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| Planning Your Novel | |
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| The Novel World of Graphic Novels | |
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| What's a Graphic Novel? (The Short Answer) | |
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| Why a Graphic Novel | |
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| Growing the Graphic Novel | |
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| How Big Is Big? | |
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| What's a Graphic Novel? (The Long Answer) | |
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| What's Your Goal? | |
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| For Money or for the Monet | |
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| For Yourself or an Audience? | |
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| Lone Hero or Superteam? | |
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| One Big Book or a Plethora of Pamphlets? | |
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| Don't Be a Goalie | |
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| Creating a Creative Team Creatively | |
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| Typical Titanic Team Members | |
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| Collaborate Uniquely, Like Others | |
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| Rating Goodness? Gracious! | |
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| Creative Crew, Where Are You? | |
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| The Benefits of Paying People | |
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| Doing Right with Rights | |
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| Doling Out Dollars | |
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| What's It All About? | |
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| Genres Are Generally Germaine | |
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| Make a Theme-Filled Cupcake | |
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| The Concept of Concept | |
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| The Writer's Art | |
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| Who, Why, and Huh? Interesting People and Events | |
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| Who Are These Characters? | |
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| Revealing Characters You Never Vealed | |
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| Why Should Anyone Care? | |
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| Example Characters: The Big Con | |
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| What, Where, When, and Whatchamacallit? | |
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| You're Nowhere Without a Place | |
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| Time for Time | |
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| Paperize It | |
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| Plot-Checkin' Fricassee | |
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| Pile On the Problems | |
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| Combinations and Permutations | |
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| Take Out the Garbage! | |
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| Planning the Panels | |
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| Pacing to the Pages | |
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| Script Style: Every Which Way but Wrong | |
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| Breaking the Page Window Is a Pane | |
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| Set Your Scene | |
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| Be a Remote-Control Cameraman | |
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| Angles That Work Angelically | |
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| How Loose Is Too Loose, Lautrec? | |
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| Delicious Dialog | |
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| Dallying with Dialog | |
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| Captions Courageous | |
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| Sounds Effective | |
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| Mark Your Words | |
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| A Bit of The Big Con: Script | |
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| Putting It in Pencil | |
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| Designing Your Characters | |
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| Reading Is Fundamental | |
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| Start at the Head | |
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| Body Building | |
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| Dressing for Success | |
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| Your Work, It's Fantastic! | |
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| Put It All Together | |
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| Places, Things, and Other Dead Nouns | |
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| Read That Script Again | |
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| If You're Sticking Around | |
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| Getting Real | |
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| Making Stuff Up | |
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| Getting Your Props | |
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| No Sheet, Sherlock | |
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| Decrypt the Script | |
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| Different Sorts of Scripts | |
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| Read Like a Writer | |
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| Pick a Theme | |
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| Using the Theme | |
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| Motifs | |
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| Harm Reduction | |
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| Lovely Layouts | |
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| Thumbs Up | |
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| Left to Right, Top to Bottom | |
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| Calling the Shots | |
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| The Shape of Things to Come | |
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| Timing | |
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| Composition | |
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| What If They Don't Fit Together? | |
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| The Little Version of The Big Con | |
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| Render for Real | |
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| Some Art Supplies You Need | |
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| Assembling Reference Materials | |
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| Blowing Up Your Thumbs | |
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| Letting Your Live Art Bleed | |
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| Drawing for Graphic Novels | |
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| What the Job Requires | |
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| How to Learn to Draw | |
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| Depth | |
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| Acting Out: Finding the Right Gesture | |
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| Let There Be Light | |
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| Handing Off the Penciled Pages | |
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| Stylize Yourself-Finding Your Voice | |
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| Looking Back at Style | |
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| Factors That Influence Style | |
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| Taking Control of the Process | |
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| Experiments Are Free | |
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| A Bit of The Big Con: The Penciled Pages | |
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| Polishing the Pages | |
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| Old-Fangled Letterin' | |
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| Tool Time | |
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| Drawing the Alphabet | |
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| Placing Them on the Board | |
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| Balloons and Boxes | |
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| Sound Effects and Clever Lettering Tricks | |
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| Read What You Can About It | |
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| Inking the Art | |
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| Which Way to Work? | |
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| Your Job, Should You Choose to Accept It | |
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| Ways to Get Better | |
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| Tool Time | |
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| Changing the Pencils | |
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| Ways to Ink | |
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| Transitions and Textures | |
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| Inking for Color or Black and White | |
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| Books on Drawing with Ink | |
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| A Bit of The Big Con: The Inked Pages | |
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| New-Fangled Letterin' | |
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| Lettere Requirements | |
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| Founts of Fonts | |
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| Pushing the Page In | |
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| Putting the Text in Context | |
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| Blowing Up Balloons | |
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| Colors Besides Black and White | |
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| Four Colors? Not Millions? | |
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| Don't Paint Yourself into a Corner | |
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| Showing Light and Shade | |
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| Pick Your Crayons Carefully | |
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| Colorful Computer | |
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| Putting the Page in Place | |
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| Flatting: Bad for Tires, Good for Colors | |
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| Surrendering to Rendering | |
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| Bring Out Your Book | |
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| Pretty Please Publish Me! | |
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| Pitching in the Strike Zone | |
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| Picking Publishers to Pitch | |
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| Convention Contention | |
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| Honor an Offer? | |
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| Right and Wrong Rights Deals | |
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| Releasing on the Cheap | |
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| Limiting Losses Rather Than Gathering Gains | |
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| Photocopicomics | |
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| Online Outlets | |
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| Print-on-Polite-Request | |
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| Put It Out Yourself: Printing | |
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| A Single Spurt or Slowly Serialized? | |
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| Pick a Perfect Printer | |
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| Pre-Press with Success | |
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| The Proof Is in the Proof | |
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| Put It Out Yourself: Distribution | |
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| Diamond: A Gem of an Operation | |
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| Direct Distributors on Parade | |
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| Dealing with Dealers | |
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| Get Yourshelf in Bookstores | |
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| Promoting and Publicizing | |
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| Press. Release. Repeat | |
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| Adding Ads | |
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| The Conventions of Conventions | |
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| Autographing Like a Superstar | |
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| Appendixes | |
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| Graphic Novel Publishers | |
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| Graphic Novel Conventions | |
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| Other Resources for Graphic Novelists | |
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| Index | |