The Process of Publishing

The Fear of Being Seen

~ Arthur Dudley

Today I stand at the precipice of my career. After years of studying, drawing and writing, with the knowledge of how and where I must proceed, and the excitement of beginning a journey I have spent a decade preparing for, I hesitate. Something holds me back. The fear of being seen.

I know I am not alone in this feeling, this anxiety of stepping out and declaring “Look at this!”. Perhaps it is the fear of harsh criticism, the unshakable perfectionism that prevents us from ever sharing our work, or the insecurity spawned from the online world’s fleeting, yet permanent nature. Yes. Yes to all of them. And for a creator in this digital age, the requirement to have an online presence can feel inescapable. To have a portfolio, promotional material and a network all rolled into one @ handle. These are just my musings over social media anxiety and how that creates a barrier between myself and the graphic novel publishing industry.

The distinction between comic books and graphic novels is often blurred, after all, they are practically the same thing, right? The difference may seem pedantic, but generally, comics run on a release via magazines, newspapers or publications, meanwhile, graphic novels tend to be the length of a typical novel and released as a singular book. Think of it as the difference between a TV show and a film. Rather than explore the long and detailed global history of visual sequential narratives, I want to understand what graphic/comic book publishing looks like today.

Illustrator and author duo John Chalmers and Sandra Marrs say that when it comes to the graphic/comic book industry “There isn’t one path to follow. As with many artistic or creative careers, each individual will have his or her own path, that they will have to create along the way”. (J Chalmers & S Marrs, 2013)

While this may be true in theory, in practice, there are two main paths. Self-publication and traditional publication. The former has a deep history with cartoonists, zines, and fandom culture. Some cartoonists self-publish their work on platforms such as WebToon, Tapas and GlobalComix (the latter hosts work from independent creators as well as big publishing houses) or at events such as ComicCon and other fandom-based conventions. Additionally, they may self-publish through websites such as Mixam and their print-on-demand PrintLink service, which print and deliver books for a fee.

The latter is very similar to other forms of publishing, you may send a query directly to a graphic novel publisher (or an inprint that specialises in graphic novels) such as SelfMadeHero, Dark Horse Comics or Nobrow. After carefully selecting publishers to contact by looking through their titles and interests, it’s time to write a pitch. This includes a short synopsis, relevant illustrations, the creative team, contact information and a document on copyright infringement (M Bidilică, 2022).

The next problem that arises is whether a publisher will even lay eyes on that pitch, or if it will be left to collect dust. That is where the agent comes in. Rather than contacting a publishing house directly, the agent handles the legal aspects and reaches out on your behalf. “The advantage to having an agent is that they have existing relationships with editors and publishers, which means they’re more likely to read agents’ submissions.” (K Woodman-Maynard, 2025) Finding an agent includes a query letter, specifications (projected page count, genre, target audience and more), a synopsis, sample art and a script/storyboard (K Woodman-Maynard, 2025).

Either way, having an online presence is key. As previously mentioned, social media allows us to build an audience who then may purchase our work (be it through traditional publishing or self-publishing), as well as offer potential agents and publishers an online portfolio and point of contact. Therefore, our online presence needs to cater both to our target audience while maintaining a certain level of professionalism.

On the internet, you have complete control over what you post, how you present yourself, and through which platforms. After that, you have no control whatsoever, how people perceive you, if people perceive you, the effects and the interpretations an audience may have, suddenly all that initial control means nothing, it was just an illusion. Holly Bray coaches small business owners and writes blogs on the topics of productivity, planning and entrepreneurship. In her blog post ‘How To Successfully Overcome Fear With Your Online Presence’, Bray proposes five actions to overcome one’s fear of having an online presence. The second action stuck out to me, ‘Remember Your Why’ in which Bray suggests not only figuring out ones overarching purpose for being online but understanding it deeper as well.

