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Rivkah רִבְקָה

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Introduction [Oct. 28th, 2022|12:14 pm]
Welcome! You've stumbled across the blog/livejournal of Rivkah. I am the artist/writer/creator (ie. graphic novelist) of the TOKYOPOP series Steady Beat (amongst other short stories, works, and contributions). Steady Beat is a 13+ series for teenage girls and boys about coming to terms with our place in life, our families and communities, and the people we love for being who they are rather than whom we expect them to be. It's about growing up and discovering ourselves. I am also working on an all-ages series, but that one's top secret, so I can't say too much about it for now!

Contained within these pages are entries of my personal journey as I manage the daily struggles and joys of being an artist and writer for a living. It's possible! But it takes a lot of hard work and dedication. Sometimes I cry. Sometimes I leap for joy. And I hope that whatever you get from my sharing these experiences is something you can take and use in your own life. For inspiration. As a springboard to follow your own dreams.

I try to keep all posts at a PG level, but anything that goes above (such as my sketches from life drawing) go behind a cut.

Feel free to take a walk through my gallery. However, I don't update the website very often, so all the new artwork you'll find mostly on this blog.

And please, feel free to introduce yourself and to friend me. There's a lot of publish-sensitive content and original ideas under the friends-cuts you can't see otherwise!!! And I like when people say 'hi.' I'm horrible about getting back to emails but it certainly makes my day to read them!

Cheerio!

-Rivkah 10-26-2006
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Mmm! Cake! [Jul. 1st, 2008|12:55 am]


Ever had whipped chocolate icing? The kind that's light and airy yet dark and sweet? I just made a birthday cake for A and it was deliciously yummy. Well, my sister handed down the most incredible recipe to me, and I'M NOT SHARING. Mwahahah. The only thing that would have made the finished cake better was if I'd soaked the strawberries that I put inside the cake in some sort of dessert liquor. I'm thinking amaretto, but I'm not sure how the nutty flavor would go with the strawberries.

dark chocolate + strawberries + whipped cream = bliss

Anywho, I thought I would share the pictures for friends to drool over. Too bad there are only two people to eat it! At least I can justify the fact that with all this biking and the record heat (20 days over 100 degrees in one month!), I really need the extra calories. It was tres yum.

Since drawing can't be my hobby, baking will have to do!

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Classes Update [Jun. 29th, 2008|04:25 pm]
Phew! Been working on the handouts for my class, and I've just finished five pages for an essay/worksheet on colloquialisms. And I haven't gotten to idioms and aphorisms yet! (which I strictly tell students to AVOID unless they're working on a highly stylized or experimental piece) Having had three different presentations in the past month with a public library, a 4th grade elementary class, and one rambunctious but eager high school art class, I've realized that my 3-hour length classes are going to need to be more directed and structured as I've a tendency to spill all the beans and pack as much information into an hour as possible. But for the classes, I'd like to make sure the lessons to STICK. Hence, worksheets.

So I never realized there was so much to say about writing dialog, but I'm learning a new appreciation of what I've learned through observation and trial and error. It's getting me excited about starting up classes and keeping me too busy to brood. I've set "Steady Beat 3" completely to the side while things get worked out at TP and have been working solely on classes and "Jane's S.O.S.". I just sent out my first query letter for "Jane's S.O.S." yesterday (from one of the publishers who've actually asked to see the story already). I've also been working on sample pages for the first chapter of the graphic novel and went back over and re-edited the first chapter of the novel since that's the first thing a publisher reads and IMHO should be the most polished and engaging of any chapter, but I left the rest of the book alone. Any more tweaking at this point, and it'd be overkill.

I haven't heard back anything from Tokyopop about acquiring my print rights yet, but I'm trying to be patient. I honestly believe TP could do nothing but benefit by giving me the rights back. I actually don't mind if they keep the secondary rights (perhaps mainly because I don't believe anything will actually come of it). Anyway, I'll keep people updated on progress . . . when it's actually going somewhere.

Now to continue debating in my head whether or not I REALLY need an agent. It's an ongoing battle. All out war, actually. And both sides are winning.
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Applied Materials: Bright Futures Card Game [Jun. 27th, 2008|04:03 pm]


Hurray! I can finally announce the news! Applied Materials, the world's leading manufacture in semiconductors and a multi-billion dollar NASDAQ 100 company, commissioned me to illustrate a children's card game designed to spread environmental awareness. It will be distributed to classrooms in the US, China, India, Israel, Germany, and Japan.

The cards themselves can be downloaded for free from the website in both black and white and color artwork versions: http://brightfuture.appliedmaterials.com/game/

If you are a teacher in the US, follow the link at the bottom of the page, "How to Order", to find out how to become a part of the Bright Futures program and have decks of cards sent to you in time for the August 2008/2009 school year: http://brightfuture.appliedmaterials.com/game/order.php

And apparently there's even a testimonial video as well! Kid's saying they'd rather play cards than go outside and play. Awesome. XD


--------------------
Bright Future Card Game © Applied Materials, Inc. 2008.
Illustrations by Rivkah
Colors by Rivkah and Faye Yong

Thank you Faye for doing such a wonderful job on the colors! You're stellar! :)
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:( [Jun. 17th, 2008|10:10 pm]
My step-sister's little half-brother, Derick, passed away this evening from a hemorrhage in the brain due to massive injuries sustained in a major car accident that happened earlier today. I don't know the details yet, but anybody who could extend their love and prayers to my step-sister, Lindsay, it would definitely be appreciated.

