Manual ( Updated 9/9/16 )What is Octal?Octal is a curated catalog of comic pitch packets. Built around 8-page pilots, its volumes read like a comic anthology with bonus features-- all while providing first looks at potential books and series.

What is a Comic Pitch Packet?A comic pitch packet is the grouping of materials one presents to a publisher in order to sellthem on the idea of publishing a book or series.

What goes into a Comic Pitch Packet?The components which go into a comic pitch packet can vary greatly from one publisher to the next. It's important to review their submission guidelines carefully before submitting. Often, incomplete or disorganized packets are dismissed without further review or consideration.

If guidelines vary from publisher to publisher, how does the Octal Packet work?While submission guidelines can vary greatly, most publishers define a range of acceptable options ( ex. 4-8 sample pages. ) Even guidelines which may seem specific ( ex. 1 page synopsis ) are often either the minimum or maximum of the acceptable range. Unfortunately, it's rarely clear which guidelines are minimums and which are maximums without further research. ( It took around 18 months of research and interviews to develop the Octal packet. )

Comparing the submission guidelines from over a hundred comic publishers, the Octal packet strikes a balance with components that will satisfy most publishers at the same time. Basically, our guidelines arethe overlapping section of a Venn diagram and you're trading flexibility for near-universal compatibility.

We then worked in conjunction with submission editors to produce a set of easy-to-follow templates that arrange those components into a presentation which is clear, concise, and most-importantly, editor-friendly.

What goes into the Octal Pitch Packet?

- Front Cover Tile The front cover of each volume is a mosaic design with 1 tile representing each of the featured packets.- Mock Cover The mock over is a potential cover for the first issue/ volume of your proposed book or series.- Creators Page The creators page feature pictures, professional bios, and links for each creator + your series synopsis. - 8-Page Pilot The 8-page pilot is a short comic which provides samples pages of sequential art, demos the writer's ability to arc a narrative, and grants readers a feel for the characters and world.- Design Page On the design page, character, object, and/ or vehicle sketches offer a peak behind the curtain and hints at what's yet to come.- One-Sheet Proposal The one-sheet succinctly covers the log line, initial run, target audience, production timeline, etc.

Has the Octal Packet proven successful? Submission editors from over two dozen comic publishers ( and counting ) have subscribed to receive the catalog and review its featured proposals-- including a few which do not currently accept direct submissions.

All 8 packets featured in Volume 1 received feedback fromeditors, half have gone on to discuss their proposed comicsfurther, and 2 packets have already locked down series contracts: Necromancer Bill with Darby Pop ( darbypop.com ) and Sane6 with Rats&Crows ( ratsandcrowspublishing.com )

[ Note: This response focuses solely on Volume 1 because it's being written prior to the release of Volume 2. Keep and eye on OctalComics.com to see what other series launch from Octal. ]

Why pitch to publishers? Why not just self-publish?Few creators are equally proficient in every aspect of production. Finding compatible people with complimentary skills and arriving at mutually-agreeable terms often leads to better comics being produced faster and reaching a wider audience. Publishers are not one-size-fits-all. Each publisher brings different resources and personalities to the table and expects different things in return. The key is finding the right fit for you and your comic.

Pitching in no way suggests you 'can't' make it on your own. This is simply how creators fieldoffers so they're aware of what options are available to them and can make an informed decision about what's best for this particular production.

Also, publishing and self-publishing are not mutually exclusive: a web-comic creator may pitch a print-edition, a self-published creator may pitch the trade collections of their back-issues, etc. The Octal packet works as well for these pitches as it does original series.

Can I still pitch my comic elsewhere?Yes. The terms of Octal are fully non-exclusive and the resulting packet will also satisfy the submission guidelines for many publishers who ( at the time of writing this document ) are not yet on our mailing list. While having your packet featured in Octal means it's guaranteed to be seen by dozens of publishers, it in no way limits your ability to shop it around on your own.

What sort of comics can be pitched through Octal?The Octal packet can be used for any comic book or series proposal with the exception of non-hosted anthologies** as well as non-English or Pornographic comics***.

