Webcomics have a long history of being solo creator-run enterprises, operating independently of any sort of larger publishing structure. As Webcomics have risen in popularity, these fields have begun to overlap. Seth Fishman, a literary agent and vice president of the Gernert Company , joins us today to discuss how literary agents can be used to bridge the gap between solo creator and professional publishing.

1:45 What do literary agents do?

Agents mainly work to protect client interests in any sort of contract negotiation or similar discussion while also searching for/identifying opportunities for clients. They help you identify and fulfill your dreams!

3:20 How does the typical agent/comic artist relationship start?

With novels, you write the book, then you know to look for the agent. In the webcomic world, you begin with establishing your own platform and building that up before you can garner interest from agents and publishing companies.

Agents can find creators through word of mouth, or by trying out different webcomics and stories and seeing what sticks with them before reaching out to the creator.

6:50 What are some common misconceptions about what agents do and don’t do?

Myth: Agents are often assumed to be parasitic and only in it for the money. Or are only an extra cost that provides no benefit. Truth: Their costs are compensated through any contract the agent establishes. And they can provide insight and experience to help you get better terms in any deal on the table.

Myth: Agents only work with one place Truth: Agents work for you. They are your ally and there to answer questions, bounce career ideas off of, and get advice from. While they may be affiliated with a publishing company, they are not limited to helping you only with that company.

11:30 What does an agent specifically do for webcomics? Do you represent The Webcomic, or is it more about representing the creator and mostly handling their other projects and pitches?

This can depend on the agent. Some are project driven and some prefer to work with the creator throughout their career. Any company that publishes your work will obtain rights to the project and can use those rights to find more opportunities and selling rights abroad more easily than you could do yourself. They can connect you to merch agents, movie or tv show agents and companies.

24:30 What kinds of habits should creators be cultivating if they want to get the most out of working with an agent? What are some best (or worst) practices?

Be willing to ask the questions that you have. Keep educating yourself and keep yourself in the loop.

27:13 What should a prospective client have before approaching an agent?

Having a webcomic and having a sizeable audience can make it easier to get agent and publisher attentions. But most importantly, you need to make sure your art, your writing, and story are well done and polished.

36:45 How many creators do you represent at any given time?

39:04 What do you find the biggest challenges are when representing webcomic creators?

There’s not a huge amount of data on webcomic publishing so it makes publishers wary of taking on new projects. Publishers may also not like that the webcomic is available for free online when they are intending to publish it for money.

----

Episode Release Date: February 22, 2023

Episode Credits:

Christina Major (@delphina2k) - she/her, sombulus.com

Ally Rom Colthoff (@varethane) - she/they, chirault.sevensmith.net wychwoodcomic.com

Guest Host: Seth Fishman - he/him, sethasfishman.com

----

The Intro "DO IT (feat. Shia LaBeouf)", and the Outro "It's Good To See You Again!!", both by Adrianwave, have been used and modified in good faith under the Creative Commons Attribution-Share Alike 3.0 Licensed. Edits include: Fade IN/OUT, and a repeat added to the beginning of "It's Good To See You Again!!". For more information on this creative commons use, please reference https://creativecommons.org/licenses/by-sa/3.