I didn't know Derick, but I love my step-sister dearly. Several years ago, her step-mother passed away and several years before that, her best friend died in a car accident as well. She's lost many loved ones for someone still so young, and I pray that she continue to have hope and faith in life and in those who are still here who love her.

Derick also had a 1-year-old daughter. :\
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Making lemonaid out of lemons [Jun. 13th, 2008|05:35 pm]
Just got off the phone with my editor, and it looks like not-so-good news for Steady Beat. In fact, it looks like not-so-good news for anybody who's working with TP right now. I'm not sure how much I should say for fear of causing an outright panic with other creators, but essentially, nearly all of Tokyopop's future books will be going straight to web. This wasn't a case-by-case scenario. Neither I nor any other single creators were singled out. It looks like nearly the whole line of non-licensed material will cease printing and be promoted online only.

However, this does not mean "Steady Beat" will never see print. Borders on the verge of bankruptcy hurt a lot of people, but it doesn't mean the end of the world. There are other publishers, other outlets, other venues. Tokyopop could in the future still print the third volume of Steady Beat.

In spite of this potential, however, I am going to try to negotiate print rights back from Tokyopop until such a future time as they choose to bring my books back in print. In the meantime, should Tokyopop fail to follow through with their promise of at least web print, I will put full "previews" of all the books online myself.

We'll see what other rights I may be able to negotiate back, as well. My business partner just recommended a lawyer to me who worked closely on the WGA strike and getting writers paid for online content. What concerns me is this: how will royalties be calculated for online content for our graphic novels? If the books have ads on the web page, we writers should be paid a portion of the add revenue. If readers are required to pay to view, we writers should be paid portions dependent on percentage of hits. Web content was not clearly defined in my contract and therefore should at least fall under that 8% "everything else" clause.

These are the questions I am asking, at least. I'll try to keep people updated with the basic answers I receive from Tokyopop.

Unfortunately, this also means I don't even want to LOOK at "Steady Beat 3" at the moment. I am heartbroken and torn, but I've had a feeling over the past week that I'm going to need to focus on other things. Tokyopop is still paying me for what remains of Steady Beat, but it hurts just to think that it may never see print. If I'd known it would only be published online, I would have spent far less time on inks and artwork, but as it stands, I'm committed to maintaining the quality I started this book off with. And that's okay. I'm proud of this book. I've put a lot of time and effort and improvements in it that I feel blow the first two out of the water completely.

But now, this just means that I'm going to have to delegate it to the back burner for a bit longer and focus instead on finding "Jane's S.O.S." a publisher. I'm a little nervous because it's pushing me out of the nest; I've been keeping "Jane's S.O.S." safely tucked away on my hard drive ever since I finished editing it, because a part of me is scared of putting my little baby out into the world, exposing it to all those terrible elements (and the critics!). But it had to happen sometime. I'm looking at this as it's opportunity to become something real.

And in the long run, I'm remaining optimistic. I truly believe that everything that happens to us has a purpose. I cried after that phone call with my editor, and I've a feeling there will be a lot more crying later once the shock wears off. But I believe firmly in framing in my mind the positive thoughts that will lead me forward instead of the negative ones that leave me spiraling ever inward. It's sad. But it's okay. Life goes on. And I know that from this, I will find better and greater things.

What doesn't kill you only makes you stronger, right? I know I'm a decent writer. I know I'm a decent artist. One little setback can't hold me back. Not ever.

-Rivkah


quick edit:
--------------------
Looks like TP may be able to give me the print rights back to book 3. Let's keep our fingers crossed!
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Tokyopop: Out of the Stew and Into the Fire? [Jun. 4th, 2008|02:50 pm]


If you haven't heard the news yet, Tokyopop has split into two companies (the usual 'we publish books' company and a new 'we publish movies, music, and merchandise' company) and in the process, has laid off 39 direct employees (in a company of 80-100) and cut its yearly output of books in half. Heidi, over at The Beat, has a follow-up report and links.

From somebody who's been working with Tokyopop for nearly four years now, the news doesn't come as much of a surprise, I guess. The annoying thing is that this leaves Steady Beat 3 in limbo until things settle down and resources consolidate. News is slow but not absent; it seems my editor survived the cut, but I don't doubt she's swamped with work. Cutting half of your output doesn't help any if you're also cutting half your employees as well. Half the work but also half the staff to handle them.

So how does this affect OEL creators?

Honestly, I'm happy this happened. I was expecting bankruptcy by November 2007. Instead, for perhaps the first time ever, Tokyopop has made the right move by cutting back on how much spagetti they throw at the wall to see what sticks. I don't doubt the turmoil will take several months to settle down and many of us creators will be cut, but from a business perspective, this means that in the long run, they could potentially be better off. They cut back also by deciding not to exhibit at San Diego or Anime Expo which means less time spent going to conventions and more time focusing on actual creative material; it's the little things that count, and when employees run up a thousand dollar tab just on drinks, that hurts not just the company but the creators as well.

And not only that, but Stu Levy is no longer head of the book publishing division. Doth my heart dare leap for joy? I feel that part of the reason the actual PUBLISHING aspect of Tokyopop has suffered so is that he has his baby now (Princess Ai) to the affect of forgetting to pick up the step children after school. I feel often that we've been left on the side of the road in the hopes that we'll either just disappear or somebody else will pick us up and adopt us.

Well, I didn't stick around long enough to find out if I'd be adopted. The last year and a half have been busy, and I can tell you it hasn't all been Tokyopop stuff. The good news is that in spite of this latest news and all the cutbacks, Tokyopop is still paying me to finish up Steady Beat even if it doesn't go to print. They're contractually obliged to do so.

