re: that post by peterandcompany
So this post has shown up a few times on my dash and every time it makes my eyes roll so hard that they rocket through the back of my skull.
To save you a bit of time reading it, I’ll summarize: Jonathan Ponikvar, creator of the webcomic Peter and Company, is kind of embarrassed, even in this the year 2014, to have the furry label attached to what is very clearly a furry comic, and suggests that everyone take the time to chide their friends if they should catch them making fun of furries. He feels that the popular attitude of the non-furry troll communities of the internet discourages publishers from picking up IP’s (and his IP in particular) because of the sentiments they see in online comment sections under stuff that looks Too Furry.
Let’s leave aside the fact that fear of being persecuted for doing Animal-Headed People Stuff in the wider nerd community was already kind of weird and unnecessary a decade ago. What frustrates me more about this sentiment is the concern for gatekeepers, which makes zero sense in a media ecosystem that’s increasingly informed and enabled by digital distribution and crowdfunding. If you can’t convince a publisher to pick up your IP, so what? If it’s any good, put it online and grow your audience on your own, put some buttons up for sale on your Storenvy, Kickstarter some books and make your Patreon easy to find, and sooner or later, a publisher will come looking for you if you really want one that bad.
Usually by the time someone comes looking to license your IP, you won’t really need them anymore. And if you’ve been at it for years and you still have a hard time getting your audience numbers up, it might be time to ask yourself some hard questions about the appeal of your storytelling, rather than the public image of talking animal books.
Also worth mentioning: every media corporation is so full of people whose only interest is making money that it comes at a significant cost to any idea that passes through it. Even if you’re lucky enough to have your work optioned, your idea will — more often than not — be focus-tested, censored, tweaked, and redesigned until it’s unrecognizable: sometimes by people who just want it to sell, other times by people who just want to say they did something to it, other times by some old-money financier who has a personal preference. Why even bother with any of it, especially in a world that makes it so easy for audience members to pay their author directly?
Back in the day, Walter would, every once in a while, forget how to draw. Remember?" Louise said.
“Oh yeah,” Walter agreed. “That still happens occasionally. It’s like, ‘Oh my god, nothing I’m drawing looks any good anymore. My life is over as an artist.’ And what I realized, because I was an editor at the time, and had seen a lot of work go past me, was that when you hit this phase where suddenly your stuff, which looks just like it did yesterday, doesn’t look good to you anymore, it’s because your mind has made a leap. Your brain has gotten farther than your hand has learned to do it yet. But eventually, give it a few weeks, keep it up and you’ve made a leap in your own craft. That was a big help because it was so depressing when you realize you couldn’t draw anymore.
#1 lesson i learned in my teen years was NEVER draw with your back to the entrance of a room
I was discussing this with my boyfriend last night; we agreed that the best strategy for this sort of thing was to have a page with Dick Butt on it within immediate reach