Cocoon Year: Weeks 11 & 12

Cocoon Year: Weeks 11 & 12

Digital art of a teeny tiny baby monarch butterfly caterpillar chowing down on its own eggshell. The caterpillar stands on microscopic milkweed fibers and lifts the eggshell overhead, chomping away. The caterpillar is light peach in color, with a black head, black legs, and black spikes running down its body in rows. Its butt is facing the viewer. The eggshell and the milkweed leaf are seafoam green. A watermark in the corner reads: http://hmcgill.art

Cocoon Year: 2nd Half of March Summary
This is the week I completed all of the art and writing for my pitch packet…at least, completed it enough to send it out. In that sense I’m emerging from my little microscopic shell, and now I have to focus on eating it.

 

 

Cocoon Week 11

This week was spent wrapping up additional character and prop art for my packet, as well as decorative borders to make it look more medieval. As I got closer and closer to the end of the pitch packet, it became harder and harder to work on. The next step after this is revealing it to people who don’t know me well, and who have no reason to love this on sight.

I went through all my writing, on both the short synopsis and the long synopsis, and added more to them where necessary. Lebeau’s new backstory has evolved into the tale of a saint with two skulls and an abandoned tomb. I scanned more through the book on serfdom and slavery, but didn’t find a whole lot more that would be specific to Lebeau’s case. I am also making an ‘historically inspired’ vs. ‘historically accurate’ decision to assume that if Lebeau can live in Paris and prove themself a good citizen, they’ll be free from tending an old tomb for the rest of their days. I don’t know specifically what law in Paris existed to accommodate this. Since it’s such a melting pot of a town I assume that King-appointed leadership might decide to protect its citizens, no matter where they came from.

The only Capesian law I do know about is one protecting a widow’s right to keep her late husband’s land. This is not true throughout Europe as far as I can tell, but what was important about this law is that it indicates the people of the time were able to tell when someone in their society was vulnerable. Were they able to consistently enforce such a law? Now there’s the trouble. Not really, I would imagine. Just an absolute dumpster fire of dueling power structures and lack of resources going on there. While crime faced fewer negative deterrents I still have to believe that most people wouldn’t actively try to hurt each other for no reason. Otherwise, humanity wouldn’t have persisted for 800 more years.

Anyway! Most of this is guesswork that slants towards making a dramatic story. If I must jump to a conclusion then let it be an entertaining one. I only worry about how much historical information people tend to absorb from pop culture and entertainment media. There’s also the mistaken idea that ‘more suffering = more real’ and I’m hoping that some of Warlock’d’s core themes successfully point this out.

On that note, it reminds me of the story of a nasal spray vaccine that failed. I don’t know about you but I would love to get a nasal spray vaccine. However, people didn’t believe it worked because it didn’t hurt enough. I think the same attitude has been bleeding into fantasy and historical fiction reader tastes. If characters aren’t suffering enough, then it doesn’t feel real enough. I myself enjoy a good round of character-obliterating pain, probably far more than my intended audience would enjoy it, but at the end of the day any sort of conflict can be relatable as long as it’s punched-up enough.

I had to return the book on slavery half-read, because interlibrary loans are tough like that.

Cocoon Week 12

I began this week with a couple of query letter drafts and a final readthrough of my full synopsis. I think that’s all finally ‘there’. An actual story with stakes and a conflict and rising action and falling action and themes.

I really do not want to just…leave Warlock’d alone while it’s percolating. Do I have to? Maybe it’s time to noodle on an Amphiox sequel about adult Lyrat’s day job. Or, I could work on my middle-grade dinosaur pitch, or my adult romantic comedy/abominable fancy mashup set in an Italian Renaissance-ish fresco guild.

Yes, to be honest, it’s probably time to pull up a backroom project and examine that, then leave my schedule open for suggestions and edits on my pitch if I happen to get feedback.

I’ve also been dabbling more with pixel art and it’s become an enjoyable part of my day. Crowdsourced art direction is chaotic and not always helpful, but I like talking to people about craft. Every now and then someone absolutely ‘gets it’ and even if things get nitpicky it’s a lot better than being ignored. I call this ‘pixel art brain rot’ but Devin thinks it’s fine that I’m doing this.

I chose the first agent to query. A friend stepped in to help me when I was struggling with a query letter. They rearranged my sentences and it was magical of them. I uploaded all my stuff to a portal and clicked ‘submit’ for the first time. I’m not quite sure what to expect because my packet was designed a little bit differently from what the agent specifically wanted, but I also feel like I have more than what the agent usually requests.

In other news, I pitched to another Sequential Artists Workshop anthology (Troubled Histories). They’re not the type to turn pitches away so now I’m writing something about locks. Here’s how my editing is going with Karlo and Emma:

“Locks weren’t very good in the 12th century.

