Duke Stephens

@oliveoilcorp.bsky.social

[he/him] ignatz award-winning graphic novelist thinks a lot about werewolves for all inquiries: oliveoilcorp@gmail.com repped by @jenazantian.bsky.social https://linktr.ee/oliveoilcorp

was going to save this one just for me, but whatever 🤷 just thinking and drawing, but i tried a little harder to mimic the pencil texture

Bild

it’s always good to remember that just because you have a great personal or professional relationship with someone doesn’t mean others have not had bad experiences with that person or that they not been unreasonable or unprofessional

i think boycotting the fair or saying not to apply is maybe too much, imo, but people talking about their experiences whether you believe their level of upset is justified is valuable for all of us, and it’s also worth knowing the negative things you have seen are genuinely the tip of the iceberg

like, we can hold the good that sb and sbcf have done and also hold that the attempt at a non compete agreement was bullshit, and that people have had issues with the organizer since sb was a publisher and throughout sbcf’s run. and we can talk about that w/o it being a witch hunt

since i'm talking about zines today, go make one! preferably printed. collect sketchbook pages, loose drawings, writings, shitty comics. it will teach you about the feel of paper types, spread design, the psychological/narrative of montage. edit at the end. then make another one

if you struggle with more rigid creative structures, i find zines to be a more natural way to put a book together in a way that's always surprising. over time that spills over into how comics can be structured in an often equally surprising way. pulling different ideas together into a cohesive thing

my brain has been kicking my brain's ass this week because I had an idea for an essay after one of the latest AI-in-fiction dramas and then *I missed two other AI-in-fiction dramas* and then an essay came pouring out of me and I think I only got four hours of sleep last night so anyway hold this

We can be blunt here: the industry does not care, has never cared, and *cannot* care about marginalised writers. But it does care about marginalised *fiction*. It cares about marginalised fiction as if Marginalisation is a genre, and it does so because it is. The industry has, on both ends — from the place of well-meaning white cishet able-bodied gatekeepers who really do want to make space for stories from perspectives they cannot imagine, and from the dens of 'anti-woke' pundits railing against an apparent dilution of art or culture — absolutely created a genre that can only be described as Marginalised Fiction. That is, the literary industry cares deeply about fiction that it can view through a margin-frame: fiction identified first and foremost by its ability to perform the assumed bona fides of marginalised authenticity, at least enough for people on the outside, if not based on rigid definitions of radical art that are policed from both within and without the culture itself. Stories that are Black *because* they're about racist microaggressions, violent neighbourhoods, fractured family lives, and identifiable artifacts of culture. Stories that are non-American *because* they telegraph rural tribal community, strong ancient culture, and tension with the outside world. Stories that are queer *because* they play with grotesque bodies, intense sexual exploration, or the bittersweet revelations of sex as desire or violence. Stories that are disabled *because* they paint images of frail bodies or frayed minds severed from reality through drugs, machinery, or just a lack of access to their own effort. Stories that are immigrant *because* they are about being alienated by language, forging new communications with locals, and fearing the hovering sword of state violence. 

The industry *loves* that shit.

there's been a lot of indie comics issues this year with the cartoonist/publisher or comics fest dynamics. the cartoonists have the sauce. every support structure should be lifting them and their work upward, money-wise or other. if not, take you and your work elsewhere. do it yourself or w/friends

All pre-orders have been sent out! 📨📨📨 Thank you to all the folks who have supported this book so far, and made this launch such a success! We love to see folks sharing their book arrivals, skeleton minis, fanart, and more, so be sure to use the #ThisMortalCoil tag!

Bonedust Press@bonedustpress.bsky.social · 5d ago

HAPPY BOOK RELEASE DAY TO THIS MORTAL COIL!!!💀🗡️🎉 Huge congrats to the team behind the book!! writer: @mythjae.bsky.social illustrator: @soengery.bsky.social cover artists: @artwins.bsky.social and our editor, Michael, who has escaped the trappings of social media

A promo image for This Mortal Coil by Jasmine Walls and Marie Enger (cover art by Vlad and Jan Schwarts) that reads:
IT'S HERE!! 
Available in ebook & paperback
Order from our shop or your local bookstore or library!

I work at a public library. People who want to use AI seem to have no trouble doing so. People who don't want to use AI have a harder time. I crowdsourced and then finalized this document "How to disable or avoid intrusive AI" and then gave it a short URL: notoai.org Please pass along if it's useful

An aircraft passenger oxygen mask: a drop down passenger mask with air bag and yellow plastic mouth and nose cover, oxygen tube has been cut; Demonstration model used by flight attendant crew for passenger instruction. Has text on the side indicating that it's non-functional.

Not to soap box about this but i feel that ppl in the english indie comics space should hear it: creating doujinshi/self published comics without the stamp of a prestigious fair or an indie publisher does not make you any less of a comic artist. drawing comics makes you a comic artist.

do people think i'm enjoying this? do people think i talk about these recurring issues for fun, rather than necessity? do you know how many young artists have come out of these situations feeling dispirited and dejected?

SBCF is not a publisher. It is an online storefront that's live for 30 days. There is no publishing contract, signing over of publishing rights, advance, or editor. You are virtually "tabling" there with a new comic, which you make on your own with zero editorial involvement from the organizer.

Post nicht verfügbar.

Transparency: Here's how things went for me participating in the Shortbox Comics Fair this year! Feel free to ask me any questions you have about doing the fair below. ⭐28 pg comic on sale for 5 GBP ⭐603 sales = 3,015 GBP ⭐7% goes to processing fees ⭐9% goes to the Fair ⭐2532.60 GBP = $3,152.44

Thank you for your participation in the ShortBox Comics Fair 2024. Below you can find a breakdown of sales for your comic:

Comic title	Units sold	Sales
BALLAD FOR BLACK CASSANDRA	603	£3015.
Minus 16% payment processing & fair fees	£492.16

£2532.60

And I wanted to clear up some confusion I've seen in some posts: The Fair isn't a publisher! It's a digital comic show. You aren't pitching your specific idea to an editor, you aren't edited, you don't receive an advance. You're applying to "table" with 1 brand new comic, using prev work samples.