While original comic book and series proposals will likely remain the mainstay of Octal, it can also be used to pitch: - Print Editions of Web Comics- English Translations of Foreign Language Comics/ Manga- Collections of Serialized Comics and Strips - Reprints, Trades, or Omnibi of Previously Published Work ( so long as it doesn't conflict with any standing contracts )- Trade Editions of On-Going Self-Published Comics - Expansions of Anthology Shorts, Limited Series, or Canceled Series ( so long as it doesn't conflict with any standing contracts )- Adaptations of/ Tie-Ins to TV Shows, Movies, Video Games, Books, or Comics ( so long as they are PD, you are the creator/ owner, or you have licensed the rights )

**Non-hosted anthologies typically lacks an overarching story, reoccurring characters, and a dedicated team ofcreators-- which are fundamental to a traditional comic pitch. Anthologies can be a tough sell either way but a frame story and/ or host character segments provide enough foundation to pitch those books as you would any other comic.

***Non-English and Pornographic comics tend to have dedicated publishers. If there's enough demand from creators and those dedicated publishers, we will produce a separate volume for a separate mailing list. Til then, they are excluded without prejudice.

Are there any other restrictions?There are no restrictions on style, theme, or subject matter.

All work in the packet must be produced by the team of creators you're proposing for the book/ series. You should have some form of contract in place with your teammates, which locks them in through the proposed initial run. If your packet features preexisting intellectual property ( including underlying works ) which is not public domain or your own property, then you should have all licenses in place and be able to produce written consent if needed.

Finally, Octal is curated. It only has value to publishers so long as all the packets are complete and we maintain a quality standard. Submissions which do not meet that quality standard will be critiqued and welcome to revise and resubmit.

Though we reserve the right to black-bar cursing and/ or nudity for channels where that might limit distribution, we will take efforts to ensure an uncensored version is also available whenever possible.

How is quality evaluated?Style is the sum of the choices you make. Quality is how well you maintain those choices and how well those choices compliment one another.

For example, a character doesn't need to conform to a naturalistic canon of proportions so long as you maintain whatever proportions you ascribe to him from one panel to the next. Depending on the art style, there may be room to exaggerate for dramatic effect. Depending on the writing style, there may be room to justify inconsistencies through the narrative, itself. You set the rules and once set, contradictions which fail to convey intention bring down quality.

No decision is made in a bubble. If the dialog says 6:30 while the color/ lighting is clearly noon, even if every aspect is exceptional on its own, when the pieces don't add up that too brings down quality.

What other benefits does Octal offer creators?Beyond the templates and our mailing list of publishers, there's the production group ( facebook.com/groups/OctalComics ). The production group is like a virtual bullpen where creators can get in-progress feedback, engage in group critiques, and are offered tips to help make their own productions run smoother.

Also, whether you find your publisher through Octal, on your own, or end up self-publishing, if you're packet is featured in Octal then we'll promote whatever books and series result from it.

Is there an entry fees?No. Octal is free to enter. If you'd like to show your support, spread the word about Octal toother creators, publishers, and press or become a patron on our Patreon page ( www.patreon.com/OctalComics ).

What's the deadline?Octal is rolling submissions. When a packet is complete and up to Octal's standard, it's locked in immediately. When 8 packet have been locked in, we cut that volume and begin filling the next. That being said, if it takes you months to produce 8 pages, what's you're production timeline on an issue?

How do I submit?You can post in-progress packets to the production group ( facebook.com/groups/OctalComics ) at any time for feedback and group critique. Once the packet is complete, Zip it up and sent it via www.wetransfer.com to neofluxproductions@gmail.com . ( Direct Links and Dropbox are acceptable alternatives. )

How to Use the TemplatesTemplates are provided for all components of the Octal Pitch Packet.

Page FormatIf you use the templates correctly, everything is pre-formatted. If curious the pages are all: RGB TIFs ( No Compression ) 6.875"x 10.437" @ 300 PPI = 2063 x3131 ( Trim = 6.625” x 10.187”; Live = 6.125” x 9.687” ).

