It's been a while, hasn't it? I'm still here at home, puttering around and feeling useless. I wanted to go back to the office today, but my mom and husband were like, "No, you shouldn't! You need to take it easy for a few more days!" Pssshh. I don't know why I listen to them, all concerned about my well-being. I'm actually fine, aside from having to take a break every hour so to lounge restlessly and unwillingly on the couch, and am determined to roll back into SLG headquarters on Monday. Who knew that being indolent goes against my very nature?

So I'm going to be useful and answer some advice questions. Sorry to the folks who sent these months ago and had to wait so long for answers, but I hope this might still be useful. All right, first one:

My mother is an aspiring author and as such I have learnt many things about dos and don'ts of submitting manuscripts to publishers. However, I'm not sure how helpful any of that stuff is in terms of submitting comics.

For example, I was told that publishers do not like you sending your book in an already bound, printed up format which you could do through a website like lulu.com. Would this be the same for comics? I know that many cartoonists try self-publishing at some point, so is submitting your comics in a printed format, already bound up format still a big no?

I personally don't like bound books in submissions for a variety of reasons:

1. The people who get their books bound seem to correspond at a high rate to people who think that because they've included an entire book, they do not need to include a synposis. The just expect you to read the whole book, and I hate to say this, but editors do not want to read whole books in slushpiles.

2. Graphic novels are not like prose novels. I don't know about most publishers, but I prefer if a book isn't finished before it's submitted. Editors may want you to make tweaks and changes to your story, and if it's already finished, well, you're just going to have to not only re-write but re-draw parts of it. Check other publishers' guidelines for specifics, but all we want is some sequential pages and a good synopsis that includes the whole story. We don't need the whole book yet.

3. It is an unncessary expense, and for some reason I don't like seeing artists unnecessarily spend money. Every time I see a submission arrive by Fed Ex, every time I see super-fancy presentations and bound books, I think, "Lucky that you have money to waste if you want to get into the comics business."

4. Because they're expensive to produce, I feel bad about putting them in the recycling if the project is rejected. Sometimes I'll send them back to the artist even if they didn't include enough postage to return it, but if a lot of people sent bound books without return postage, the expense would become too great for me to keep doing that.


OK, another one. This one falls kind of into the realm of Miss Manners or Dear Abby. Am I qualified to answer? You can decide!

How does someone find out why a publisher seems to have a strange attitude towards oneself, especially when one has known the person for some twenty years? Directly asking him what is the problem seems awkward, but the mystery is baffling?

Conventions are not places to make pitches, but what can one do if editors seem to run away at the very sight of you, even if you're clean and don't stink?

I wouldn't mind getting turned down if my work is crap, my opinions silly, and my knowledge ill-informed (especially if I can be shown that that is actually the case), but to not even get an audience doesn't seem fair.

Any suggestions on what I'm doing wrong or what is condemning me?

First off, for your, "asking directly is awkward" situation, may I direct you to an article from O magazine, How to Speak Up and Get What You Want. Yes, I'm looking to Oprah's magazine for this one. You will never find out anything or get desired results by sitting around and wondering what's going on. I can't tell what's going on because I'm not the editor in question (the "twenty years" comment gives that away -- unless you are one of my elementary school friends). The only way I would know the editor's reason is if I were that editor, and the only way you're going to find out what that editor knows is by asking him or her, not by speculation or some other indirect means.

I will make up some possible reasons though. When I did a panel at Comic-Con with Randal Jarrell, Oni's Managine Editor, about mistakes people make in breaking into comics, we talked about the mistake of thinking that personality does not matter. (There's a great write-up of the panel by Dan Head at Paperback Reader, by the way -- I meant to link to it earlier.) You want rejection to be based on your work, but editors do sometimes choose whom they want to work with based on other criteria. Editors are in contact with artists pretty frequently, and as Randal said, "We don't make enough money to have to deal with jerks." Not that you're a jerk. Maybe, as your question seems to indicate, you're socially awkward, and socially awkward people make others uncomfortable. Or maybe the editor just doesn't like you; personalities can conflict, and that doesn't work out well when you're editing someone's work. Or maybe the editor does like you -- as a person -- but doesn't like your work and doesn't want to have to dash your ambitions.