  1. There were few ways to combat thievery: You could pile all your valuables into one spot, making them more difficult to remove, or hide them, or petition your local ruler to do something about thieves.
  2. As far as security went, it was largely theatrical. Most castles never saw battle. Their size and shape implied fortification, which was enough to keep most thieves away. However, castles weren’t built on any foundation so most of them could be dismantled by a determined person with a shovel.
  3. Imprisonment in these structures is expensive and reserved for prisoners of note, not random misbehaving commoners.
  4. Therefore, you get records of inhumane punishments for thieves — mutilation or death — because there’s no other way to permanently deal with a thief. Even banishment wouldn’t necessarily keep a sentenced thief away.
  5. Today, locks are commonplace, and we don’t kill people for thievery. Even though mass production of locks means people can perfect techniques for opening a house uninvited, the very presence of a lock is enough to keep most intruders away, just by communicating privacy.
  6. However, we aren’t looking at better ways of dealing with thievery by dealing with root causes (poverty and mental illness)… we’re investing in prisons instead, which are just as expensive as they were in the distant past.
  7. Perhaps prisons are like castles, in that they look intimidating but can be dismantled by new ‘locks’, such as universal basic income and a wider availability of mental health services.

So, it’s an overly generalized view of locksmith/legal history and no citations at all. Maybe too complicated and in need of simplification.”

To which Karlo has already responded with the following advice, and I’m paraphrasing pretty baldly here:

 

 

“Please, H., you’re killing us. For the last time, do not do additional research.

Just make the damn comic.”

 

 

However, joke’s on him. I already requested an interlibrary loan of a book on locksmithing. I was meaning to look into it anyway!

I also think I may release the full version of my other anthology submission, from In the News, Again, on social media. Here it is in full:

Digital art comics page. It has three panels depicting how my 2019 Geek Girl Con went. Panel one:

Page two of a comic done with a digital artstyle. It has four panels and takes place in a lime-green convention hallway. Panel 1: Me and Devin rush up the escalator with all my con merchandise in tow. A graphical badge overlaid on the panel indicates the year and date: Nov. 5th, 2022. Me: Is anyone even gonna show up? Panel 2: I'm wandering out from my table to pet a live iguana perched on someone's head. They're using a motor scooter to get around and their helper is nearby. The hall looks extremely empty and tables ar every far away from each other, blockaded by black curtains. Narration: I sit here for ONE eight-hour day and I'm not sure what sales will be like... Me: Wow! I love your iguana! Narration: I make $600. Panel 3: Me on a simple pea-green background, holding cash in hand. Me: Neat! Panel 4: Me on a dramatic explosion background while I grip the money fiercely. I look dismayed. Me: Wait, what?!

 

 

I think I can do a lot better than this for Troubled Histories. I’ve already refined my lines to be a lot thinner. The coloring is more deliberate, clean. Weirdly, pixel art has opened my eyes to a lot of cel-shading tips, too. I’ll be sure to use them liberally in my comics from now on.

 

To Do Next Week:

  1. Contemplate which gear to switch to while I wait for word on Warlock’d.
  2. Roll up another query letter or two, depending on vibes.
  3. Work on my locksmithing comic.

Care to read more?

Cocoon Week: 13 & 14

Cocoon Week: 13 & 14

Cocoon Year: March and April SummaryThere was some meandering and then I came to a conclusion by the second week. I will continue treating Warlock'd like it is a webcomic that I am developing in spite of being out on pitch. It's a risk but I will be fine.    ...

Cocoon Year: Weeks 11 & 12

Cocoon Year: Weeks 11 & 12

Cocoon Year: 2nd Half of March SummaryThis is the week I completed all of the art and writing for my pitch packet…at least, completed it enough to send it out. In that sense I’m emerging from my little microscopic shell, and now I have to focus on eating it.    ...

Cocoon Year: Weeks 9 & 10

Cocoon Year: Weeks 9 & 10

Cocoon Year: 2nd half of February, and a Bit of March SummaryThis week became complex for me. I zoomed through my client work and started approaching the end of the pitch packet. As always happens when I have a complex project close to completion, I started slowing...

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In the News Again

In the News Again

Photograph of the "In the News, Again" comics anthology in print, lying on some vintage pebbly sidewalk somewhere. I don't know why but I'm always photographing stuff on random surfaces near my house. I guess I just get too scared of the outdoors to proceed much further.</p>
<p>The anthology itself is a duotone, half beige and half neon lime green. The text is set in big block letter blue, with thick wavy serifs. There is a photograph in the center of the cover. It depicts a drawing of an adult woman kneeling next to a photo of a little girl. Hand-written in two speech bubbles: "I love you" and "Don't ever forget it!"

In the News, Again: A SAW Nonfiction Comics Anthology
Recently I had the pleasure of joining a nonfiction anthology, In the News Again, edited by Emma Jensen and Karlo Antunes.

Digital art comics page. It has three panels depicting how my 2019 Geek Girl Con went. Panel one:

Above is the first page to my small entry. I wanted to do a comparison of attending a comics convention pre-pandemic vs. post-pandemic. I signed up for a two-page entry because I don’t have much experience with anthologies and did not want to over-promise. I remember thinking, as I created this incredibly short story, that I was slow and awkward and shouldn’t be making comics.