The 'Panel' is the area inside the 'Copy Safe Line'. This is where your comic goes. Outside of the 'Copy Safe Line' is the 'Margin'. The 'Margin' is the a buffer between your comic and the edge of the page. Some allow their art to stretch into the 'Margin' but the further it extends past the 'Copy Safe Line' the greater the risk that it will get cut off when the pages are being trimmed. On the Outside of the 'Margin' is the 'Trim Line'. This is where the printer is meant to cut when trimming down the book. It's not an exact process ( which is why we have 'Margins' ). Outside of the 'Trim Line' is the 'Bleed'. If you're making a 'Splash Page' and want the art to extend to the edge of the page or you have a 'FillColor' around the panel which you want to extend to the edge of the page, you have them extend into the 'Bleed' so the 'Trim Line' falls well within the art/ colored area.

The Dark and light gray boxes are only guides and should not be visible on the final pages.

Text BoxesThe templates are Multilayer TIFs. If opened in Photoshop ( or any other program which supports Multilayer TIFs ) then you can enteryour text directly into the text boxes. If opened in a program which does not support Multilayer TIFs, they will be flattened and you will need to drop in your own text boxes, using the template as your guide for where to put them.

You are encouraged to use your own fonts. Since fonts vary, adjust the font size and line spacing to match the letter size as closely as possible.

If the text box isn't large enough for your text, be more succinct. Donot reduce the font size or line spacing.

Slugs

Slugs are place holders. They tell you where certain information should be inserted. Once you've inserted that material, shut these layers off.

Cover Tile

The front cover of each volume is a mosaic design with one tile to represent each of the featured packets.

The tile must be full color and without copy. It may be original art or sampled from the mock cover or pilot comic.

If creating original art, then that gray shape is your canvas. If you're sampling, then think of that gray shape as a cookie cutter. Drop it in on top of your art ( or drop your art in on top of it ).Select that area, and then cut or copy it from whatever layer the art's on.

Design The templates only dictate the layout. Beyond that, make it your own.

Use the fonts from your comic. Addcolor or art to the background. Addin bars, tabs, or boxes. If you have less than 4 creators, utilize that space for emblems, the title logo, sample art, original art, a 3-panel strip... whatever looks good and best suits the feel of your proposedbook/ series.

If you're not sure if something strays too far from the template, ask. That's why we have a production group.

Unpack the Octal PacketWhile creators may develop their packet components in whatever order they choose, for purposes of this manual, we'll be breaking everything down in an order which is efficient for original series proposals.

The Log Line A 'log line' is a single sentence composed of descriptive nouns, adjectives, and action verbs which captures the essence of a book orseries. Not only is the log line one of the most important pieces of any proposal, it's also an excellent litmus test because the better youunderstand something, the more succinctly it can be expressed.

If a story seems too complicated to capture in a sentence, that's a red flag that you don't have a firm grip on it yet. Starting with the log line ensures you have a strong foundation before you start building on top of it.

Tips:- Describe things are rather than telling us what they're called. ( The exceptions are titular characters/ objects and well-established IP. )- Focus on characteristics which are most distinctive or relevant to the plot. - Avoid incidental details and limit your use of propositions.

Protagonist & SettingPinning down the protagonist ( lead character ) offers insight into how they would act and react to a given situation. Where are they coming from, what defines them, and where are they going?

Setting isn't just longitude and latitude. It's the atmosphere, circumstances, and culture your lead character is moving through. What tensions are there between your character and the world around him/ her? What sort of resistance might they encounter? What sort of resources do they have at their disposal?

Tips:- Put the emphasis on details which have the greatest impact on the story.- Save plot points for the Series Synopsis.- If your series has multiple protagonists or settings, pick one to spotlight.

Series Synopsis

Paint the story arc in broad strokes. Define the core conflict/ driving force of the series. Draw the connections between the character andsetting. Introduce support cast and define key relationships.

Tips:- Avoid plot questions. You're telling not asking.- Pick an angle. ( There is overlap between the headings. Avoid repeating yourself by approaching each with a different perspective. Ex: The initial run might focus on events and the synopsis offer a character's perspective and interpretation of those events. )- Tell the story-- not about the story.( You don't need to explicitly tell us the genre or themes if you write a good synopsis. )- Don't worry about spoilers.( Only a bad story can be spoiled by knowing the broad strokes of its plot. )

Initial Run & AudienceNow that you have the story pinned down, determine how many pages/ issues you'll need to tell it. Break down the plot by issue and give shape to your story arc.