Is avoiding someone the best way to get any of this across? Of course not. But I don't even know if these scenarios are true. As I said, when you don't know what's going on and you really want to, there are situations in which the only way to find out is to ask. It is kind of awkward, but at least you won't be wasting energy worrying. Maybe you should just let this go if you don't want to ask. Discounting the possibility that this is one of those situations when someone thinks an editor is "snubbing" them when in fact no such thing is happening, obviously this editor isn't interested in working with you, whatever his or her reasons.

Wow, kids, April was totally the cruelest month to me this year -- so much so that it lasted a couple of weeks into May. But now some of the madness is over, and I had a chance to catch up on submissions. I read about twelve, and then came to one that has a big copyright notice across every page of art, and I got too annoyed to go on. (Yeah, artists -- I'm going to scan your artwork and make my own mini-comic out of it. I'm that much of a loser. Thanks for the vote of confidence!)

So, now that I've divested myself of that responsibility for another week or so, I have time to bring Do You Think You Can Help Me? out of its hiatus state. Since it's been gone so long, I'm answering two questions!

Remember, comments are always welcome on DYTYCHM? posts, and you can send your own questions to slgchief@gmail.com

On to the questions:


This question is a bit of an add on to the last entry. Is it a bad idea to receive a critique from the publishers (or editor)? Perhaps not a detailed critique, but a broad one like "If I wrote about a boy and his lovely dog sprinkles, would you like the idea?" Is this type of critique up to other readers, should they just send the submission in and hope for the best, or would asking the publishers be helpful?

It's really hard to assess a project from a very basic description. When people ask me questions like this at conventions or by email, the answer is usually "Maybe. It depends on the execution." (Other times it's something like, "No, I would not be interested in an amputee incest porn comic.") This comes up often enough that this is in the SLG FAQ, actually. I see submissions that have great premises but poor execution and submissions that have premises I think I wouldn't really be interested in (time travel, for example EDIT: Landry just remind me: no, stupid, you love time travel -- gah, my brain!) that are very well done and draw me in. So when people ask me, "I have this idea... would you be interested in it?" I just say, "I don't know. If you want to make the comic, then start writing and drawing it and send in a submission."


So there is such a thing as a person-to-person interview where author can show a publisher their work in order to be reviewed. This seems like a good idea for many creators because the creator can explain anything that needs to be explained and present themselves in a good manner. However, creators live all over the country, and so paying for a plane ticket to fly to California may be a bit too much. How much of an advantage does a person-to-person interview have versus a submission sent in the mail? Would it be worth meeting a publisher person-to-person, or should a creator not worry because the comic does the talking for them?

You've got it in that last clause there: It's all very well if the creator is there to explain everything to a prospective publisher, but they're not going to do that for every reader. The work has to hold up on its own. If we like the work but have questions about it, we will write to the creator and ask them. Nobody publishing comics has time for in-person pitches for everyone who is wants a project published. If someone were to call or email me and ask if they could come in and pitch something or follow up on a submission, I would say, absolutely, "No" and nervously scan the street outside. You're imposing on an editor if you ask for this.

This is not to say we haven't met with artists in person after they've sent us a submission to discuss their project. This usually happens at conventions that we both happen to be attending. If we can't meet up, then email or the telephone will suffice.

Some publishers set aside time at conventions to hear pitches. I don't know how they do this; I'm way too busy at conventions to think about submissions. But if they do this, it's fine to make an appointment (if necessary) and talk to them, obviously.

Whoops, I almost forgot about this week's "Do You Think You Can Help Me?"! I was just finding putting together that trade paperback so fascinating, I guess. If you don't know what DYTYCHM? is, you'll soon realize that it is an advice column about working in independent comics. If you want to get involved, email your question to slgchief@gmail.com.

Multi-parter again!  Three times the information that you would get with just one question! Theoretically. As always, feel free to comment!

1) How much of my graphic novel should I realistically have completed before pitching it? This question is made even more complex by the fact that I would be looking to sell a series of graphic novels (I recognize this will be more difficult than trying to sell a single GN).

First, you should read the submission guidelines of the company you're sending the submission to and see if they have a desired number of pages. SLG's say at least five. If you have more, by all means send as many as you feel best represents your project. But don't draw the whole thing before pitching. You don't have to finish your graphic novel before pitching it, but you do need to know the whole story.

