Comic Lab

What belongs at the beginning of your book? Brad and Dave discuss whether an anti-AI statement offers creators any meaningful protection, break down the information that belongs on a copyright page, and explore the many ways cartoonists can approach the first page of a story or chapter. The best opening isn’t determined by a universal rule—it should establish the right expectations, reflect the story you’re telling, and give readers a reason to keep going.

Topics include:

Skunk Watch 2026

Do anti-AI statements offer creators legal protection?

Why a standard copyright notice may already cover AI training

The difference between creating, declaring, and registering a copyright

What information belongs on a copyright page

Copyright and trademark ownership

When to use ™ and when to use ®

Print location, printing numbers, and edition information

ISBNs and Library of Congress numbers

Combining copyright, title, credit, and dedication pages

Should a comic begin with a splash page?

Does the main character need to appear on page one?

Using the opening page to establish tone and make a promise to the reader

Why different stories require different kinds of openings

Brad’s two-page system for beginning a new Evil Inc chapter

Creating separate covers for SFW and NSFW editions

Using chapter openers as archive markers, promotional art, and production buffers

Dave’s approach to prologues, chapter openings, and world-building vignettes

The difference between the first page and the first chapter

ComicLab LIVE at the National Cartoonists Society Reuben Awards

You get great rewards when you join the ComicLab Community on Patreon
$2 — Early access to episodes
$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.
If you'd like a one-on-one consultation about your comic, book it now!
Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

Cartoonist and author Dylan Meconis joins Dave Kellett to discuss marketing middle-grade webcomics, working with fans who offer to translate your work, and finding the right balance between control and accessibility. They also share practical advice for cartoonists creating an autobiographical avatar — including how simplification, posture, clothing, line quality, and tone can make a character feel unmistakably like you.

Topics include:

Marketing and monetizing middle-grade webcomics

Reaching young readers through parents, newsletters, libraries, and local events

Using print editions, zines, and snail-mail clubs to complement online comics

Deciding whether to permit fan translations

Maintaining quality control with beta readers and creator-hosted translations

Balancing copyright concerns with the desire to reach new audiences

Designing a cartoon version of yourself for memoir and autobiographical comics

You get great rewards when you join the ComicLab Community on Patreon
$2 — Early access to episodes
$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.
If you'd like a one-on-one consultation about your comic, book it now!
Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

This week, Brad and Dave talk about the best business model for longform webcomics — and why putting your comic online for free is still the strongest way to build a sustainable career. Also: Kickstarter’s late-pledge and pledge-manager tools, the difference between market research and mirror research, and how to keep going when your first posts get nothing but crickets.

ON THIS WEEK'S SHOW...

Dave’s backyard skunk problem may or may not require Super Soakers

What’s the best business model for longform webcomics?

Why fear of theft can stop creators from building an audience

Why free-to-read comics remain the best foundation for a comics business

“First comes the crowd, then comes the funding”

Why readers who enjoy your work online are often first in line to buy the book

How delayed access and early-access posts fit into a Patreon strategy

Why exclusive side stories can work better than paywalling your main archive

Avoiding physical rewards on Patreon and Substack

Dave will be at San Diego Comic-Con booth 1228 with free ComicLab pins (use the super-easy mnemonic: 1BAT) 

Kickstarter late pledges and Pledge Manager are bringing in real money

Why charging shipping closer to fulfillment can be safer

Market research vs. mirror research

How to estimate Kickstarter shipping more accurately

What to do when you start posting online and get “crickets”

Why seven posts is not enough time to expect traction

Reframing early work as building an archive for future fans

Social-media advice for giving readers a reason to engage

Why success in comics is a marathon, not a sprint

You get great rewards when you join the ComicLab Community on Patreon
$2 — Early access to episodes
$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.
If you'd like a one-on-one consultation about your comic, book it now!
Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

Dave Kellett returns from his first-ever college reunion with a full heart — and a renewed appreciation for old friends, running jokes, and the occasional listener washing dishes through the cold open. From there, Brad and Dave dig into one of the trickiest parts of writing comics: how much work should the reader have to do to “get” the punchline?