And if it doesn't go to print? I'll just post it on my website and say it's advertising. I have 50% of the rights meaning we can BOTH utilize the property independently of each other, and there are no specifications of number of pages I may use in marketing my books.

And you know what? I haven't worked my ass off on what I consider the height of this series to let if flounder in the dust, sight unseen. In television production, they tell you that most studios won't even consider your work until you've produced at least 5-6 shows, and that's because they understand that there's a learning curve. Steady Beat 1 & 2 were what felt to me were my learning curve. I feel like Book 3 is the peak of this series with only better things to come in my other creative works. But that's just IMHO. I can honestly say, however, this is the first work I've produced that I've felt truly happy and confident about.

So what happens now? Well, I keep inking "Steady Beat 3". In spite of the dubiousness of whether or not it'll see print, I feel I owe it to not just my readers but myself to finish.

I would never leave a series incomplete.

Now, just for my readers, I've uploaded a segment of the raw pencils from the middle of the book. This chapter (and the one after it) is, to me, what the series is all about, and you can read it without spoiling the rest of the book. You've seen the story so far from Leah's side, but what about Sarai, the gay sister? What's it like when you've spent your whole life being what somebody else expects only to find that no matter what you do, you'll only end up disappointing them?

I give you, Sarai's Story, Part I (part II to follow): )
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Austin Sequential Art Classes [May. 22nd, 2008|04:24 pm]
I don't think I've talked about it much, but one of my dreams is to someday open a 2-year school for creatives trying to make a career out of comics and graphic novels that would be almost completely scholarship-based. The past few years of speaking at schools and libraries, in front of classes and groups, and doing workshops, I've discovered a true passion with passing on my knowledge to others. I am not possessive of what I've learned. I believe that while part of what I have to give to the world is through my writings and artwork, another part is what I have to give in teaching others to express themselves through their creativity: to passionately pursue their dreams and make a happy living out of it.

So, as a start, I'm beginning a series of 8- to 12-week courses designed to assist individuals in putting together a short-story comic from conception to publication. Each class would learn a new concept each week: from how to put a story together and write your script, to layouts and story flow, to pencils, inks, tones, and colors, and finalize by putting together a short-run anthology of the collected student's work at a local press. Each student will complete a short story, learning a variety of artistic techniques to pursue their vision, but also being given valuable information about how to pitch, who to pitch to, how to manage the business side of their art, making the decision whether to self-publish or go with a publisher, how to receive and give constructive critiques, and all of the technical information that goes with printing: What is bleed, trim? 300 or 1200 dpi? Color or B/W? How to reach your market/audience. Etc.

Each class will consist of 4-6 students meeting once a week for 3-5 hours, most likely on weekends, since the people who've expressed the most interest already have been parents looking for something for their teens.

My only real concern is how much to charge. It's the only thing of it's like that I've seen offered in Austin. There are plenty of "how to draw manga" workshops, but that isn't what this is. This is how to create a STORY and finish it, not a how to draw class. Theoretically, I'd really like to open up a slot in the future to students from disadvantaged backgrounds (or youth who've demonstrated a lot of initial talent and the drive to pursue it), but I'm initially thinking about $599 per class. If I include supplies, more like $699. Since I feel it's more of a one-on-one experience instead of an in-bulk class, I feel the cost is justified, especially since I want to attract people who are truly serious about learning how to put their stories together.

Anywho, the workbook is already coming together, so this is a definite. I'm just curious what people might think of the cost or any concerns that might come up.

-Rivkah
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My boyfriend keeps a severed hand in his fridge . . . [May. 22nd, 2008|03:59 pm]
Just imagine for a second that you're cleaning out the tiny studio freezer to make room for some of the ground turkey and beef sausages you just bought. Out goes the month-old steak that went bad before it made it to the freezer (why we kept it, I don't know), and as you're clearing out and rearranging item by item, giving an audio commentary on each package of frozen blueberries and some of the sausages you thought you'd all eaten already but were overlooked, out slips, "Oh look. A hand." You blink and stare at it were you've laid it on the floor for a minute, registering what you've just said. The bile rises in the back of your throat and you think, "Was there something I missed?" as you jump up and shout, "THERE'S A HAND IN YOUR FRIDGE!" complete with oozing fake blood and severed tendons.

Ewwwwwwwwww.

So okay, it wasn't real, and it might even come in handy with some of those shows you've been hired on as production designer (Can I borrow the hand, honey? I'll try not to let it thaw.), but seriously. Did we have one too many nosey roommates once with a habit of eating all the food in the freezer? What do you do when you're digging through your roommate's fridge to find a bloody hand packaged all neatly in those little styrofoam plates with clear plastic wraping in the back of your roomie's fridge while raiding their stash of fried pickles? Do you slowly put it back and pretend you never saw it? Do you call the police and admit YOU were the one who drank the last of the milk and didn't buy a new carton? Do you buy a new fridge?

I've accepted it. My boyfriend keeps a fake severed hand in his fridge. Perhaps I'll bring it up at a party. Maybe I'll even add a fake eyeball or a toe? Who knows. My step-mother keeps a human brain in the fridge named Virgil when it's time for her fifth graders to learn about the brain and pickled baby sharks in jars. So perhaps this isn't all that terribly new to me.

However, something that IS new:


Steady Beat volume 3 cover art! (draft)



So okay, I've been busy. SUPER CRAZY busy, but not all on the same thing. Steady Beat 3 is getting a lot more attention now, and while I'm still looking for a decent wide-format scanner with a decent price (anybody have any recommendations?), I plan on having a preview chapter up at the start of next month (finally!!!). If I have my way, this book is going to be around 250 ages long. As it stands, it's at 186 (eek).