Brian Wood has some salient advice on the subject in a recent New York Post article: "If you're just trying to get an editor interested in you, you don't have to fully execute your 100-page graphic novel. You can just do the first chapter." (Heh. I bought the first issue of Channel Zero from Brian at the 1999 -- or was is it 1998? -- Comic-Con. I asked him if he liked William Gibson for some reason.)

This is where the graphic novel world differs from the regular novel world because you'd better not even think about sending a submission for a prose novel without finishing it first! I guess the reason is that . . . drawing is harder? It does take longer to draw a page than write one, so I can see the rationale. If the editor asks for changes, it would be really onerous if you have to redraw large portions of the book. Pitching a graphic novel is more like pitching a nonfiction book -- or a movie -- in this regard. Please note that it is not like pitching a movie in that we are impressed by people who act like buzzword-spouting slimeballs. (There is a terrible prejudice against the movie industry in comics, isn't there?! Terrible!)

And you're right -- selling a series of GNs is going to be much harder than selling a single graphic novel. What if the first one flops? Is a publisher going to want to make a commitment that could end up costing them thousands of dollars? I know this wasn't your question, but I think new artists are much better off starting with a graphic novel that stands on its own. Or at least if it's part of a planned series of GNs, make sure the first volume ends in a place that can be an ending if it comes to that.

2) Can you send submission packages to multiple editors at different companies at the same time, or do you need to wait to hear from the first publishing house before submitting to the second? (I have a vague memory of hearing this is supposed to be the ethical thing to do when shopping around novels.)

This called simultaneous submission. It sounds dirty, but it's not. Sometimes publishers will tell you in their submission guidelines that simultaneous submissions aren't OK with them, but I think that policy sucks. Are you supposed to wait around for months for them to reply before moving on to the next publisher on your list? Screw that. It could take half a year just to hit two publishers! We allow simultaneous subs -- we just ask that you let us know in the cover letter. You just have to make sure to keep track of where you've submitted so that if you do get accepted by one publisher, you know which others you need to contact. Don't expect to start a bidding war, though. I don't think that happens.

With prose novels, sometimes agents or publishers will ask to for an "exclusive" look at the whole book before they decide if they'll publish it. That means you can't send the whole book to anyone else for a stipulated period of time. That's fairly standard in the prose publishing world, but I don't know of it happening in comics. When you see James Lucas Jones and I knife-fighting at Comic-Con, then you'll understand how we settle things in independent comics.

3) How important do you think it is to have an agent?
In independent comics? When you're just trying to get your comic accepted for publication, not at all. You might want to get an agent to manage your contracts and pursue new opportunities once you're established, though. But seeing as most people make so little in independent comics when they're starting out, giving up 15-20% to an agent seems rough, and what agent wants even 20% of very little, anyway?

That went fast, so I'll tell you an agent story: I received a submission from an artist represented by a New York Literary Agent (the fanciest kind, so it's in caps, natch) last year. First, I want to make it clear that part of an agent's job is to make contacts at publishers. Maybe an editor isn't interested in one project the agent sends, but if the agent builds a relationship with that editor, s/he might find out what that editor might like better. So I got a submission from this agent. It had a cover letter that told me how much the artist's work was like Jhonen's and Roman's and Serena's blah blah blah. Then there were five illustrations and 91 pages of script with no synopsis. (Just so you know, I am not going to read 91 pages of script in an initial submission.) Also not included in the submission: a self-addressed stamped envelope. This is an essential ingredient in a submission, as it means you are not being so rude as to ask for a reply and expect the publisher to pay for postage -- especially if you want the whole submission package back, which is important in this story. (Did you know that in early 19th century England, the recipient of a communication did pay the postage? Weird!)

