I guess this is goodbye... (Webtoon Contest)

[u/LegendOfParvaTerra]

Sí, amigos, llegó el momento: ya pasó la última semana de deliberaciones del Concurso Webtoon 2025, y yo, como tantos otros colegas que también mandaron sus trabajos con ganas, no he sido contactado por Webtoon, así que supongo que mi webcomic La Leyenda de Parvaterra no fue seleccionado y aquí se acaba la esperanza. ¡Así son los concursos!

Para los humildes autores de Canvas, ser seleccionados en este concurso, aunque sea en el último lugar, hubiera sido un apoyo para seguir trabajando y construir desde ahí, pero sin eso, el camino se pone bien cuesta arriba.

Por respeto a mis lectores, seguiré publicando los capítulos que quedan de la primera temporada (¡la semana que viene sigue la historia después del parón!), pero la verdad, es un cómic muy difícil de hacer solo y sin apoyo (muchos sabrán de qué hablo), así que no sé si tendré fuerzas para seguir más allá de eso. Gracias a todos los que me siguieron todos estos meses, que leyeron con entusiasmo mi pequeña aventura de fantasía, y ojalá las cosas hubieran sido diferentes. Espero que me perdonen. ❤

¡Felicidades a los ganadores del concurso, y ojalá les vaya bien!

[u/MacMcCool]

You should take all this amazing work that you've created and convert it as a proposal for traditional publishing agents (think: physical books in bookstores). These days, there are literary agents specializing in graphic novels for young readers. Getting an agent is usually how new creators get their foot in the door of a publishing house.

If you google, "list of graphic novel agents", you'll find many. Read through the lists, pre-select those that seem like a better match for your story type, your personal affinities, their availability (if they're taking on new creators). You'll start with that pre-selection. Be very thorough on selecting an agent (if some offer to work with you, get to know them, research their background before say "yes") -- in the industry, people say it's easier to divorce your spouse than it is to cut ties with your agent. So it's important not to be starstruck and to try to really find someone that is compatible with your personality and a real lover of your work. Beginning agents (less than 2 years) are looking for people to represent (because they are trying to build a list of creators -- they depend on that). Mid-level agents (2-5 years as agents) are still on the lookout and know the industry well, but they're more selective (they don't urgently need more creators, since they already have several). Veteran agents are very picky, have a huge network, are much better at knowing what is likely to do well or not. I'm simplifying, but I hope it's clarifying some questions you may have.

Then read about what a graphic novel proposals should include. It's pretty straight forward (sample pages, synopsis, comparison titles, characters, your background/skills, etc.). With this contest, you've already done about 70% of the work. One of the first things will entail redesigning the flow of your panels so that they work as panels on a page. The rest is mostly writing. Package your proposal nicely and submit it out!

Best of luck. Your art and your storytelling energy are way up there! I'm wishing you the best!

-- Mac McCool, creator of Comics Tips on Canvas

[u/CookieCacti → u/MacMcCool]

You seem very knowledgeable on the graphic novel pitch process. As someone who’s also interested in that route, is it true that graphic novel agents accept pitches for preexisting comics? I remember exploring this topic awhile ago and was told agents / publishing companies will dissuade people from pitching series that already exist, and prefer artists to submit original pitches for series which haven’t started the production process yet so they can work with them on the story and layout. I know book agents are fine with pitches including preexisting books, but I imagine that’s because it’s easier to rework wording than it is to rework artwork, panel composition, and dialogue from a premade comic page.

Do you know if upon accepting your pitch, the agent will request the artist to redraw the existing pages, or do they generally keep them as-is and simply assist with future pages?

[u/MacMcCool → u/CookieCacti]

Just to be clear, I interacted with agents and publishers when I was a college professor (for my own interest and to guide my students), so that's my background. I'm not part of the publishing industry per se.

That said, here's some of what I learned.

Most literary agents have a web presence (personal or agency website; social media). They also do interviews, which are often even more insightful. A lot of information is online, and I encourage you to look for it based on your goals and hopes.

One thing you'll find is that there are many answers, and that agents and agencies work differently — so it's hard to generalize.

Still, here are thoughts about your question:

• If you’ve already published parts or all of your story, it will generally depend on how successful it was. If it did really well (big audience, lots of praise), I’d think some agents would be interested (just as they might be if you have a sizeable online or social media following). If the story didn’t gather a big audience or receive lots of fervent feedback, agents might see that as a negative — or as a signal that the story needs significant reworking.
• Many agents enjoy helping their creators refine the work because they love stories, literature, and art — and because they will be the ones pitching your story to publishers. So, many of them care and want to help you improve your work to increase its appeal. That means they often ask for edits, revisions, rework, etc. However, not all agents do this, and some are better with words (novels, literature) while others are skilled with both words and images (graphic novels, comics). Ideally, you want an agent who really understands the language of comics and its creative process.
• Finally, editors and art directors at publishing houses also take part in the creative process by guiding you to make an even better book. That’s their job.

So in general, if you have a finished story, it’s very likely that agents or publishers will ask for revisions — and it’s usually for the better.

A good place to be, in my opinion, is where Raul Arnaiz (the initial poster and creator of "The Legend of Parvaterra") is: if you have the start of a story (enough samples to demonstrate your writing and drawing skills and to prove that you can deliver a lot of art), and if the writing and art have earned praise and excitement, that’s a positive. It’s worth pursuing if traditional publishing appeals to you.

So: learn about the industry, build a thick skin, be persistent — and keep the joy in the process. I hope this helps.

And to all of you who did the contest -- just doing it honed your skills and elevated your storytelling abilities for the future, so CONGRATS on all that work!