Posts Tagged ‘creator rights’

Artists Health Insurance

Tuesday, January 13th, 2009

Reposted from old blog. Please bookmark.

Freelance artists often go without health insurance. They have no employers to provide it, or claim they cannot afford it.

Here’s a great online resource for artists and other self employed people seeking health insurance. Just click on the map of your state, and a comprehensive listing of available organizations and insurance options will be made available to you. This goes for artists of all kinds, but also applies to low income families, the disabled, etc. Please bookmark this.

In the last week, I have read a number of creators and people in the industry posting ill-informed items about the lack of health insurance options for the self employed and for creators in particular. One woman flatly stated that the only reason she had never quit her job and started her own company was because she knew self employed people could not get insurance. This is simply false.

As a self employed person, I have never been unable to get health insurance, and when I started out, was only paying about $134 a month. For those who fear giving up insurance while just leaving school or a job, there are companies that also offer affordable short term health insurance that can run from 30 days to 6 months.

Don’t think you can’t afford insurance and then give up seeking it without even trying to look though this site.

Some organizations offer a flat health insurance fee to ALL members. I used to belong to the National Association for the Self Employed and all members paid the same rate. I have read many complaints about the NASE plan, and left them many years ago, having no complaints myself.

I got an even better deal with Anthem/Blue Cross Blue Shield for comprehensive health care, including dental insurance, for $200 a month.

I had no problems with the NASE, I simply get what I need elsewhere. The Graphic Artists Guild suited my needs more. I recommend you seek out both and make your own decision. You may want to belong to both. I did for awhile.

Just go to the insurance resource website and click on the state in which you live. You will then see a long list of options. Don’t just study one category such as “graphic artists”. Also look under “self employed”, “visual arts” and other categories. You’d be surprised how many categories may apply to you, even when you live in places you may think don’t have resources that suit the needs of creators. EVERY state has resources for you.

Since I live on a farm, if need be, I could also qualify under several categories for income assistance and insurance for farmers. So, be sure to check out a variety of categories.

Check out the United States Federation of Small Business, which comes with many benefits, yet costs only $100 to join. The Graphic Artist Guild health plan is administered, in part, through this organization. By all accounts, this is a good plan. I just ran the numbers for a friend who was sure he could not get health insurance, and one inquiry gave us a quote of only $145 a month, easily within his budget. That’s less money per month than he spent going to San Diego Comic Con in one fell swoop, that’s for damn sure.

Over half of all Americans get some kind of government assistance. They may be businesspeople, or farmers, or low income families. Regardless, you pay taxes for a reason. This is your money. There are many government assistance plans listed on the site. Please avail yourself of these services, if you genuinely need them. That is what they are there for, and you paid for them.

Don’t assume that because you are low income, you don’t have resources.

By the way, don’t expect insurance to pay for every case of the flu and every little illness. This kind of thinking keeps premiums high. Go for the absolute HIGHEST deductible you can afford. Insurance is supposed to cover you in case of catastrophic illness. You are paying that premium in the event that someday you are going to have a major case of cancer or something.

Try to keep your deductible high and then sock the extra money you save on the premium every month away in a money market plan or some other savings vehicle. You will have a better return in your insurance investment that way. By taking a high deductible, I save about $75 a month, or $900 per year. $900 a year more than covers whatever out of pocket I may have, and in ten years at 9% compound interest, that’s a savings of $16,828. That’s more than three times the size of my deductible, so on the off chance I do get a major illness and need out of pocket cash, I will have it, as well as a reserve.

Also, look into a health savings plan. I did not know about these until recently, and they were signed into law in 2003. These are like IRA savings accounts for people who opt for low cost, catastrophic insurance plans, and back them up with these savings accounts. The deposits are tax free, and as long as the funds are used to pay for your qualifying medical expenses, they remain tax free. If you are a relatively healthy person at this time, these are a great option to consider.

There are different considerations for the employed and the self employed, so do some research.

What Is a “High Deductible Health Plan” (HDHP)?
You must have an HDHP if you want to open an HSA. Sometimes referred to as a “catastrophic” health insurance plan, an HDHP is an inexpensive health insurance plan that generally doesn’t pay for the first several thousand dollars of health care expenses (i.e., your “deductible” but will generally cover you after that . Of course, your HSA is available to help you pay for the expenses your plan does not cover.

