You come home crying to arrange.
| word from publisher is the opinion column Pedro F Medina †@Studio_Kato), editor-in-chief, responsible for licensing and social networks fandogami and journalist disguised as an entertainer at comic and manga events |
Multiple Community Managers put their hands on their head trying to be funny, and it backfires. If you’re getting more quotes than likes, you know you’re in a hole where only time (or any other fat sauce) can get you out. I believe Twitter has become the network of choice for comics, certainly because of its capacity for instant engagement typical of an overly demanding audience (since the Readers’ Post days), and although sales figures suggest otherwise, it’s actually the four cats we all know in the end. We believed that all information on the Internet was lost in purgatory, and today we are going to the newspaper library to recover the messages from ten years ago and put people in their place. Twitter from ten years ago, oh my god. We miss the street. So yes: What is written and how it is written matters because audiences are smart (damn, they are readers!) and anything they don’t remember can be googled in two seconds.
Comics editing is a complex profession if you have minimal morals and money and come alone to do more, utterly lacking in mystery. Anyone with a bit of ethics can make a mess: sustainability in the use of paper, how to reduce returns and combine them with proportional print runs, fair compensation to writers who engage in bribery percent, the educational and cultural value of print, the social economy, I don’t know, the list could be huge, how many in all Depends on what you want to enter the garden. If you don’t have any thoughts and the effects of your work bring you that, simply hire and bill the cheapest team. Maybe it’s a waypoint that’s right: It doesn’t need to be a bastion of all reason, but it isn’t some lazy idiot sweating everything behind a company logo, either. I mean. At least if you intend to survive. Because that’s the whole point, it’s not about being good or bad people, maybe just continuing to post some other day. At the end of the day, of the year, of the generation, what and how much is arranged is very important, because the history is published by the winners. Things like the defense of minorities depend on it. and democratic values. And let them know that the Nazis are scumbags. Fortunately, there are very few comics with worthless values. For now. Always be vigilant.
Comic book editing is a great job. It has lights and shadows, it has headaches, but it’s exciting. Wax and polish what will be posted, choose, care, choose the continent and the content. And choose the words. Stick to this idea.
Publishers are not on the working side of this “industry”, quite the contrary. Like it or not, we grill all the meat and play quarters, in many cases merit is not lacking, but the business side is doing it, looking for benefits. Those who benefit from added value. We’re part of the Untouchables Triad, with distributors and booksellers who are the means of production (it exists because I’m releasing it, look at me) and sales channels (that’s what it is because I sell it, see). IT). The labor power, the exploited class, are the writers where the rest of the chain does not exist. So you can outsource everything, move production (paper, copyright…) because it’s cheaper anyway (paper, copyright…) or contract here, pay part-time for six months of work and pretend that you’ve been doing that all your life. . No better than what clothing brands do in developing countries or the beach bar that can’t find a waiter. You find virtue in balance.
Therefore, editors and publishers of my heart, we must respect all living things that are part of this microcosm. And especially with the producers, artists, translators, technical staff, comic book staff. If I can be gracious, what’s the point of saying “I will not publish the work of these authors because they do not meet the quality standards”? Or something like, “This comic has been delayed because the signer didn’t do his bit.” Worse still, throwing balls into the stands with comments like, “This won’t work because you’re not behind it.” In the first case, by making excuses and pointing out as if you were in the schoolyard because it made you look like a bad person. Second, because you’re not just continuing to throw the stone and hide your hand, you’re also just giving your version of what happened (can I tell you a secret? All professionals in the field know each other and whisper in private networks, so you can even know the color of the panties behind the scenes). Third, because, as I said before, the readership is intelligent and knows how to separate the chaff from the chaff. Guess which pocket it fell into with that thinly veiled message.
With this background, it’s normal to have those who think that publishing comics are among those who fail or add scores of all subjects: they can’t write, they don’t know how to draw, they don’t know how to sell. , nor do they know how to do anything. He just has a rough understanding of how things work and his money to pay the bills (I hope he still has money). There is no fraud syndrome in this profession because by publishing a fanzine you already get the title (again, as long as you have the money). Today’s publishers are living examples of tomorrow’s futures. Calm down. Of course, there are unforeseen events, and luck does not always smile on the brave (it can start and never stop). Sure, you can be professional but informal. Of course you have to be transparent to the public. But you come home crying to arrange it.