The agent called about a month after he sent in the submission to ask if we were interested in it. He called the artist "that [University name] guy." I had to remind him of his own client's name. Anyway, I said, no, we were not, briefly said why, and then the conversation went on like this:

"Well, could you send that back to me then?"
"Oh... I'm sorry. There was no indication that you wanted it back and no return envelope, so --"
"Oh, so you just threw it away? That's great."
"Well, if you wanted it back, there should have been some indication--"

But then I realized he'd hung up on me. Since we don't generally get submissions from agents, I thought maybe I had committed some faux pas, like there was a secret agreement among agents and publishers that a publisher will pay the postage to send 100 pages of an unsolicited submission back to the agent. I consulted friends in the prose world and they said, no, there was no faux pas on your part, Jennifer. The verdict: This agent acted like an asshole and did not do a job of representing his client in this case.

I don't know how you can check up on editors to make sure they're not assholes. You can check sites like Preditors and Editors, which lists unethical agents, but this particular agent was not on that list and actually has sold some books. I guess he just wasn't interested in not being an asshole to small potatoes such as myself.

Hey, if you're Canadian and you submit something to us, please don't put Canadian postage on the self-addressed stamped envelope. We can't use it here. If you can't get your hands on U.S. postage, you international folk should send an International Reply Coupon.

I wish I could say that we will just email rejections to non-U.S. submitters, but the format of email too easily encourages reply.

Welcome to the third installment of "Do You Think You Can Help Me?", returning after a sabbatical last Friday when I was at WonderCon. I have only two more questions left, so please send me those questions! Heck, if you want advice about something that isn't comics-related, feel free to ask! My email address is slgchief@gmail.com. Be sure to mention that the question is for the advice column so that I know it's OK to post it here.

On to this week's question, which is about one of the scariest things involved in being a creative person: Getting your work critiqued.

Good morning Ms. de Guzman

As an aspiring writer I read columns with advice and general tips on writing, being involved with comic books, and generally having a love for comic books. (which I share) Many people recommend that before an aspirant attempt "breaking in" so to speak, they should get constructive criticism from trusted friends and family. I can understand that advice and I agree with it whole heartedly, but my question has to do with how you might suggest I actually approach coaxing my trusted friends and family.

The first few episodes of a season of American Idol are funny because singer after singer is tone deaf and doesn't realize how horribly they sing. They swear that they've been singing in front of friends and family for years, and although that may be true I'm guessing they're just not asking the right question. I'd love to think my story ideas are amazing and trend setting, but I might also be out of my wits. What do you think are good questions or is an appropriate mindset for getting honest constructive criticism from others?

-Prem

--

Dear Prem,

Actually, I think the advice to get trusted friends and family to critique your work is bad, bad, bad. Your friends and family are too close to you, and there are probably all kinds of reasons why they won't give you an objective response, no matter what questions you ask them or guidelines you give them.

I say the best thing is to find yourself a critique group of people you don't really know that well. As Fehed said in the first "Do You Think You Can Help Me?", the Internet is a great resource for finding people. Maybe you can join ComicSpace or some other social networking site and start up a workshop.

I've spent a lot of time in writing workshops, so I'll give you what advice I can about how to get the most out of critiques. First, you might set up a set of general criteria for assessing your work -- art, plot, character development, setting, etc. Set up rules in regards to not being rude or attacking the creator in critiques. But don't guide your readers too much. Let them read your work with as free a mind as possible.

Most important to remember: Avoid drama at every possible turn! Inevitably, you are going to receive feedback that you don't like or disagree with or that hurts your feelings. You are going to have to learn to deal with this. (This ties into what I was talking about last time about not having a "my comics are my WHOLE WORLD!" attitude.) You may ask questions to clarify a critique, but if you disagree with something, keep it to yourself. I find it helpful to keep in mind that in regards to something I am creating, I am in the position of power. A lot of people get defensive with critiques because they forget this and respond as if those critiquing their work are criticizing them from on high. This is not the case. You get to decide what advice you take and what you decide is not helpful. Nobody has control over that. Also, it is rude for people in power to rail on people who are not.

In a workshop, you will not only have to receive criticism but give it as well. The best way to get good (as in helpful, not necessarily positive) feedback from people in this situation is to give them good feedback. You'll also find that looking at other people's work with a critical eye will hone the skills you need to do the same with your work.

If you workshop with people long enough, chances are you'll become friendly with each other. However, because you started your acquaintance in the context of workshopping, usually you'll be able to keep critiquing each other's work honestly.

Aww, now I miss my friends from grad school. I haven't seen them in a while.