For 2005, in order to qualify to open an HSA, your HDHP minimum deductible must be at least $1,000 (self-only coverage) or $2,000 (family coverage). For 2006, the amounts increase to $1,050 and $2,100, respectively. The annual out-of-pocket (including deductibles and co-pays) for 2005 cannot exceed $5,100 (self-only coverage) or $10,200 (family coverage). For 2006, these amounts increase to $5,250 and $10,500, respectively. HDHPs can have first dollar coverage (no deductible) for preventive care and apply higher out-of-pocket limits (and co pays & coinsurance) for non-network services.

But remember, a self employed person who is paying out of pocket for their own health insurance enjoys a 50% tax deduction. Be sure to calculate your tax savings as a deduction from the cost of your insurance.

For example, if you can’t afford $200 a month, remember that $100 of your insurance payment is not taxable. Say you are being taxed at 20%. That’s $20 a month. So your actual insurance cost is only $180 a month.

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Online Copyright and Trademark Resources

Saturday, January 17th, 2009

The copyright office has a new program for online copyright registration, with online forms, uploading of digital files, and credit card payments.

All copyright registration packages must go through a screening process to check for Anthrax and explosives. Registration takes a lot longer than it used to. This screening process sometimes results in damage to submitted works.

The copyright office does not actually store most of the works sent to them for registration, which should be an interesting problem if ( more like when ) the noxious Orphan Works Bill passes. So you may want to save yourself some postage and the cost of the books and register online.

If you have ever been unfortunate enough to witness a message board discussion about copyright or trademark, not only does the false information circulate faster than the accurate information, but you could save yourself a lot of time and trouble by not going to message boards to get your info. Go to the official copyright and trademark offices FAQs pages on line. Most of your questions about copyright and trademark can be answered there for free.

The copyright FAQ page is here.

For answers on trademarks and patents go here .

This was reposted from the old website, and I hate losing some of the great comments from readers. But here’s one I just couldn’t say goodbye to from Arlnee:

I just got through reading about this girl who is SUPER obsessed with a certain anime series and its main character in particular, so much so that she claims she “owns”it. Her proof is an autograph by the character’s ENGLISH DUB VOICE ACTOR under the words “(Anime character) belongs to (girl’s name)”.

I can’t count how many levels of pathetic I found this, either the idea that she could believe the voice actor had ANY rights over the character he’s voicing, or that she thought others might believe it. I’ve heard of similar stories through fandom through the years but none so egregious. And yes, apparently she is over 18. sigh

I’m afraid there are plenty of crazies out there with weird ideas about copyright and trademark, and we can’t do much about them. But, they confuse matters with their online nattering. There are also plenty of well meaning types out there who post disinformation and really, really don’t have a clue what they are talking about.

Make things easy on yourself and go directly to the official information resources.



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Graphic Novel Agents: Cartoonist/Comic Books/Creator Resources

Saturday, January 17th, 2009

The four part graphic novel agent post from the old blog has been moved here and consolidated into one massive post. If you would like to be included on this list or have an update, please contact me. I compiled this list some months back, but I am sure folks have moved on.

I’ve double checked every agent I am listing against the lists at Predators and Editors. Even experienced pros will get some use out of this alphabetical listing of editors, publishers, and agents.

This direct link goes right to the agent page where agents are rated. A dollar sign appears next to their name to show they have actually made sales, and if they have a bad rep or conflict of interest concern, you’ll see it.

You’ll also find handy etiquette tips and guides for submissions.

Everyone who appears on the graphic novel agent list here has a good rep, but remember, you are entirely responsible for doing your own legwork. Listings on the Predators and Editors site can be a little out of date. Note that under the publishers listings, many well-known comics companies are not listed at all. However, the notorious Tightlip Entertainment gets the Not Recommended tag, as well it should.

No matter what, you are ultimately responsible for doing your own research and checking out the reputation of clients.

Before you go on, you need to read this post from nearly four years ago by Neil Gaiman: “Everything you wanted to know about literary agents.”

Some of the links are kaput, so too bad. All of the advice, however, is golden. Please read and bookmark.

You should not even be looking for an agent until you have absorbed the information about what to do before you get one.

I cringe when I see what young newbies have sent to agents and editors. You can blow a gig so easily. Do a little legwork and find out what agents and editors want to see before you contact them.

By the way newbies out there, you do yourself no favor whatsoever by indicating to a potential client that you are amenable to working on spec. Working on spec because you are desperate to get a gig is for people who will spend their entire careers working on spec.

And I highly recommend you take the time to read my posts HERE. VERY BAD PUBLISHERS is a series about my early years in publishing, followed by more recent posts about other bad clients, lousy contract scams, creepy book packagers and more. There’s quite a lot to read. They start out a bit slow, but I guarantee you will find them worthwhile.