Most creators hope their work will appeal to a wide audience. In the 'audience' section, focus on the core demographic, who will be the cheapest and easiest to convert into paid readers.

Tips:- Shorter initial runs are more likely to get an offer/ offers. ( It's easier to build on success than to sell a long-term commitment. If the initial run lends itself to a sequel series or continued adventures, address that in your initial run. )- There is no rating system in comics but it's helpful to approximate.( Ex: 'Geared toward mature readers due to explicit nudity, drug abuse, and language.' )- Focus on Genre and Tropes rather than mentioning existing series.( Ex: 'For the lowbrow intellectual, who enjoys quantum theory told through dick jokes.' )

Design If you're illustrating the book yourself or co-creating it with an illustrator, then art has likely been part of the conversation from thestart.

If you're hiring an illustrator, the plot and audience will help you determine what style of art would best serve this comic. Knowing the length of the initial run can also play a major factor when negotiating their contract.

While 'Design' is only a single page within the packet, it is almost always a digital collage. Some creators find producing a 'production bible' of character sheets, line-ups, etc. helps them maintain a higher quality standard as it creates a single set of images, which every panel references. Others find this approach to be overkill. You and your team should determine how much design work is best for you.

What goes on the Design Page?The design page is a curated peek behind the curtain. It offers insight into what the creators deem most important to communicate about their book or series.

Let's go through some common options.

A 'Turn Around' offers a 360 perspective on the character while establishing mass and volume.

'Technical Schematics' offer insight into gearthey carry/ vehicles they drive and how they work.

'An Inventory' catalogs the gear and items which a character carries. This implies the sort of situations they tend to find themselves in and how they are likelyto approach finding their way out of them.

An 'Expression Sheet' highlights the character's range ofemotions and the artist's ability to communicate through expression and body language.

A 'Pose Sheet' highlights dynamism and demonstrates an understanding of anatomy. The poses you select alsostart to imply how your character will react to different situations.

A 'Character Directory' focuses of highlighting the individual charactersof an ensemble cast.

A 'Character Line-Up'focuses more on the diversity of the cast as a whole and their relative scale.

An 'Annotated Design' relies as much on the captions and notes as the illustrations.

Rather than 'relative scale' which establishes the in-story size relationships between characters and objects, some creators favor a 'hierarchical scale' which allocates space to a character or object based on its importance.

Since the Design page is often a digital collage that pulls from multiple pages ( sometimes entire production bibles ) of design work, mostcreators end up mixing and matching.

Tips:- Consider what you've already demonstrated.( The Design Page is a complement to the Pilot. For example, if the short was action heavy, you might focus more on body language and unobstructed views of the characters. ) - Don't Sterilize it.( There is a charm to sketchy artwork. Of course, you want clean up the whites and remove dust/ artifacts but don't push it so far that you lose the sense that this page is meant to offer a behind the scenes look into your process. )- Page composition matters.( Many people equate a design page to a creator's desk. A cluttered page speaks to eccentricity, spontaneity, and creative energy. A clean and well organized page speaks to being structured and on top of things. Obviously both factor in to successfully producing a comic... but which version of yourselves will go further toward convincing audiences and publishers that you're up to the task? That varies based on the the comic itselfand your track record as a creator. )

Pilot Script + Title LogoThe pilot is an 8-page comic that serves many masters: - It presents sample pages of sequential art. - It demonstrates your ability to arc a narrative. - It introduces the characters and world.- It establishes the pacing and tone for the series. - It offers a sample of the experience readers will get when reading the series.

The pilot can be set at any point in the series's timeline or it could be a side story. The arc can be as small or large as you want so long as you payoff whatever you setup.

