From previous attempts at organizing with Ulises Farinas and talks with @Denniskitchen92 about what happened with Krigstein back in the day, I’ve come to the conclusion that the following the obstacles must be overcome: https://twitter.com/litebox_info/status/1301520990762078208

...for starts, the audience is the wrong place to look in general. In film, the audience isn’t advocating for the workers rights, the unions and the guilds are.

Specificity: freelancers and contractors have different needs than cartoonists and while we could help each other, our needs and demands will be different. We have to recognize that.

For contractors/freelancers, getting enough high profile artists who work at large publishers to act in solidarity with artists in weaker positions is essential. And vice versa because....

Scabs and opportunists: the general willingness of artists to exploit advocacy or a strike to offer their labor with fewer demands to publishers or employers is a problem. Maybe the audience could organize around “disincentivizing” this behavior for artists.

And for artists producing their own IP, we’d need to convince the self sufficient that there’s value in organizing with those who are struggling. To that end...

... Put up or shut up ie. dues: Convincing all workers involved to put their money where their mouth is. I don’t see how this work can be done without pulling together collective cash and labor to help each other.

Finally while the fulcrum is labor not the audience, the audience (particularly the corporate comic audience) needs to be made aware of labor issues in comics not to mention labor issues in general. (It doesn’t help that Spider-Man is the only hero who has to work.)