What is my why? Why do I want to be a storyteller – why does it matter so much to me? Because I believe that stories train our ability to empathize as though it were a muscle, one under constant threat of atrophying. Award-winning author, educator and entrepreneur Dr Emad Rahim is also a survivor of genocide. He told his story in the short film Against The Odds (2011) and in the theatre production Tales from the Salt City (2008). “Our stories are powerful tools that can be used to confront social problems. When a personal story is being shared we unconsciously create an emotional connection with the storyteller and empathize with their experience.” (Rahim, E. 2017) This applies to fictional stories as well, as explored in Paul J. Zak’s How Stories Change the Brain (2013). “Stories that are personal and emotionally compelling engage more of the brain, and thus are better remembered, than simply stating a set of facts.” (P.J Zak, 2013)

So while social media may be unavoidable for the modern artist, the anxiety that comes with it can be overcome. By remembering why. Allow the passion, the excitement of our purpose as creatives outmatch our fears of perception and failure. “You will never be able to create anything interesting out of your life if you don’t believe that you’re entitled to at least try.” (E. Gilbert, 2015)

 

Bibliography:

O’Brien Holmes, S. (2020). What’s a Comic and What’s a Graphic Novel? Writer and The Wolf. Available at: https://www.writerandthewolf.com/2023/10/21/whats-a-comic-and-whats-a-graphic-novel/ [Accessed 09/06/2025].

Chalmers, J., Marrs, S. (2013). Advice for Aspiring Comic Creators and Graphic Novelists. Metaphrog. Available at: https://metaphrog.com/2013/07/02/advice-for-aspiring-comic-creators-and-graphic-novelists/ [Accessed 09/06/2025].

Woodman-Maynard, K. (2025). How to Land an Agent for a Graphic Novel. Jane Friedman. Available at: https://janefriedman.com/how-to-land-an-agent-for-a-graphic-novel/ [Accessed 09/06/2025].

Bidilică, M. (2022). 30 Best Graphic Novel Publishers to Know in 2024: A Short Intro Into How to Pitch Your Graphic Novel. Publishdrive. Available at: https://publishdrive.com/graphic-novel-publishers.html [Accessed 09/06/2025].

Bray, H. (2017). How To Successfully Overcome Fear With Your Online Presence. A Branch of Holly. Available at: https://abranchofholly.com/blog/overcome-fear [Accessed 09/06/2025].

Rahim, E. (2022). How can we develop empathy through storytelling? LinkedIn. Available at: https://www.linkedin.com/pulse/how-can-we-develop-empathy-through-storytelling-dr-emad/ [Accessed 09/06/2025].

Zak, P. J. (2013). Mind & Body: How Stories Change the Brain. Greater Good Science Magazine. Berkeley: University of California. Available at: https://greatergood.berkeley.edu/ [Accessed 09/06/2025].

Gilbert, E. (2015). Big Magic: Creative Living Beyond Fear. New York: Penguin Group, Riverhead Books

Anatomy Class

~ August Diakaki

Fig. a; the Eyes as Observers

They have no time for fantasies

For gentleness, or doctoring

The ink is wet, the quill is sharp

No time to waste

 

[Alone. They are alone

and hiding. Quiet.]

 

Letter after letter is sent across seas

Of synapses raging,

Shrieking, like an out of tune harp

The Observers’ quill makes haste

 

[Their tethers groan. Rolling, rolling, in

their sockets – cornea swiping over flesh.

Pliant.]

 

There is no stopping, there cannot be

Details are consumed, translated, digested

More

More

There is always more

 

[Light hurts. They crave

gentleness. Colours explode in the dark.

More letters to send. This is

all they know.]

 

 

Fig. b; the Tongue as a Poet

It dances behind ivory walls,

Hedonism incarnate

Soft and squishy, but remembering its shape

Sliding back and forth, and back and forth

It is partial to sweet things;

That fizzling burst of honey,

The coating of chocolate,

To clinging cream

 

Bitterness shocks the organ

It curls, and drools, and spasms

And goes back for more

Maybe this time, the Poet will expect it

Maybe this time, it will not flinch

Perhaps

 

It pushes against its walls

Beats against them as it spins tales about empires

Ones that never existed

The Poet forms the shapes of words into the air:

‘Once upon a time,’ the Poet lilts

‘There was a maiden so fair.’

It brings fantasies to life

and the Observers seethe

 

SPICE CUTS IT

FRONT TO BACK

IT ASKS FOR MORE

DEEPER

CRUELER

IT PRESSES ITSELF AGAINST THE FLOOR

HARDER WITH EACH CUT

ITS BODY SWELLS, COATED IN MUCUS

 

Its relief is written about, reflexively expressed

Even should it know agony will return

It melts in its chamber,

preparing

waiting

waiting

to spin its tales

to dance again

 

 