Welcome once more to my comics advice column, "Do You Think You Can Help Me?" I have a few questions in my queue, and I'll try to double up in future installments so those of you so good to send me email won't have to wait too long for answers. Do you have a question? Send it to slgchief @ gmail.com and be sure to tell me it's for the advice column so I know it's all right to post it on the blog. Now on to the question -- actually questions. It's a multi-parter.

As always, feel free to add your perspective in the comments!

I've had the question on my mind for a while. Out of the comics that you look over, what is it about the rejected comics that caused them not to be published? Is there a trend or a mistake to where you say to yourself "I cannot believe they just did that"? Is there a way that a author presents a project that turns you off?

The first thing that really makes me frown and prejudices me against the whole submission is seeing these words in the salutation of the cover letter: "Dear Sir." It's reasonable perhaps for someone submitting a proposal to think that perhaps the editor-in-chief of the company is not the first reader (these days I am, though), so I'm not bugged with "Dear Editor" or "Dear Sir or Madam" or stuff like that. But "Dear Sir"? It's just ridiculous.

Another thing that turns me off to a project is over-emphasis on marketing and money-making potential in the cover letter.  (I really hate seeing the phrase "18- to 25-year-old males, in particular.) Yes, I admit that when I read submissions, I think about whether a project is something we can sell. However, I want to know that the work is an important expression of personal creativity to the artist. I can't get excited about promoting a book that even the creator just thinks of as a way to make money or get a movie deal (you all already know I hate that).

Something I think people need to watch out for is getting too caught up in their creation and writing weird movie-tag-style descriptions that make no sense to anyone but them, like, "It'll tear you apart from the eye of the needle to the moons of Jupiter." I made that up, but I see stuff that is just as baffling. Remember my "Think about why you want to make comics but not too much" line? Its companion is "Take your shit seriously but not too seriously." You might end up sounding like you have your head right up your comic's bum.

You've already spoke about "loser" comics and bad paneling, but could character designs change your mind? Let's say that the summary sounds awesome, but the way they present the characters is way off, what is it about the character that's not welcoming?

I'm trying to call a specific time where I've read a summary and thought, "Wow, that really sounds cool!" and then saw the character designs and went, "No, PASS!" but I don't think it has. That's not usually the mismatch I get. If I don't like the characters, it's either because I'm not digging the story as a whole or because they're characters that just exist as tools of the plot.

I guess what I am asking is what gets in and what gets kicked out when it comes to walking up to the plate and showing work to professionals. The common thing is grammar, following instructions, and even common sense, but what about smaller things that the author might not catch? I'm sitting here drawing, and I realize that comic book industries reject quite a few comics. I don't want the same mistake someone before me when I want to get something published.

All of the above, I guess. I think the best thing is to be enthusiastic about your work, to have a good work ethic and develop your creativity, but I think editors have a sense for people who have subsumed their selves into their work and only can see things in relation to that work, if that makes any sense. Honestly, I want to get the impression that your comic is important to you but it's not your whole world. That kind of intensity makes me tired and wary. Don't overthink stuff. Just be professional and friendly in your cover letter and try to do your best work in your comic.

You see a lot of comics, so what really shines, and makes you say "wow"?

Well, good art is a plus. I turn to the art the first thing when I open a submission, and if it doesn't impress, it's going to take an awfully good story to make me get past that. I like seeing art and stories that of course aren't separate from other comics that are being published -- we're all products of our culture, after all -- but have a real individual "voice."

I remember when Landry Walker was in the office, and he decided to open a submission envelope at random, declaring that we would publish whatever was inside. (I think that's how it went -- Landry, correct me if I'm wrong.) Inside the envelope he chose was Nil: A Land Beyond Belief by James Turner. And, boy, did it make us say, "Wow." It looked great, and not like anything I'd seen before in comics. And there wasn't the all-too-common crushing blow of seeing great art telling a lackluster story. It helped that the satire meshed so well with my sensibilities, seeing as I'm the kind of person who has dreams about bowling with Jacques Derrida. If Dan had been against publishing, I probably would have begged him to reconsider. Fortunately, I didn't have to do that.

Sometimes I will see a work, and, honestly, that editorial ego will set in, and I'll think, I want to be part of getting this person's work in print. 

