONE
she’s one of the creative minds behind a hit television show that has positive messages and cute animation and real-life relatable situations / characters LIKE SHE DOES SO MUCH FOR IT SHE’S THE CREATOR, THE EXEC PRODUCER, A WRITER, A STORYBOARDER AND A FREAKIN’ SONGWRITER. this woman is a quintuple threat.
her work on Adventure Time got two emmy nominations and a Annie award nomination
once upon a time she was a nerd like me and you writing Invader Zim fanfiction and shit like that.
she drew album art for a hit singer
she was a storyboard artist for the 2012 movie Hotel Transylvania; that is a big step considering the film is made by Sony which is a hella big corporation and she started with Cartoon Network
FIRST WOMAN TO CREATE A SHOW FOR CARTOON NETWORK
So for a fifteen year old aspiring screenwriter, you can see why I love her.
Hi, I'm Tim Lai! I'm a cartoonist living in Ontario, Canada. I like drawing cute and colourful things. This blog is a hub where you can find all of my Tumblr, DeviantArt, Flickr, Blogspot, and other posts in one place.
About My Work
I write and draw Lemon Inc., a comic about a seven-year-old who wants to be a business tycoon when he grows up. Until then, he runs a lemonade stand. You can read it at www.lemon-inc.com.
I have done some professional web and graphic design work, including designing the website for the webcomic, Just Joel. I'm also a member of the webcomic collective, Ink Bomb Comics.
May 15, 2015 01:15
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