Another email from a fellow creative from a different industry who 'loves' my art [but fails to mention any specific project] and wishes for a 'collaboration'. Surprisingly, there is no budget or suggestion of payment. Just 'exposure'. 1/

It's hard enough making a living doing art without this relentless 'we're all creatives' line. If I wanted to work for free then I would concentrate on my own projects. Also, creating art solely to promote a client's own thing is hardly a collaboration. 2/

Industry rates are low or stagnant across the board. My standard page rate from the Big Two remains the same as 1996 with the majority of publishers offering 2/3 or less than that today. Or, work for free and expect 'back-end' which never materialises. I make more teaching. 3/

So, when companies, clients and fellow creatives approach with a 'collaboration' that is so skewed and unfair then it's right to pass. Concentrate on your own projects or work with those that at least play fair. I have had some colleagues pay more than industry for work. 4/

There are however some good decent paying companies out there. Most pros know who they are. We also know who pays low rates and/or fails to pay timely. Ask around and make sure you are not being exploited. That AAA writer or cover artist is not on the same rate as you. 5/

I guess what I'm saying is... know you're worth. You can work for free if you want to but make sure it is a level playing field. Don't be exploited by industry pleading low budget all the time. There is always money for top talent. They need to be more considerate to others. 6/

After 30 years working in an industry I love for the majors with top writers, I feel less connected to the daily routine. There are some wonderful exceptions [editors, writers, companies] but it breaks my heart to see many aspiring artists exploited so early in their career. 7/

I have passed more jobs the last few years than taken on. Clients look at work A and ask for same. Work A takes a day minimum but the rate they offer is less than a fair hourly wage shelving books [I worked in Borders in 1998-200] They don't understand. It's my full-time job. 8/

I am a lot happier now than I have been in years doing my own thing. The occasional job here and there helps keep me relevant but comics is hard work. It could be easier and healthier if publishers played fair and stopped exploiting talent with low rates and poor contracts. 8/

It's also quite liberating not being answerable to a publisher to be able to speak one's mind. So many colleagues work in fear of upsetting a publisher or highlighting bad behaviour or corporate ethics. You are literally one email [no calls] from losing your job and livelihood 9/

Anyways. Like any industry, it's not all bad. There are good people out there. I have made good friends with publishers, editors, writers, artists, colourists and letterers over the years. My advice to aspiring talent is 'ask around'. Be aware of who you are working with. 10/

Okay, some final advice for now

Join artist groups on social media. Ask fellow colleagues for advice. Message each other. Keep publisher specifics private online to be safe from repercussions. Shared experiences will help. So will a union but that's a WHOLE different thread. 11/