How Not To Make It In Webcomics - Part 1

Beta-testing and Punchlines

So you think you’re pretty funny, or at least your mom always told you so. You have a few comics made and you’re ready to buy a domain and let the hits roll in.

Hold on, you’ve got a long way to go. This is part one, and don’t even THINK about publishing until at least part five.

Throughout your comic career, EVERY joke should be tested. The odds are that your friends will find it as funny as you do, or at least give you a sympathy laugh. If they don’t, scrap it right then. Then ask someone else but make sure they’re honest enough to tell you if it sucks, or if they didn’t get it. To gauge all other reactions, I give you:

The Webcomic Punchline Rubrick:

1. Hysterical laughter, tears in their eyes – You have a winner, put it in the bank.
2. They chuckle to themselves, then look at you with a smile – The premise is there, but your punchline is weak. Reword it, placing more emphasis on the punch, or make the setup more extreme.
3. An “ah” or “oh-ho” sound, and look at you expectantly – They get what you’re going for, which is probably offensive, but you lost the humor in your inappropriate setup. Make it more clever.
4. A shoulder shrug, or a “I like it” – You missed the premise and/or punchline entirely, or else it’s so confusingly worded that they couldn’t figure it out. Send this one back to the drawing board.

People just don’t seem to get the joke? You have two options; retool the setup, or streamline the punchline.

The best way to amplify the setup is to make the characters more emotional, make the stakes more extreme, make the circumstances more ridiculous. For example, a college student gets walked in on with a girl…. kindof funny. He get’s walked in on by a professional women’s ping-pong team… much funnier. It’s more awkward, more unexpected, and leads to a more unique reference or non sequitur. “-it’s too bad Biba quit returning my calls. She had a wicked topspin.” (Be sure to visually clue-in any obscure references, such as my signed Biba Golic killerspin poster, to prime the reader for your topic).

Jokes are all about timing. There’s a setup, hesitation, then finish with the punch. The key word should always be found on the last beat of the reading. Even though the example punchline was a spontaneously thought-up example premise, the key word is obviously ‘topspin’. It’s the double-entendre that makes the joke. Therefore it is the very last beat of the dialogue. Had it said “Too bad, Biba’s topspin was was pretty wicked,” you get the idea, but it’s just not as funny. Can you spot the keyword in the following punchline?

Note: In single panel comics, and I find it’s best to draw the moment the punchline occurs, since most people will read the dialogue then go back and look at the art.

Last but not least is the pause, the hesitation. This is critical in building suspense, allowing the previous setup to sink in, allowing the readers’ suspicions to build as they are clued in on what the joke might be. It’s the pitiful look of Wile. E. before he finally succumbs to the gravity of the situation. Set aside some visual space for this dawn of realization, either with a short intermediate comment (As simple as the off-beat “Noooooo!” in the comic above), or sparingly use a textless or even repeat visual panel.

The biggest lesson of all, don’t be afraid to scrap ideas. Admit when it didn’t work. Be critical of your strips. I know which ones are good, and which one’s just barely made the cut. Only put forth comics you know are up to standard, and put the rest away until you’re inspired to fix them later.

Next:

Part 2 - Premise and Target Audience

Part 3 - Artwork and Image

Part 4 - Pre-Launch Preparation

Part 5 - How To Lose Money