Welcome to the first Do You Think You Can Help Me? -- an advice column in the fine tradition of all things I title with Smiths' lyrics. You ask me questions about getting into this crazy comics world, and I (or someone) will answer them! As best I can. With no guarantees that my advice is any good. You just have to trust. I've worked in independent comics for seven years, which actually makes me a relative newbie -- this industry somehow manages to attract talented people who remain dedicated, despite indie comics' dearth of rewards in the form of ticker-tape parades, John Galliano gowns, and offices that cars do not crash into. I like to look at the industry with a critical eye and observe all its flaws and foibles so that later I can write a tell-all memoir. No, kidding! Who would read that, anyway? No, I will use this critical eye to offer advice to you, aspiring comics creators! And to help gain your trust, I've provided an illustrative photo of me holding my Friends of Lulu Woman of Distinction Award on my head.

Do You Think You Can Help Me? (heretofore known as DYTYCHM? -- seriously, what was I thinking?) is different from those lame old-school advice columns in newspapers because it's open to comment! If someone has something to add or thinks I'm full of crud, they can comment, thus muddling you with too many opinions and leaving you paralyzed with indecision! DYTYCHM will be weekly, posted every Friday. If I get a lot of questions, I might answer more than one in a column. Email your questions to slgchief @ gmail.com.

For our first question, I totally cheated and got someone else to answer it. But only because I thought he could answer it better than I could! I have your best interests at heart, and I promise to always try to pass off my work to someone else if I think it will benefit you. So, give a warm welcome to Fehed Said, writer of the graphic novel The Clarence Principle, illustrated by Shari Chankhamma. Fehed is from London, Shari from Thailand. You will see how that relates to the question in a moment.

On to the question...

I'm a writer. Well, in spirit at least. I haven't written anything that's been published, so I don't know if I have the legal right to assign myself that title. My question is in regard to a story that I have been writing/thinking about for some time now. I haven't collaborated with any artists, and drawing it myself would be a very bad idea, so I only have a script done. If I want to get my story out into the world, how would I go about doing that? Do I need an artist, or would it be possible to present my ideas to someone who can facilitate that for me?

I'm still looking for an artist on my own, but I haven't found anyone. I'm not looking for any sort of easy way out, but do I necessarily need to have an artist attached when I'm presenting my work to a company? Also, how would I get myself in the position where I could present my work?

Most Publishers seem to prefer writers to already be attached to an artist. That's not to say that submitting your script won't get you hired as a writer by them, but it's best to always read their Submission Guidelines. If they do accept scripts on their own, then give it a shot. But believe me when I say that you have a far better chance of getting that foot in the door if you're already working with an artist. You have to remember that comics are a visual medium and Editors prefer to see your story in sequential art form, rather than a script.

As a writer/artist team, it also shows professionalism if you follow their submission guidelines properly and have the patience to wait for their reply. Do not bombard them with emails or letters to see if they've had a chance to read your submission yet. Best thing to do, is to post out your submission and forget about it. Maybe spend the time working on your comic. After all, if you believe in it enough, why shouldn't you just keep going? It just means you have more source material to send out later should you need to.

If you're looking to find an artist, you have it much easier now than say, 10 years ago. The Internet is a fantastic tool for that thing we call communication. The world is full of artists and you can have your pick of any. I myself had collaborated with an artist all the way in Thailand and I reside in the UK. Anything is possible.

The best place to start is Google.com. Do a search for artist/comic forums, especially the kind that offer critique or advice to artists and writers. Find independent circles of self-published comic creators. Look around and see what's out there. Try to find people who's art style appeals to you. Then it's just a simple case of emailing people and see who responds. At first though, send out a polite email expressing your interest in their art and asking if
they'd be interested in a collaboration. If they reply, then forward them a synopsis of the story idea and see how it all goes from there.

I'm afraid that it's not uncommon for artists to show enthusiasm at the start of a project and then back out later, or even just up and vanish on you. Life gets in the way and unless the artist you're working with is just as strongly passionate about your story idea as you are, this stuff happens. Don't let it get you down though. You just have to keep trying.