But other than working my butt off on Steady Beat again and aiming to get it completely finished in the next few months (if I get my two extra chapters), I've also gradually been introduced to the world of moving media: ie: television, film, web broadcasts. It's been a fascinating experience learning about the tricks in the industry and just how much gets fudged (and also learning about the weird liberal corporate world that is the L.A. entertainment industry and feeling oh so grateful for living in Austin where personal expression comes BEFORE money . . . usually). At the moment, I'm doing mostly assistive work and designing set and layout and bouncing back ideas, and while I don't think this is something I'd ever do full-time as a career (because I love too much working on my original ideas and being the control freak that I am find it annoying working with too many people), it's been a truly uplifting experience.

So, on top of working on Steady Beat 3, finishing up the edits I got from my mom on Jane's S.O.S., production work, and trying to keep a life, there's something even better that's started up for me:

Which I'll announce in the next post. :)
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Age? [Apr. 10th, 2008|03:52 pm]
[mood | curious]

I'm in the process of gestating an idea for an essay to post here, and I've become gripped by the curiosity to know the ages of my readers. I've screened posts so that answers can't be viewed by anybody but myself (because I view things like age, gender, location, etc as sensitive issues I'd rather keep away from the prying eyes of web and spam bots alike).

For those who don't mind my knowing, what is your age? I'll assume you've read at least a portion of this blog if you're responding ;) but if you've also read "Steady Beat" as well, please state so.

The essay's about the ages of protagonists in entertainment and the actual maturity level of readers and/or viewers.
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Post: When to Start. When to Quit. [Apr. 7th, 2008|06:17 pm]


Megan Rose Gedris* asks:

"Your latest posts about living on artist wages got me thinking. At what point do you give up the day job and rely completely on making comics for a living?

I've been doing comics in my spare time, between juggling two part time jobs. I've had modest success with a couple of these projects. I'm at a point now where I think I could take off with my comics, if I just had more time to work on them. But then again, with as hard as jobs are to come by here, I'm afraid if I quit my job, and fail at comics, I won't have a job to come back to. How did you do it? (This is also me assuming you had a day job at one point and didn't jump to instant success soon as you graduated from high school**. Which would be cool, too.)

But yeah, at what point does it make sense for an artist to quit their day job?"



It's always been my personal belief that you should never leave a steady job until after you have paying freelance work on the table. When I wrote Pink and started the webcomic version of Steady Beat, neither of which were paying at the time, I had two full time jobs: one managing the art department for a catalog mail order company and the other helping to run my publishing company. When I flew to Los Angeles to pitch my series idea to Tokyopop, I still had both jobs, and it wasn't until after I had signed the contract and sent it back that I walked out of the 9-5 job. I quit the very next day, in fact.

But even then, I wasn't completely dependent and able to support myself. Midway through book 1, I moved in with my parents so that I could work on my book without worry of being out on the streets for fear of not getting a check in on time . . . and since three checks were three months late, that was probably the best move I ever made.

Now that I'm living on my own with nobody to fall back on, things are different. Not only do I have my contract with Tokyopop, but I've taken on freelance work as well, and for three months, I was even working part-time at a cafe because it had been so long since I had extra cash in my pocket, and I seriously needed some clothes that weren't worn to death and made me feel good about myself (high self esteem = high productivity, IMHO).

There are several things you need to ask yourself before leaving your full-time job for freelance creative work:

1) Have you saved up enough money to live off of for at least three months? That's sort of a general rule of thumb when it comes to finance, and something that'll save your butt more times than you can count. Clients pay late. Projects take up more time than you anticipated. Checks get lost in the mail or misplaced or mis-sent (have had this happen four times now). Some people neglect to pay at all (which is why I insist either in being payed at least 10% up front or being payed in milestones). Sometimes, the unexpected happens and you find you have far less cash than you anticipated. So save before you quit.

2) You should have work lined up already and started. It's one thing to have somebody tell you, "We're interested in you doind such and such for us," and having a contract signed and ready. A contract is set in stone; you WILL get paid eventually. Promises however can be taken away. In fact, I get lots of promises about projects that never follow through. I've learned to ignore projects as real work until I have the first check in hand.

3) You have to be willing to chuck pride out the window and take a menial, part-time job if you have to. Whether it's waiting tables or washing cars, you have to ignore the fact you were once brand manager at NIKE and suck it up that you're now making as much as you were in college or high school. Once you've committed to doing freelance work full-time, you won't be able to go back to the 9-5 without having to give the majority of your work up. Neither will you ever be able to find a high-paying job that offers part-time work.

4) Are you driven? As in, does it feel like somebody lit a fire under you're butt, and now you're running towards your goal? This must be destiny. You can't do this half-assed. Your work must consume you.

One think you do not want to do is quit your job because you feel like you won't improve unless you do. If you're driven enough, you'll find a way to keep getting better, even with the 9-5 (as soul draining as the 9-5 is). It may not feel like you're improving fast enough or getting out what you consider the best of your efforts, but if you don't have the passion enough to really push through in what is probably the toughest of circumstances in which to be creative, you will very likely not make it.

That is the harsh reality. All too often I've met people who did just that--quit good-paying jobs because they felt like it would help their work and get jobs--only to sit around for months doing nothing. Time dashes by, and before you know it, you're out of cash and not a freelance job in sight. AND you've given up that great paying 9-5 job you were actually somewhat enjoying!

