Joking aside, all of this. Especially the last paragraph. ;)
It’s upsetting that even if a mangaka gets a decent hit series that lasts a few books or so, I remember reading somewhere that the pitch for a new comic is unpaid? Even after landing a successful title, pitching is not waged, so you have to juggle new ideas while doing other work or managing your current workload such as this one (above). No “album deal” equivalents of the music industry.
Also, most successful mangaka with hits on their hands are aged 30-50 and have had to handle years of possible rejection prior to their series. I only mention this because there is a lot of aspirations and warped perspective, thinking “I gotta make it by the time I’m 22” or whatever that can end up literally crushing your soul and self esteem. It doesn’t work like that so keep on drawin’ :D
As the life of a mangaka is not really a glamorous one, especially now the Tokyopop boom has popped, many artists have either given up ‘wanting to be a mangaka’ in their twenties or changed direction dramatically in style and procedure of comicmaking. This is both good (for their success and personal art development) and a bit upsetting (no more Adam Warren levels of western manga* IMHO; less respect for Japanese-inspired product; the term ‘manga’ being used with not very good art in some How-To-Draw published books*, tainting the word/name).
However it is more important than ever that readers support webcomics with their coins or pick up comics from self-published, small press artists to support the work they do and the product they produce. Because it is likely they have a schedule similar to this timetable, but juggle a million and one other things on the side to enable their storytelling and publishing costs to develop. :)