Tips:- Don't front-load exposition.( Only worry about the information that's critical to the understanding of this story and whenever possible, allow itto be introduced organically through the events, artwork, or dialog. ) - Origins make bad pilots.( Most origin stories don't get us to the character, as we'll know them through the series, until the end. Consider Detective 27. We see Batman in action. The case is open and shut within 6 pages without really addressing why there's a guy in a batsuit fighting crime. That came later-- after people cared about Batman. )

The title logo is more than just how the title is written on the front cover of your book. It's your brand identity.

A good title logo is distinct while still being legible. It speaks to the themes of the story without crossing over into kitsch. At it's best, a title logo can tell readers everything they need to know about the series through typography alone.

Tips:- Legibility comes first. - It's probably not a font.( While fonts are often used as part of designing a title logo, there's usually a fair amount of playing with the size, shape, and position of each letter form to create a unique emblem/mark.) - What are you trying to convey?( Aquaman is a good case study here. From the bubbly beginnings, a wave design came in with waterbending, it fellin line with Vertigo when aiming mature, then they called back to the original logo's arch with more angular letters for his harder-edged return to form... You can literally see the character's evolution reflected in the title logo. )- Test it.( A title logo might look great on its own but it needs to sit well on top of a wide array of art styles and compositions. )

Mock CoverThe mock cover is a potential cover for your first issue/ volume. ( Not a cover for your pilot story. )

The cover should be held to a higher standard as it's often seen by more than 1000x as many people as anything on the interior and can dramatically influence sales.

While black and white comics are welcome, the mock cover and front cover tile must be full color.

Tips:- Don't neglect trade-dress.( While you won't have actual prices, barcodes, stamps, or publisher emblems until the book launches, slugging out where they would go speaks to your design sensibility and target audience. )

Pilot Pages & Production TimelineThe Pilot Pages are all about execution. If everything prior to this was done correctly, you've set your team up for success.

Tips:- Shuffle the pages to check the work. ( Inconsistencies are often small errors that get compounded overtime. Shuffling the pages will make those issues more readily apparent. )

The Production Timeline breaks down how long each stage of production will take and how frequently you can turn in completed issues. Basing your production timeline for the series on the production timeline for your pilot pages, will give you better foundation than just guessing.

Tips:- Account for life.( Try to factor in time for illness, injury, holidays, and other commitments. This can be difficult but remember that it's better to present a timeline you know you can deliver on than one you hope you can deliver on. )- Check your Math.( If your production timeline suggests you can deliver work faster than you say it can produced, that's a big red flag that one or both of your numbers are false. )

Creator Bios

A professional bio is a basically a highlight reel of your resume. Degrees, certifications, published works, awards/accolades, and maybe related work-- that's it.

All of the creator avatars should be suited: caricatures, photos, or emblems, b/w or color... your call so long as they match.

Facebook, DeviantArt, etc. are acceptable alternatives to a website. Twitter handles are an acceptable alternative to email addresses.

If you have more then 4 creators, pick the top 4. If you have less than 4 creators, shut off the unused layers. The lead creator/ primary contact should be in the top slot.

Tips:- No fluff.( If someone on your team is a first-time creator without a resume to speak of then say so succinctly and move on. )

Front Cover Tile

The front cover for each volume of Octal is a mosaic design with 1 tile to represent each of the featured packets.

The front cover tile can be original art or a sampled area from the pilot or mock cover. It must be full color and without copy.

Dynamic panels are often best.

Edit. Edit. Edit.Once you have all the components, edit them. Then assemble the packet and edit them again. Then have peers edit it. Then considerhaving a professional edit it. Then submit.

Tips:- Use the Production Group ( fb.com/Groups/OctalComics )( The production group is a great place to get in-progress feedback on any/ all components and to engage in group critiques prior to submitting the completed packet. )

SubmitZip up your completed packet and send it via www.wetransfer.com to neofluxproductions@gmail.com. ( Direct Links and Dropbox are acceptable alternatives. )

If your packet is up to Octal's quality standard, it will be locked in immediately. The volume will be cut as soon as 8 packets have been locked in. If you want to ensure it's a short wait between your packet being locked in and the volume being sent out to the mailing list, spread the word to other creators. The more packets in production at the same time, the shorter the downtime between the completion of a packet and the completion of a volume.

If your packet is not up to Octal's standard, it will be critiqued and welcomed to revise and resubmit.