Using Brad’s motorcycle-jump-over-a-ravine metaphor, they discuss why wider joke “canyons” can create bigger laughs, why shorter jumps can feel merely “technically funny,” and why the best cartoonists learn how to build strong launching ramps while understanding that every reader brings a different landing ramp.

Also in this episode: How to show music in a silent medium, why semi-realistic comics should still embrace comics iconography, a quick San Diego Comic-Con update, Bluesky’s expanded image carousel, and why obsessing over analytics can become a form of creative procrastination.

Topics covered in this episode include:

Writing punchlines that require inference from the reader

Brad’s “motorcycle jumping a ravine” metaphor for humor

Why wider joke gaps can produce bigger laughs

The difference between “funny” and “technically funny”

Why some jokes land for one reader and miss for another

How audience literacy, life experience, and context affect comedy

Why “it took me a second” can be a feature, not a bug

The danger of making every joke too obvious

Why memorable comics often take bigger comedic swings

Why being someone’s “top three cartoonist” matters more than broad mild approval

The difference between newspaper-era comics and webcomics-era audience building

Dave’s San Diego Comic-Con booth update

The free ComicLab pin for listeners at Booth 1228

Bluesky expanding post image limits from 4 images to 10

How the new Bluesky carousel can help sequential artists

How to communicate piano music in comics

Why floating music notes are not “too cartoony” for semi-realistic comics

Using established comics iconography instead of reinventing the wheel

Why comics can suggest music but rarely reproduce the experience of music

How manga and anime use visual language more freely

Using musical notation as a visual “spice,” not the whole dish

Why analytics can become creative avoidance

Whether it matters how quickly a comic reaches its maximum views

Why “magic number” thinking can distract from improving the next comic

Why creators should spend less time dusting bookcases and more time making better comics

What's better? A simple gag or one that requires the audience to think?

UPDATE: Comic-Con International booth 1228

Update: Bluesky update... 10 images per post!

Indicating music in a realistic comic

How long does it take to achieve maximum views?

You get great rewards when you join the ComicLab Community on Patreon
$2 — Early access to episodes
$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.
If you'd like a one-on-one consultation about your comic, book it now!
Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

This week, Brad and Dave discuss one of the easiest traps for independent creators to fall into: Outsourcing important business or creative decisions to reader polls. Audience feedback can be useful, but when creators ask readers to steer decisions about Patreon tiers, Kickstarter rewards, publishing strategy, or creative direction, they often get noisy, contradictory advice that can lead them away from their own best judgment.

Topics covered in this episode include:

Why readers are experts in consumption, not creation

The danger of asking your audience to make business decisions for you

Brad’s cautionary tale from his early days as a newspaper designer

Why negative comments carry more psychological weight than positive ones

The difference between listening to readers and asking readers to decide

Why feedback should be treated as a compass, not a steering wheel

How polling readers can create factions and resentment among backers

Why creators should rely first on their own instincts, goals, and judgment

The value of seeking advice from trusted peers and experienced professionals

Why no single expert — including ComicLab — should be treated as the only authority

Dave’s hierarchy of advice: Heart and mind first, peers and pros second, passive reader feedback third

Erika Moen’s thoughtful counterpoint about social-media assistants

How a social-media assistant can protect creators from harassment, criticism, and burnout

The difference between a social-media assistant as a partner versus a replacement

Plans and possibilities for future live ComicLab events

Dave’s San Diego Comic-Con appearance at Booth 1228, including free ComicLab pins for listeners

A listener question about “boomer humor” and whether it should be taken as an insult

The difference between old-fashioned joke structure and out-of-touch subject matter

Why traditional setup-and-punchline comedy still works

How Reddit comments often reflect meme culture more than thoughtful criticism

When repeated criticism might be worth filtering for a useful grain of truth

Why creators should protect their confidence while staying open to thoughtful feedback

You get great rewards when you join the ComicLab Community on Patreon
$2 — Early access to episodes
$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.
If you'd like a one-on-one consultation about your comic, book it now!
Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.