Daniel Lazar

Writers House
21 West 26th Street
New York, NY 10010

dlazar@writershouse.com

FICTION GENRES
Literary Fiction | Mystery | Commercial Fiction | Women’s Fiction | Historical Fiction | Young Adult | Thrillers/Suspense | Gay & Lesbian | Middle Grade | Graphic Novels

NONFICTION GENRES
Memoirs | Narrative | Gay & Lesbian | Humor

Sam Stoloff

Frances Goldin Literary Agency
57 East 11th Street, Suite 5B
New York, NY 10003

ss@goldinlit.com
* Does not accept email queries.

FICTION GENRES
Literary Fiction | Short Stories | Multi-Cultural | Offbeat/Quirky | Graphic Novels

NONFICTION GENRES
History | Sports | Biography | Food & Lifestyle | Politics | Science | Multi-Cultural | Cookbooks | Memoirs | Current Affairs | Women’s Issues | Pop Culture | Narrative | Psychology | Nature/Ecology | Cultural/Social Issues | Humor | Journalism

* This agent accepts queries

Victoria Sanders

Victoria Sanders & Associates
241 Avenue of the Americas, Suite 11H
New York, NY 10014

queriesvsa@hotmail.com

FICTION GENRES
Literary Fiction | Chick Lit | Mystery | Commercial Fiction | Women’s Fiction | Historical Fiction | Thrillers/Suspense | Children’s | Multi-Cultural | Graphic Novels

NONFICTION GENRES
History | Biography | Parenting | Multi-Cultural | Memoirs | Dating/Relationships | Spirituality | Photography | Humor

* This agent accepts queries

Howard Yoon

Gail Ross Literary Agency
1666 Connecticut Avenue, NW Suite 500
Washington, DC 20009

howard@gailross.com
* Does not accept email queries.

FICTION GENRES
Commercial Fiction

NONFICTION GENRES
Biography | Religion | Politics | Medical | Science | Memoirs | Spirituality | Current Affairs | Business | Women’s Issues | Pop Culture | Narrative | Finance | Health & Fitness | Humor

* This agent accepts queries

Vicky Bijur

Vicky Bijur Literary Agency
333 West End Avenue , Apt. 5B
New York, NY 10023

assistant@vickybijuragency.com

FICTION GENRES
Literary Fiction | Mystery | Thrillers/Suspense | Graphic Novels

NONFICTION GENRES
History | Biography | Food & Lifestyle | Politics | Medical | Science | Parenting | Self-Help | Cookbooks | Memoirs | Current Affairs | Women’s Issues | Narrative | Psychology | Health & Fitness | Nature/Ecology | Cultural/Social Issues | Journalism

* This agent accepts queries

Warren Frazier

John Hawkins & Associates, Inc.
71 West 23rd Street, Suite 1600
New York, NY 10010

frazier@jhalit.com

FICTION GENRES
Literary Fiction | Short Stories | Offbeat/Quirky | Graphic Novels

NONFICTION GENRES
History | Science | Business | Technology

* This agent accepts queries

Matthew Elblonk

The Creative Culture
72 Spring Street, Suite 304
New York, NY 10012

submissions@thecreativeculture.com

FICTION GENRES
Literary Fiction | Commercial Fiction | Humor/Satire | Young Adult | Offbeat/Quirky | Graphic Novels

NONFICTION GENRES
Science | Drama/Music | Pop Culture | Narrative | Humor

* This agent accepts queries

David Kuhn

Kuhn Projects LLC
126 Fifth Avenue, Suite 3A
New York, NY 10011

*Does not accept email queries.

FICTION GENRES
Graphic Novels

NONFICTION GENRES
History | Celebrity | Biography | Art | Narrative | Journalism | Home/Design

* This agent does not currently accept unsolicited queries

Shannon O’Keefe

The Park Literary Group
270 Lafayette Street, Suite 1504
New York, NY 10012

* Does not accept email queries.