I find that it helps if you start off doing short 25 page one-shot story ideas with an artist and self-publish. Using this method, you can join comic groups or circles and form friendships with other writers and artists. It helps if they live in the same country as it means you can often meet them face to face and attend conventions together as a group. Building a strong relationship with other creative people opens a lot of doors and can get you much needed support and morale. It also means that if you were to find someone to collaborate with within the group, there's a good chance they won't flake on you.

If you happen to be employed and earning a reasonable wage, you could try the same approach I did. Pay the artist. It won't be much, don't go raiding your savings or anything, but at least some form of monetary compensation makes it worth the artist's time to stick it out. After all, they are doing the bulk of the work and quite a lot of it is mundane 8 to 12 hours a day worth of labor. The promise of publication is an empty one, as it could take years for anything to happen. Your original idea may just not be cut out to be published and you might even have better ideas later on that you might want to work on. At least this way, the artist doesn't feel cheated in anyway and it creates a mutual respect.

I hope this advice was useful. It's just what I've come across over the last 7 years or so in working my way into the industry myself. It does get easier in time to find people to work with. It just takes a lot of grunt to work through the early, often difficult and cynical steps of the process. Think of it as a test. If you can put up with it all, then you're destined to achieve your goal. Always be respectful of others and maintain a professional attitude as often as possible.

A fair number of people said they wanted advice about working in the comics industry to appear on this blog in the poll I did a few weeks ago, and yet when I offered to answer questions emailed to me, NOT ONE PERSON SENT ONE. I suppose the problem is in the subtext: People who want to work in this industry don't know what to ask. They want advice, but they don't want to think too hard about what specifically they want advice about. Either that, or they overthink and ask micro-detail questions.

So I'll have to dictate what kind of advice I give (though I am still very happy to answer specific question -- address them to slgchief @ gmail.com and be sure to say it is for the blog advice column so that I know it's OK to post your question here).

I am starting with this bit of advice: Think about why you want to be in comics, but not too much.

I consider the following reasons bad reasons to want to make comics:

1. You want to make a lot of money.
2. You want to get a movie deal.
3. You think it will make you cool.
4. You read a lot of comics, so you want to make them, whether you can write and/or draw or not.
5. You think comics are a "hot trend" -- but you don't call them comics; you call them "publishing properties" and talk about "exceptional positioning" and "lucrative subsidiary rights" (see #2) and "profitable yields." Having this point of view might make you a good marketing person at a comics publisher, but in my opinion it just makes you sound like someone I wouldn't want to spend more than a minute around.

All right, obviously I'm worked up about reason number five, so let's examine my feelings of negativity and turn them into positive advice. I consider the following reasons good reasons to want to make comics:

1. You have a story you want to tell, and when you envision it, you see it as a comic. Don't try to turn a prose story into a comic just because comics are the "hot" thing now. A lot of stories are unsuited for the medium.
2. You love drawing comics and want to constantly hone your storytelling craft; you find working hard to improve your creative endeavors satisfying.
3. You find the act of creating reward in itself -- you just want to make comics and are well aware that it probably will not result in phenomenal monetary enumeration (as our marketing friend might put it) and abundant artistic accolades. Nevertheless, you want to devote your talents to contributing to this art form.

My point is that the traditional, capitalist indicators of "success" aren't lurking under a stack of Bristol board. I've been writing my column for Comic World News for nearly a year now, and I've found that examining a life working in comics often makes me despondent. But so does examining my life as writer. Because I've chosen to work as a writer and comics editor, I am a lot poorer and have a lot less clout in cocktail party conversations (yeah right, as if I go to cocktail parties) than if I had chosen other fields, like advertising or marketing, or even academia.  In order to keep going, I have to believe that there is a personal benefit in this life that I would not get if I worked in a more impersonal industry.

The comics industry is a creative one -- yes, we do have to market, we do have to sell, but we also have to believe to do it convincingly. I cannot believe in someone's work if they do not believe it in themselves, and not as a "product" that has "profit potential" but as a story they wanted to tell and have done their best to realize. Independent comics is personal for a lot of us working in the field; we are emotionally invested in it, otherwise there is no way we would stay. You have to show us that you have the same commitment.

-JdG
(The commentary in this post is my personal perspective and isn't to be taken as company writ or anything like that.)