Then I realized…You know what, not everyone commits to 2- and 3-pt perspective in their comics. And not everyone puts crowd scenes in multiple panels. There are some things that just take time to draw.

To read the second (and final) page, consider buying a copy of the anthology here. Though my contribution is lighthearted and harmless, the anthology contains “stories that explore themes of sex, death and grief, mental illness, suicide and abuse, racism, slavery, surgery, trauma, animal cruelty, and violence.” As such I can only recommend it for adult readers.

I may release the second page to read for free at some point in the future, but for now I’m keeping it locked away in hopes of tempting book sales. Here are some other samples from the anthology, graciously provided by book authors:

Digital art of a page from the nonfiction comic, "Super-Hero Grandpa", by Aman King. It depicts the Phatnom, his secret hideout, his dog sidekick, his fashionable alter ego attire, his ancestral wealth, and his readership.

“A 6-page non-fiction comic about Lee Falk’s The Phantom (the world’s first costumed crimefighter in comics) and the ‘Phan’ community. I interviewed multiple fans, who come from different walks of life, to get their personal take on the character. The most creative aspect for me was depicting people’s real-life memories based on my own imagination. The best compliment I received was from an interviewee who said my ‘deviations from reality’ were a great improvement on the real thing!”
~ Aman King

Page of Adrean Clark's comic. It's a vignette of various buildings in a sunset tone. The overlaid dialogue reads like this: The Way Above is a meditative tour with Adrean through her memories of growing up Deaf and walking the Saint Paul, Minnesota, skyways as an adult. It illustrates the complexities of the city’s unique pedestrian route. Also available as a printable zine at https://ko-fi.com/s/ce2f357eeb“.
~Adrean Clark

Crop of a single panel from a comic about frogs. This is a muddy-looking brown panel done with something that looks like crayon or pastel. It features a forest in the background, with a human head poking up in the foreground. The person has scraggly brown hair and looks to their left. Something deep in the background goes,

“The Secrets of Mud is about the author’s discovery of a frog orgy in the middle of the woods on a rainy February. From the congregation of birds around the site to the sounds of the frogs diving beneath the water at the first sign of danger, the discovery is not obvious but pieced together from details scattered through the forest.”
~Mae Wilson

DIgital comic page depicting hands doing various tasks: Sculpting a bowl, weaving a basket, hammering a nail, chopping a cucumber, and gripping a handsaw. They are all contained in organic-looking blobby panels with soft pastel colors. The margins are black. Text on top and bottom reads as follows: “Thinking of Thumbs is Lynn’s reflection on MIchel Montaigne’s essay, ‘Of Thumbs,’ written in the 1500’s. She describes his fascination with the destructive power thumbs endowed on humanity and wonders why a Renaissance thinker overlooked the thumb’s contribution to civilization.”
~Lynn Bernstein

Photo of the back of the anthology in print form. Credits include: Featuring work by Emil Wilson, Adrean Clark, Maja Milkowska-Shibata, Jim Hamilton, Lynn Bernstein, Shannon Brady, Jeff Klarin, Walter Hudsick, Mahour Pourghadim and Sadaf Faghihi, Olivier Ballou, Maia iotzova, Cassie Seiple, Virginia L Small, Deanna Feinstein, Amelia Brunskill, Maria Fitzgerald, Jeannie Mecorney, Ken Harris, Mae Wilson, Emily Zilber, Justin M. Carroll, Don Unger, Donna Druchunas, Aman King, H. McGill, Darlene K. Campbell, Juliette Yu-Ming Lizeray, Siobhan Orient, Jamie Scandal, Janice Goldberg, Naters, and Laura Garzon. Text at the bottom reads

Clicking this button will take you to a third-party shop.

All proceeds from sales of In the News, Again go to Sequential Artists Workshop,
a comics school devoted to affordable arts education.

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Cocoon Week: 13 & 14

Cocoon Week: 13 & 14

Cocoon Year: March and April SummaryThere was some meandering and then I came to a conclusion by the second week. I will continue treating Warlock'd like it is a webcomic that I am developing in spite of being out on pitch. It's a risk but I will be fine.    ...

Cocoon Year: Weeks 11 & 12

Cocoon Year: Weeks 11 & 12

Cocoon Year: 2nd Half of March SummaryThis is the week I completed all of the art and writing for my pitch packet…at least, completed it enough to send it out. In that sense I’m emerging from my little microscopic shell, and now I have to focus on eating it.    ...

Cocoon Year: Weeks 9 & 10

Cocoon Year: Weeks 9 & 10

Cocoon Year: 2nd half of February, and a Bit of March SummaryThis week became complex for me. I zoomed through my client work and started approaching the end of the pitch packet. As always happens when I have a complex project close to completion, I started slowing...

Want to chat about this?