FICTION GENRES
Literary Fiction | Mystery | Commercial Fiction | Young Adult | Graphic Novels

NONFICTION GENRES
Sports | Drama/Music | Cookbooks | Memoirs | Travel | Pop Culture

* This agent accepts queries

Elizabeth Jote

Objective Entertainment
265 Canal Street, Suite 603 B
New York, NY 10013

ej@objectiveent.com

FICTION GENRES
Literary Fiction | Chick Lit | True Crime | Mystery | Commercial Fiction | Women’s Fiction | Romance | Historical Fiction | Young Adult | Thrillers/Suspense | Multi-Cultural | Adventure | Offbeat/Quirky | Graphic Novels

NONFICTION GENRES
History | Celebrity | Biography | Religion | Food & Lifestyle | Politics | Parenting | How-To | Drama/Music | Self-Help | Adventure/True Story | Current Affairs | Business | Pop Culture | Narrative | Psychology | Health & Fitness | Photography | Film & Entertainment | True Crime | Cultural/Social Issues

* This agent accepts queries

Colleen Lindsay

FinePrint Literary Management, LLC
240 W 35th Street, Suite 500
New York, NY 10001

colleen (at) fineprintlit.com

FICTION GENRES
Literary Fiction | Science Fiction | Chick Lit | Mystery | Horror | Commercial Fiction | Fantasy | Women’s Fiction | Humor/Satire | Family Saga | Young Adult | Thrillers/Suspense | Multi-Cultural | Adventure | Gay & Lesbian | Offbeat/Quirky | Graphic Novels

NONFICTION GENRES
History | Celebrity | Biography | Food & Lifestyle | Politics | Science | How-To | Multi-Cultural | Self-Help | Memoirs | Travel | Adventure/True Story | Dating/Relationships | Current Affairs | Business | Women’s Issues | Pop Culture | Narrative | Health & Fitness | Pets | Gay & Lesbian | Film & Entertainment | Cultural/Social Issues | Technology | Humor

* This agent accepts queries

Evan Goldfried

William Morris Agency
1325 Avenue of the Americas
New York, NY 10019

ejg@wma.com

FICTION GENRES
Literary Fiction | Science Fiction | Mystery | Horror | Commercial Fiction | Fantasy | Romance | Western | Historical Fiction | Young Adult | Thrillers/Suspense | Children’s | Adventure | Middle Grade | Graphic Novels

NONFICTION GENRES
Sports | Food & Lifestyle | Drama/Music | Cookbooks | Travel | Adventure/True Story | Pop Culture | Narrative | Health & Fitness | Pets | Humor

* This agent accepts queries

Brandi Bowles

Howard Morhaim Literary Agency, Inc.
30 Pierrepont St.
Brooklyn, NY 11201

This agent also co-reps for Victoria Sanders and Associates.

bbowles@morhaimliterary.com

NONFICTION Genres/ Graphic novel| Memoir | Biography | Historical | Music |Science | Travel

FICTION Genres/ (No non-fiction GN’s) Southern fiction | Experimental fiction | Cross-cultural

* This agent accepts email queries

Bernadette Baker-Baughman

Bakers Mark Literary
PO Box 8382
Portland, OR 97207

www.bakersmark.com
Info@BakersMark.com

GENRES/ Graphic Novel | Historical stories| Biographies | Fables | Mythology | memoir | urban fantasy| Psychological Thriller


Spencer Ellsworth

Lori Perkins Agency

Genres/ Science fiction | Fantasy | Historical | Graphic Novels | Satire | Memoir | Travel | Please, no vampires

sellsworthlperkinsagency@yahoo.com

* This agent accepts email queries

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Time Management I

Tuesday, January 20th, 2009

Here is Part I of an article I wrote for an online magazine some years back, reposted and updated from my old blog. Part I of a series.

Now, I don’t expect my advice to suit everyone. I just read the advice of a writer over at the online Locus magazine about managing your time, and I didn’t agree with three words of it together.

For example, the writer at Locus advised against turning off the internet while working. He’s an online writer, so his dependence on the internet makes sense: I don’t have the same concern. At the same time he advised not doing research on the internet, which can lead to excessive websurfing. Instead, he just leaves a note in his manuscript to come back and add necessary data, or to get an editor to do it. For example, the exact length of the Brooklyn Bridge just gets a placeholder while he writes.

That may work for writers, but as an artist, I actually have to draw the Brooklyn Bridge. I can’t just leave the panel blank and turn in my pages with blank panels for everything I can’t draw at the moment so an editor can pop in the details later. I certainly can’t leave the hard parts of the drawing job all for the end of the assignment. So for me, turning off the internet, or setting a time limit is essential for my self control.

Like I said, each to their own. My methods seem draconian to some. If they work for you, great. If not, I’m sure we’d all welcome your sugggestions.

Time Management Skills

I am not going to be writing a column about the State of the Industry, or which comic character is cooler, or which trend is going to save the market or anything like that because I honestly don’t pay a great deal of attention to the day-to-day workings of the comic book industry. I am entirely too centered on my own business.