So, think about it a long time. Be honest with yourself. Are you quitting because you have to or quitting because you want to?

Ciao,
Rivkah


***

-------
*reprinted with permission

**definitely not, lol! Took me three years just to figure out what I wanted to even do.

***Yeay! Art! Practice sketches from photo reference. Been drawing kids dancing. Been practicing expressions, as well, but haven't scanned those yet. It feels so good to be drawing again! *sob*

****Photoshop CS3 rocks my socks off.
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[Apr. 3rd, 2008|08:00 pm]
[mood | ecstatic]

*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*happy dance*

YEAY!
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Jane's S.O.S. - Book 1: The Inward Tree or The White Tower [Apr. 3rd, 2008|07:17 pm]
So let it be written! So let it be DONE!

It began with a simple illustration, a spark of an idea, that expanded to seven pages, the start of a book, to an outline, to a draft, to edit after edit after edit and some more edits. And finally:

DONE. 94,398 words. Done!

There've been character and setting and concept sketches. Whole chapters have been written that will never be seen. Perhaps more words have written on where this thing is going than the length of the book itself (because I intend for this to be three, possibly four books). I even made test pages for the graphic novels I intend to create from this as well. The characters aren't just alive, they're alive, drawn on the page exactly as I envision them in my head.

And I feel like I've just been taken off a drug. I am overwhelmed with relief. My hands are shaking. My heart feels as though I've just run to my house and back. I waver between feelings of tears and laughter, verging on the hysterical. I want to go out into the street and sing and dance its done. Delirious with joy and relief.

I know I still have to find a publisher, but that wasn't my goal. My goal was to WRITE it. A child has sprung, fully formed, from my head and onto the paper. It's absolutely magical. Now, I suddenly understand how G*d must feel for us, his/her very own creations.

And yes, this is different from "Steady Beat". I can't explain how. It just is. I've never felt so wholly and completely that I've put my very best down and that I'm happy, I'm happy with it, that it reflects every single thing that I hold most dear.

*sobs into keyboard*

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What? No Zombies? [Apr. 3rd, 2008|02:36 pm]
On the last few pages of edits and got to this:

Jane felt that she drifted in a dream. Warm, untainted sunlight fell across her cheeks. Fresh, clean sheets were tucked beneath her shoulders. A pillow was propped beneath her head. Cool air caressed her brow.

And was very, very tempted to insert "Thank goodness! It was all a dream!", purely for the sake of preserving the fine trade of over-used cop-out endings that never see the light of day. Maybe I can work in a coma, some vampires and zombies, and throw in a few gay pirates as well?

No?

Well . . . it was worth a shot. Can't say I didn't think about it. ;)
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Twenty Pages! [Apr. 1st, 2008|03:40 pm]
TWENTY PAGES! TWENTY PAGES! I know I'm procrastinating just by posting this (and my previous entry as well), but: TWENTY PAGES!

*sobs tears of joy*

I finished the first rough draft of this children's novel back in May, but I've been stuck editing ever since. I've gone through it several times, but I shelved it for four months in order to work on the Applied Materials project (which is apparently in print right now, meaning eventually I'll get to actually talk about it, ha). When I came back and read through it through, I realized just how long this final edit was going to take.

But I didn't realize how excruciating it would be.

Currently at 93,700 words. Up from the bare 63,000 is started at (and it really was bare bones, btw).

TWENTY MORE PAGES! And it's DONE!

MWAHAHAHAHAHAHAHAHAHAHAH!


. . . now to stop distracting myself. *little happy dance* Back to work!
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Grown-up Manga, Organization [Apr. 1st, 2008|02:37 pm]
I get teased a lot for the content of my bookshelves, made up mostly of young adult novels, children's books, and tons and tons of shoujo manga. There's some physics books, a lot of Jeannette Winterson and Murata Murakami, and a load of classics sprinkled about, but all the bright pink spines can be a bit difficult to miss.

The other day, I was flipping through some of the shoujo manga I used to read, however, and I realized something: I don't read shoujo anymore. I mean, I have a few favorites still: "Peach Girl", "His & Her Circumstances", and occasionally I'll pick up and reread "Sailor Moon" for nostalgia's sake. But in general, what I've been following lately have been titles aimed at a more adult audience.

Now first, let's make a distinction. There is a difference between adult and mature. If you see a label that says "mature content" that means erotica, porn, not for toddlers' eyes. But in my eyes, adult implies simply: "Kids can read this, but it's about grown ups, for grownups, so they may not appreciate it as much." Unfortunately, the age ratings imposed on the backs of 5.5" x 7" graphic novels don't make that distinction.

I still believe that instead of using vague terms such as "13+", "18+", "all ages", etc, that rely on whether or not there's a nipple showing to determine the rating, such graphic novels should be labeled the same way regular books are: "childrens", "young adult", and "adult" with varying degrees for "historical", "travel", "cooking", etc, in between, and categorized in distinct groups as well, ie: all under the same section of "graphic novels" but with separate shelf groupings.

Perhaps then I wouldn't have to browse through close to 5,000 volumes of manga every time I go to the comic book store just to find something I like.

To me, what the graphic novel industry currently lacks that books have down pat is organization. It's certainly far, far improved over what it was ten years ago, and with the introduction of POS (point of sale) machines and bar codes, I can only see it getting better. Yet, there is still no way to pick one genre from another without having to flip through just about every book on the shelves. Several publishers have managed imprints (such as Viz), which at the very least helps, but they're still categorized on the end shelf with everything else (and its mother) in the end.

