Self Publishing with Lars Martinson: Parts 1-8 [of 8]

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Here it is folks (finally!) — the complete “How to Self-Publish a Graphic Novel in 8 Hard Steps” presentation as delivered by Tōnoharu creator and Xeric winner Lars Martinson at the 2010 Graphic Novel Writing & Illustrating Conference sponsored by the Loft Literary Center in Minneapolis, MN. Thanks, as always, for your patience.

I’d deliver my own “How to Video Edit and Serialize a Slide Show Presentation in 8 Hard Months” but it would just sound like whining.

Here’s a LINK to first installment with details on the program. You’ll find the videos for steps 1-8 below the jump.

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Guest Strip: Kevin Cannon

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drywalltzSt. Louis Park, MN — the childhood home of the Coen Brothers, Al Franken, and the illustrious Kevin Cannon.  Science has yet to conclude, but I suspect, that something in the water accounts for this rash of entertainment success stories.

Currently, Cannon co-runs a cartooning and illustration studio called Big Time Attic with his best pal and non-relative Zander Cannon.  BTA started in 2004 and was originally a 3-man show also featuring Shad Petosky.  BTA has since branched into two studios, BTA and PUNY Entertainment which is the go-to animation studio for shows like Nickelodeon’s “Yo Gabba Gabba!”

Recently, BTA churned out the highly acclaimed educational graphic novel The Stuff of Life: A Graphic Guide to Genetics and DNA.  The book was featured on NPR’s “Science Friday,” a program with which I’m sure you nerds are familiar.

Cannon’s first solo book, the Arctic adventure Far Arden, will be released by Top Shelf this May.  The book is something of a triple-threat, having previously been serialed online as a webcomic (which you can still read), a self-published 100-copy offset print job (which sold out instantly), and a properly-distributed professionally-promoted graphic novel (which you should totally buy).  It topped my list of favorite mini-comics released in 2008, and I suspect it will top more best of lists for 2009 as a Top Shelf graphic novel.  It’s a real ripping yarn.

Cannon’s clear thirst for adventure comes out again in this guest strip, which you can read just below the Cutty Sark — I mean — cut.

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Last week, Eric Reynolds was in town for the opening of MOMEntum, a retrospective of comic artwork from the MOME anthology he edits. He also curated the show, which is on display in the MCAD Concourse Gallery now through April 19th. For the opening, Reynolds enjoyed the usual rigors of being a guest of the MCAD comics program, which include an incredibly busy day of critiquing student work, lecturing a hall full of students and the public, and drinking the night away at Grumpy’s. You can read more about his experiences HERE. For some very nice photos of the MOMEntum gallery opening, check out Tom Kaczynski‘s set on flickr HERE.

I sat in on the lecture with the intent of posting brief quotes and highlights from the talk.  However, this was the first time I recorded a talk I planned to cover for the Cross Hatch rather than scribbling quotes as they came.  As a result, I found myself typing up…pretty much all of it.  This is why, only today do you get what you should have received a week ago.

Reynolds talked primarily about the recent history of comic books, with a focus on how today’s “graphic novel big shots” first cut their teeth by serializing their work, how today’s cartoonists might be at a disadvantage if they leap right into long-format stories, and concludes with a smart explanation of how MOME is filling a need for young cartoonists.  Mixing art with commerce can be an ugly thing, but Reynolds did a good job talking live on the issue.  As a result, I did very little editing, but it should be noted that I did some.  Mostly adding words or punctuation to transform run-on ideas into readable sentences. Also, I chunked the information into bits that seemed to convey an especially similar block of ideas, so you on the internet will have an easier time reading it.

I recommend that you take your time with some of the information, particularly if the phenomenon of “the rise of the graphic novel” interests you, and particularly if you’re an upstart cartoonist looking to jump right onto the graphic novel gravy train.

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