That business is being a professional creator. That is what concerns me. That is the only thing I really know much about. So, that is what I will be contributing here: information and advice about how to survive and thrive as a professional.

So. Let’s talk about time management.

If there is one thing that creators know how to do, it’s waste time. We’re masters of procrastination. Freelancers working at home can imagine a thousand ways to sink minutes and hours and not accomplish much of anything and still make it to the end of the day feeling like they’ve done their bit of work. It’s easy to delude ourselves since we usually live and work at home alone and there is no boss standing over us cracking the whip.

We have friends and family who drop in any old time because we don’t have real jobs and they want to free us from the drudge of our drawing boards. That is very nice of them, but many creators don’t have the willpower to just say no to distractions. A coffee break becomes two or three hours out of the day and the next thing you know, you’ve lost eight or ten hours of work in a week just hanging out with your buddies a few times. Do that for a month, and you’ve lost a week’s work, easily.

The procrastination monster is the bane of every freelancer’s existence. Once upon a time, we wrote and drew comics for free. One day we woke up, and comics became a job. Suddenly, it wasn’t as much fun anymore. There’s nothing like the pressure of a production schedule, income concerns and the opinion of the public to take the wind out of your sails and dock the flight of your imagination for good. Writer’s Block is nothing but a creator’s special brand of procrastination. Ideas and images don’t come when they are blocked by money and deadline worries. It’s easy to create when you have nothing to think about but creating. It’s not so easy to create when you can’t pay the rent and put food on the table or get your children medical care. (There’s the “art is pain” school of thought where living in a garret seems to be the ideal and suffering for your art makes for great poetry, but when one’s goal is simply to live another day so one can write another poem, I don’t imagine getting braces for children’s teeth is likely to be much of a concern.)

Then there are the day-to-day distractions of paperwork and the ringing phone and the office clutter in which hours of time get wasted when this paper gets misfiled or that bill gets lost. Lose only one hour of time per day to disorganization (and that is a conservative, average estimate most time management gurus agree on) and you’ve lost 365 hours of work per year. That’s nine weeks of work time down the tubes; two full months! Multiply that lost time by your hourly income, and you really see how time is money.

How many pages could you have drawn in nine weeks? How many paintings could you have completed? How many stories could you have written? How much income did that disorganization cost you?

Time is your money and time is your life. If you want to piss it away playing video games when you ought to be drawing, and hanging out with your buddies when you ought to be writing, go ahead. It’s your life.

But if you want to make the most of that time as a professional, then you’ve got to start taking a serious look at how you manage your time resource.

Aspiring professionals are true masters of self-delusion about their time management. They arrive at conventions with scant portfolios, telling editors and art directors how little time they had to create new works to show. If one is having that much trouble coming up with the time to create pages and paintings when one is an amateur, how the heck does one expect to find the time to do the work as a professional?

You’ve got time to go to the movies. You’ve got time to watch television. You’ve got time to go to a convention. Then, you’ve got time to get some work done.

Here are some time management tips for pros and aspiring pros:

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How Not to Get Cheated Out of All Your Hard Work

Tuesday, January 20th, 2009

Graphic Artist Guild Teleclass.

Last call for our next teleclass: How Not to get Cheated Out of All Your Hard Work with Mark Saku and Cameron Collins. It takes place on Thursday, January 29, 2009 from 2:00 PM – 3:30 PM EST.

Graphic Design has become a viable business opportunity for countless talented artists. Many times, however, the agreements that control the creation and use of artwork can be one-sided and inequitable. Knowledge of how to negotiate agreements, and how to protect your intellectual property, is essential to successfully translating your art into long-term
financial stability.

Cameron J. Collins, Esq. and Mark B. Saku, Esq. will help explain the intricacies and fine-print associated with work-for-hire agreements and intellectual property licensing. Both attorneys represent a variety of artists involved with the licensing and protection of their intellectual property. Cameron and Mark each have substantial experience negotiating intellectual
property agreements and can relay the traditional ways in which artists are now protecting and their works.

The fee is $15 for members and $25 for non-members. When you register you will be sent information about how to dial in, as well as any applicable handouts from our speakers. And, as a special bonus, all registrants will receive an audio file of the class.

For those unable to attend and want to learn what was covered, classes will be available as downloadable audio files for the same price. More information on these files will be posted on the Guild’s web site as the files become available.

PDF of files attached here.For more information about our teleclass series please contact the Guild office at 212.791.3400 x10, or email sales@gag.org.

Don’t forget, your paid registration includes a copy of the audio file, so register today to secure your place on the call!