Back to the grown-up stuff. And I don't mean porn. I mean books like "Buddha", "Ode to Kirihito", "Tramps Like US", "To Terra", "Eagle". I love history. I love slice of life. I love politics. But where would I go in the comic book store to look for similar? I THINK they exist, but I don't know for sure. I could do a search online, but that means leaving the store, having to write things down, relying on it actually being there, etc. Pain in the ass. Might as well order through Amazon (which I won't, for the record). And there's no guarantee even Amazon has it right anyway. Look up "political manga", and up comes a motley of titles, most with absolutely nothing to do with politics and a few historical ones. "Eagle" isn't even on the list (though funny enough, "Steady Beat" IS, ha!). And there should be a veritible deluge of indy titles.

The question I ask is this: Is it just the lack of distinct organization that's made it so I'm only currently following one title ("Nana" which I consider more josei than shoujo because of grown-up content and the age of the characters) because I can't find anything else to read anymore? Or does it also have to do with what seems to still be very little published outside the realms of shoujo, shonen, cleavage, and spandex? Not that there's anything wrong with them. Quite the opposite, in fact. Every segment and every niche serves its purpose.

But where are the titles like "Tramps Like Us"? I for one would sing the praises of any publisher who can start taking a serious look at more well-written josei titles (non-anthology) and seinen titles that aren't in the realm of the fantastic. Slice-of-life stories, you know? With relatable characters and relatable circumstances. I still enjoy fantasy, but for some reason, I've always found slice-of-life stories more appealing in the visual medium than the written.

(Why that is, I have yet to figure out, being a devout fan of the fantastic when it comes to the written novel . . . you'd think it would be opposite . . . ?)

Titles I would like to see in the US would be more "Tramps Like Us" type series, but also histories or gentle vignette-type series like "Record of a Yokohama Shopping Trip". Just . . . the kind of stuff you don't typically see on shelves. There's always a niche waiting to be filled. That's how many publishers survive: you find a niche like "scuba diving" or "underwater basket weaving" stick to it, do it well, and reap the rewards.

If I had a financial backer, heck I'd do it myself. I've run a publishing company. I have the contacts and way too many friends in PR. But artist's wages don't necessarily make for good credit. Perhaps someday. ;) After I'm done with this children's series. (TWENTY PAGES LEFT TO EDIT! WHOOOOOOOOO!)

In the meantime, perhaps there's a petition we could start? Leave a list of "grown-up" and alternative titles you would like to see licensed in the US. It's a long shot, but maybe at least somebody is listening.



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For the record, this post is entirely about manga. I'd like to see more home-brewed titles like this as well, but I already have faith they're on their way. :) :) :) Or already here. Craig Thompson is love. XD XD XD
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And in other news . . . [Apr. 1st, 2008|01:32 am]
[mood | excited]

I am going to be doing a graphic novel workshop at the ACT Girl's Conference on Saturday, April 12, at 3:25 pm. One of my good friends will be doing a film workshop right before. The conference is open to guys as well, but its focus is on empowering girls and women in the community, だけど . . . . Their website states:

"The Annual Conference For The Spiritual Transformation of Women and girls will include inspirational talks and practical workshops. There will be two programs running side by side, one for women and the other for young girls ages 10-15. The purpose of this conference is to gather women and girls together so that they may realize their unique spiritual station in the family and in society. Through recognition of their inner strength, they can be a source of enlightenment to each other, learn from each other's experiences, and share information about spiritual healing of mind, body and soul."

Registration is $40 for girls ages 10-15 and $75 for women. It will be held at St. Edwards University, Ragsdale Center, from 8:30 am to 5:30 pm. It is an interfaith event.

If you live in the Austin area and would like to join, please do!
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ACT Mission Statement:
ACT Women (Advancing Community through Women), is an independent non-profit organization with the primary mission of educating, encouraging and empowering women to become agents of change using spiritual tools.

This will ultimately help in advancing communities world-wide. The ACT Women are also dedicated to empowering and encouraging women, that they may overcome any fears and apprehensions that hinder them from growing spiritually. This group has been in operation since 1996.

Spiritual education is the key to the transformation of women as they accelerate their contribution to society. Through such education, women will develop their sense of worth, self- assurance, creativity and courage.

The role of women in society must always be viewed in the light of the oneness of humanity. Principles and actions which strengthen the bonds uniting the human race will, in turn, advance the position of women.
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Honey & Clover! [Mar. 31st, 2008|06:08 pm]
Johanna over at Comics Worth Reading has pointed out that Honey & Clover by Chica Umino is available now from Viz, and I just wanted to pass the word along. I remember watching the anime several years ago and enjoying it immensely. The main premise is how a group of art college students make friends, survive, and find careers in their fields of choice, and it's a touching, heartwarming story of the shoujo and josei variety . . . but without being burried under a mountain of pretty boys and girls who do nothing but throw sparkle and flower-strewn love stares at each other.

In all, the anime series started off kind of slow, and the lolita-type relationship with Hagumi (the eighteen year old on the cover) is sort of creepy, but it's the male lead, Takemoto, who really draws you in. He's just your average art student--not really a genius, but not all that bad either--who's just trying to find his place in the world. Hagumi, on the other hand, is an artistic genius, and I believe it's what everybody really falls in love with. It's a story about finding yourself amidst the burden of other people's expectations and just learning to relax and let life take you where it will. Something I think we could all use to learn, sometimes.