Fig. c; the Heart as a Musician

One-two

It knows its cues

Three-four

It always has

Five-six

They are melted

Seven-eight

Into its flesh

One-two

Once in, twice out

Three-four

No time for rest

Five-six

No time for doubt

Seven-eight

It wants for naught

One-two

It simply waits

Three-four, five-six

For a message, for the next cue

Seven-eight, nine-ten

To change the song and sing anew

Eleven-twelve, one-two

The organs need no tuning up

Three-four, five-six

The Musician has made sure

Seven-eight, nine-ten, ele-

That the blood can sing throughout the pipes

-ven-twelve, thirteen-fourteen

It works predictably, endlessly

One-two, three-four, five-six

Only as strong as its beating drum

Seven-eight, nine-ten, eleven-twelve

And yet it cannot feel the irregularities

Thirteen-fourteen, one-two, three-four

The mistakes in the rhythm as it changes

Five-six, seven-eight, nine-ten

A skip, a stutter – the Musician is unfeeling to them

Eleven-twelve

Simply keeping

One-two

A steady thrum

Three-four

Of blood through veins

Five-six

Singing sweetly

Seven-eight

In tunes unheard

 

 

Fig. d; the Lungs as Partners

Spongy insides watered by red brine                  Nutrients filtered out from impurities

Filled with the world’s ironies                           Creating the perfect blush-wine

With smoke which chokes                                 A meticulous alchemist

And poisons the darling enologist                      Who a smooth transition is trying to coax

 

Moments of stillness are welcome                     Moments of stillness squeeze their roots

It is a good thing, to slow the drum                    They are an omen, a witch, a beldam

Under which shuddering flesh is caught,            Which clogs the throat with scum

To revel in the calm before the trumpet sounds   And kills the air’s welcome psalm

 

As the trumpet calls                                          When the winds return

Partners wither and burn.                                  It is as though every leaf falls

They have no mouth between them                    And every branch shrinks

To scream above the Musician’s waltz               As polyps constrict at the stem

 

Wine-dark seas flood roots again                       Partners come into bloom once more

Faux mesophyll layers swell around their core   Alchemy resumes in the fen

Nerves are steeled                                             Preparations are due

While irony fills them anew                              Against the winds to shield

 

 

Fig. e; the Liver as a Lover

Day by day, hour by hour

Minute by minute, second by second

Woes and sorrows, poisons and tinctures

The Lover examines them all

Feeling whiskey-smoke, clear rivers,

honey-thick assurances sweeter than any flower

 

Its ears burn and ache listening to, feeling all

the chaos unleashed upon it

by an unreachable muse

to whom a name the Lover cannot give

for nothing it thinks of could befit

the likeness of god behind a shawl

 

A vague understanding is all there is

Between Lover’s ears, beneath its skin:

Poison is worth it, pain is noble

That it is a good thing, to hang off the eagle’s bill

Should an unnamed god sing

For another burst of honey’s fizz

 

The Lover does not ask questions

As its body yearns and groans beneath immeasurable repetition

Beneath growing burdens which twist slothful hooks

into its scarred crooks

Questions do not honour the obligation

of preventing a god’s afflictions

 

Day by day, week by week,

Month by month, year by year

Poisons swallowed, tinctures tested, hedonism encouraged

The Lover a haggard hound, the Poet undiscouraged

Dog protects dear,

left with love to seek

 

 

Fig. f; the Nerves as Madmen

They are on fire (they’re burning {to cinders [to ashes]})

          Nothing to be done (this is how the world is{?})          no relief

Sandpaper peeling flesh under guise of eiderdown

Ice picks worming beneath fingernails (a cold motif)

                     They twitch and squirm and grow

And grow

And grow

Filling every inch

Screaming

Weeping

Begging for less

          Yet more

To varying success

 

Fire burns brighter (hotter {colder})

Some of them rejoice,

sinews grow                      muscles spasm

tremors shake their bodies

          ‘we feel’, they whisper, ‘we know, we know, we know, we think, we are’

Words ripple across an empty chasm

As shuddering hands grasp, fingertips bleed true

 

Locust swarms, toad plague           atop the threshold! A scar!

red, red streak clawed across eyes of millions

billions

                               The blind lead the blind

                                                                        Seeking input, seeking life

          sharing one madness-touched mind

Should I publish a poetry pamphlet? What they are and how to put one together. | Garye Maraboto for LL719 The Process of Publishing.

~ Garye Maraboto

As I finish my second semester of the Creative Writing MA at the University of Brighton, I find myself with around twenty poems that, this time last year, I didn’t know I was capable of producing. Previously, I thought of myself as a short story writer exclusively, but after completing a module in poetry with the brilliant John McCullough I am now apparently a poet as well! So, what do I do now with all the work that I’ve produced? 

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