Hello Lifeline Comics readers! The big topic of this week’s newsletter is Work-for-hire! We’ll talk about our experience writing The Misadventures of Bombshell & Atomica - the NSFW 1950’s Superhero comic we were hired to write for Bad Bag Media - as well as some of
Another great newsletter, as always. LISA FRANKENSTEIN was already on my radar, and now I'm MORE interested. Although, with my life as it is right now, I'll probably wait for it to stream somewhere.
WORK FOR HIRE: Maybe I missed it, but I didn't really see you talk about your different approaches to work-for-hire vs creator-owned. I think you two might be in a unique situation because you're already used to dealing with another creative voice in the writing process (each other!) so when you add in the desires/directions of an editor, you're kind of used to that sort of give-and-take already. Unless the editor DOESN'T give-and-take, but just demands. Which doesn't sound like the case with BOMBSHELL/VERONICA ATOMICA. (BTW: Veronica Atomica is a MUCH better name than the generic "Atomica." Seeing her full name made me instantly 1000% more interested in the project.)
Speaking for myself, I had very few problems doing work-for-hire for Marvel and DC— but then, I wanted to work for them because I was already attracted to and in sync with the style of stories they told. I was not a rock-the-boat type. Of course, there were times they would insist on something I disagreed with, but I knew the deal going in and had very few complaints.
In creator-owned I have developed a very simple philosophy: whoever is most passionate about something should get their way. If someone just can't let something go, if it gnaws at them so they bring it back up later on— that says something to me, and I take it seriously. And I've been on both sides of that line— saying "you know that thing you said didn't work for you? I *really* think we should do it" and "You think that's the best way to go? Truthfully? Okay, then we'll do it your way." The story has ALWAYS been better because of it.
Kat & Phil:
Another great newsletter, as always. LISA FRANKENSTEIN was already on my radar, and now I'm MORE interested. Although, with my life as it is right now, I'll probably wait for it to stream somewhere.
WORK FOR HIRE: Maybe I missed it, but I didn't really see you talk about your different approaches to work-for-hire vs creator-owned. I think you two might be in a unique situation because you're already used to dealing with another creative voice in the writing process (each other!) so when you add in the desires/directions of an editor, you're kind of used to that sort of give-and-take already. Unless the editor DOESN'T give-and-take, but just demands. Which doesn't sound like the case with BOMBSHELL/VERONICA ATOMICA. (BTW: Veronica Atomica is a MUCH better name than the generic "Atomica." Seeing her full name made me instantly 1000% more interested in the project.)
Speaking for myself, I had very few problems doing work-for-hire for Marvel and DC— but then, I wanted to work for them because I was already attracted to and in sync with the style of stories they told. I was not a rock-the-boat type. Of course, there were times they would insist on something I disagreed with, but I knew the deal going in and had very few complaints.
In creator-owned I have developed a very simple philosophy: whoever is most passionate about something should get their way. If someone just can't let something go, if it gnaws at them so they bring it back up later on— that says something to me, and I take it seriously. And I've been on both sides of that line— saying "you know that thing you said didn't work for you? I *really* think we should do it" and "You think that's the best way to go? Truthfully? Okay, then we'll do it your way." The story has ALWAYS been better because of it.
KK
Good point, we'll have to do a follow up one of these days to go into the nitty gritty even more!
And thank you for sharing your valuable experience as well! -Kat