On that note, I haven't gotten the chance to actually pick up the manga yet (having just heard that it's out now), but I'm hoping that it's at least as good as the anime was because with Tramps Like Us and E.S. finished, the only series I'm currently reading is Nana. Every month I keep an eye out for new titles, but honestly what's out right now seems to be all the same storylines I've seen a few hundred times before, told in the same ways I've seen a hundred times before. Also, except for "Fool's Gold", all my favorite OEL series have ended as well (or really close to ending). What has the world come to? ;_; I want more college-age and grown-up titles, and less cleavage on my covers when I do!

Oy veh.
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Living on a creative income (continued). [Mar. 27th, 2008|05:20 pm]
Just thought of some extra tips for living on a beginning artist's wage:


-If you can, move to a city or location that's easily traveled by foot, bike, or bus. Getting rid of my car was the best move I ever made . . . as much as I suffered psychologically from the lack in the first several months. Not only have a saved money and prevented unnecessary expenses such as gas and insurance bills, but the health benefits have been phenomenal: I have muscles man from all the biking up and down hills I do, and my metabolism has never been higher, plus my lung capacity is better than it was when I still played flute. On the flip side, I now eat a lot more to make up for it. -_-;

-Find one thing to splurge on every now and then and stick to it to prevent you from splurging on anything else (you'll go crazy without SOMETHING to distract your mind every now and then). For me, it's books. Every so often when I have extra cash on hand that isn't going towards future bills, I go out and buy a new teen lit or Murata Murakami novel. But I've also cut out renting or buying or going out to see movies.

-Second-hand vintage clothing. I've set a limit on pretty much anything I buy, and it has to be below twenty bucks (goal: $10). If you have an average kind of shape, there's a lot of really neat, cheap clothes out there for you. Maybe that's why my closet now looks like it belonged to a 50's housewife. :P Retro is in.

-Hone your craft. Don't leave it up to chance to sell your work for you. If your stuff isn't doing well now, then that may be saying something. You have your whole life ahead of you, so why not challenge yourself? Take life drawing and creative writing classes. Some of them are cheaper than you might expect. Best site I was ever recommended was this (praises to Svet for a million years to come). Best art instruction book I ever read was this. Find out what it is to be you.

-Socialize. No seriously. You're stuck on your butt all day, cramped over a desk, your back and neck muscles seizing up, and your mind in high gear. I've learned over time there's a real need for nice extroverted activities no matter how introverted you may seem. I started going to Ruhi and talking to people at the coffee shops and the comic store I frequent. You may even find a lot of business opportunities popping up because of these associations. :)

-Business cards. The one expense you'll never regret. I had a set of full-color double-sided 2500 printed over three years ago for $35, and while they're finally running low, I can't count the number of business contacts I've kept in touch with because of them. However . . . don't get glossy. You might find you need to write on them at some point. Glossy was a baaaaaaad choice on my part. -_-; I've used http://www.4over.com/ on a number of full color projects and found their printing quite lovely for the price listing. Note: you have to be registered as an actual business (ie. have a DBA) to do business with them.

-DEFEAT THE IMPULSE BUY!! I know I've already mentioned this, but thought I'd kick it home again. You DO NOT NEED that soda or candy or shiny new gadget winking temptingly at you from the impulse aisle. I know. It's only 85 cents. So what? That 85 cents that you could be putting toward nice, healthy choices. Even so yeah, I admit . . . every month or so I splurge and get a little debbie. The master of the impulse buy is not perfect . . . yet. ;d

-Zencast.org Go. Meditate. Be free. You'll find it easier to concentrate and the all-pervasive message to spend, spend, spend less obnoxious this way.

-Live in a high-income city with high rent? Or live in a low-income city with low rent? Many of my friends live in places like Los Angeles and New York where it seems to be easier to make contacts and find jobs, but feedback on this would be appreciated. Do you think it's as easy to make the rent? Worth it for the atmosphere? As for myself, I live in something of a mid-income, mid-rent city. My apartment's barely 550 square feet, and I pay $650 for the rent (not including utilities which run another hundred), and it's in a nice part of town with everything in walking or biking distance and on several major bus routes. But making business contacts here is also a bit hit or miss. There are no large groups of comics creators here (though a few small groups still getting started out) or businesses that offer similar type freelance jobs. However, it seems there ARE a number of companies that keep files of artist (such as GSD&M) to refer to on appropriate projects for illustration work, at least. Honestly, however, I've exerted the majority of my time and energy into finding longer working projects. The majority of "side" work I've found has been through word of mouth.

-Don't keep a credit card. Because I've always believed you should never spend what you don't have. Otherwise we wouldn't be having this house mortgage and economic crisis right now, would we? But that's more IMHO. I'd far rather be making enough some day to pay for that house in cash, and if I remain frugal enough, that'll be completely possible.

-Time is money. Yes, that convention may seem appealing. Yes, you might make some money after all the expenses have been deducted, but what about all the time you spent preparing? The time spent afterwards sick in bed (if you're like me and get sick after being around too many people)? And what about all that money spent on 'promotional material'? Some people make a real profit at these things, and yes there's the justification of making business contacts, meeting fans, and just getting a nice breath of comparatively fresh air, but make sure to pull up the balance sheet and figure out how much it's really worth it in the long run. For me, I don't go to a convention unless everything's paid for in advance or there are deliberate business contacts to be made (and I'm pitching something). Otherwise, I find it more cost-productive to be at home working on my books.

-Raw foods are cheapest. Prepared foods the most expensive. Buy only the necessities like bread, milk, eggs, and vegetables. If you can find a cheap used book on nutrition, you'll learn a lot about what's really healthy and what isn't. Keeping your energy up is imperative to being a productive Artiste. And you don't need five different brands of soap. If possible, rely on family for meals if you find yourself starving. Unfortunately, food stamps are only available to individuals making less than $9,500 a year. If you're a woman, you could just be pregnant the rest of your life and rely on WIC, but really. No matter how much the Republicans may think we gals enjoy popping out the babies just to stay on welfare, you'd just never get anything done on the important stuff: like comics. ;)

-You don't need cable.

-You don't need subscriptions (magazine, tv, or movie). In fact, they're a good way to start wracking up overdraft charges on your bank account.

-If you have a laptop, you don't need internet. That's why they made cafes (in my book, at least).

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Obviously, these aren't all 'musts' just suggestions from my own personal experience so far. So other people's experiences and opinions would be extremely appreciated. What's it been like for you since you started relying on nothing but your artistic/creative income? Any tips you'd like to share? Heaven only knows I at least would appreciate them, too. ;)
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Living on a creative income. [Mar. 27th, 2008|11:57 am]
[mood | still sick]

I figure while I'm sick here in bed, I might as well at least be productive. The world isn't spinning so much today, so at least I can focus on a screen without tilting over.

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One of the things I'm constantly having to think about in this profession as graphic novelist, illustrator, and writer, is money.

How do you make a living off of it?

Most people who are pursuing a creative endeavor will tell you that this is a competitive, back-breaking, seemingly-thankless profession, and that it isn't so much about how to make a living as how to get by. "Making it" depends entirely upon the style of living you wish to achieve. If you dream of private islands and corporate jets, then I'm sorry to break it to you, but your chances are about one in a couple hundred million. If you want to be able to buy a small house and raise a family, it's difficult but doable . . . with a lot of strategy and business acumen. And if you just want to be able to make the rent on your 1-bedroom apartment and put food on the table, then you might be alright.

For me, my ideal is $45,000 a year. I'm a simple kind of gal and extremely frugal. For me, that's enough to start saving up to buy a house or buy land and just build one (ideally, the latter . . . preferably towards Fredericksburgh), buy a fuel-efficient car (anybody got a Honda Insight for sale?), and start saving a bit.

Sorry though, kids. You'll have to rely on dad's income for college.

Yet currently, I only make about *$15,000 a year (the year before, it was $13,000). Currently, 60% of what I make goes to rent and utilities and about 12% to groceries. That leaves me with only $4,200 to take care of miscellaneous expenses, and let me tell you, that goes by fast.

Last year, both my desktop and my laptop broke, which forced me to buy a new computer. That alone was $1350. Since I consider a computer an investment in my work, I couldn't buy something cheap. It had to run all my programs, handle multiple tasks running at once, store gigs worth of art, and run fast enough to justify the cost. So already, I'm down to $2,800.

Then my bike got stolen (because I stupidly chained it outside for two days). Right there is another $500 I had to shell out because my bike is my main source of transportation, and a cheap one wouldn't last me a month. Considering I've had four bikes stolen at this point . . . I'm pretty paranoid about where I lock it up now. And now we're down to $2,300.

And then almost every day, I go to a cafe and buy a cup of coffee while I sit and work. That's $2 and we'll say 365 days because sometimes I don't go out but sometimes I buy more than just a cup, and that puts me at $730 a year for what I consider a rather necessary expense. Working at a busy cafe is my ideal working condition and I get tons more done than I do at home.

Down to $1570.

If you haven't figured it out by now, the money goes fast. And all this without any sort of entertainment or heaven help me should I get into an accident! (knock on wood) I shudder to think where I'd be if I still had a car and had to pay that $3 a gallon gas is currently at.

BUT . . . it's still just enough.

I have a roof over my head, food on the table, my necessary expenses taken care of, and the time to at least take a bike through the park. And the main thing? I've defeated the impulse buy.

Our whole lives, we're surrounded with consumerism. "Buy this! Buy that!" We're told how we "ought to" live rather than how we can live. You don't need that iphone or the chocolate bar in the candy isle. Occasionally, when I reach a work milestone, I'll treat myself to a dinner out or I'll buy a book for myself to read. But generally, when I'm feeling antsy, I call up my mom and go visit the sister and her chidluns, or I go to Ruhi on the weekends and talk to my friends, or I just take a walk and admire the change of seasons (what little we have in Texas, lol). "Splurging" for me means painting a wall or building a couple of bookshelves or buying a new pot and soil for my mango tree. But it doesn't happen very often. Typically, I'm just content to work.

And I take care of my things. What little I have is precious to me and expensive to replace, so I treat them as though I'm going to have them forever.

In the meantime, I supplement my graphic novel work with illustration work for larger companies who can pay more. I do my best to have enough on hand to pay my bills three months in advance (though this doesn't always work out given the finicky nature of payment in this industry). And I eat extremely healthy to keep from getting sick.

(damn this flu . . . but at least it isn't bad enough to need to see a doctor. That or I'm just stubborn)

And of course, I keep going because I hold on to the belief that I'm learning and getting better as I go along. I trust in my heart that there's room to make the ideal if not far, far more someday. That I just have to be persistent enough and aware enough of my own abilities to get there. When I get there, however, is just something I'll have to find out.


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*If I hadn't been working on "Jane's S.O.S." and had finished "Steady Beat 3" instead, it would have been more like $23,000. But then again, I'll get paid when I sell "Jane's" so it all works out in the end. Taking the pay cut enabled me to finish the novel when I might otherwise have not been able to. :) And not taking the Applied Materials gig wasn't even an option.
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