Portfolio Review & other SDCC opportunities

13 JULY 2016

Did you notice anything about the programming this year? Well, you probably noticed quite a few things but let's focus on this: the copious number of "how to write/draw/design/succeed" panels. From becoming a voice actor to sharpening your digital illustration skills to understanding characterization, SDCC seems to offer all kinds of education and assistance to the fledgling creative.

If you're one of those attendees earnestly hoping to accelerate your career at Comic-Con, I would suggest going in with an open mind and realistic expectations. Every year I see people go to the "How to get your novel published! How to turn your indie comic into a viable income!" panels - and while sometimes attendees pick up a few good insights, those panels are rarely a career-altering event. Definitely go by all means, but don't get too attached to the outcome. And remember that many panelists are holding panels precisely to pad their bio or promote their products. If you're new to SDCC and have your creative career top of mind, you may want to read about who benefits from SDCC, as well as the soft skills you need to network and the materials to bring and the touchpoints available.

Because there are absolutely some solid opportunities to network, learn or promote - and CCI announced the schedule for one today, Portfolio Review. The name often leads attendees to believe it's only for visual artists and that's actually not true. Here's what is.

Who's Involved

Portfolio Review is an opportunity to get your samples in front of companies like Disney, Cartoon Network, Nickelodeon, Hasbro, Lego and other titans.

Who Can Participate

Video game designers
Copywriters and TV writers
Animators
Storyboard artists
Colorists, inkers
Illustrators
Comic book writers, editors and artists
3-D modelers
Designers


How It Works

In the morning, you'll sign up for the Portfolio Review list - and fill out a ticket for your target company. 15 minutes before that company's review time, they'll post a list of the randomly selected people they'll see.

How To Prepare

Bring your best work, samples that show your range and depth. But you should also be prepared to answer questions - not just your professional history but your goals, your collaborative skills, your self-perception of your own talent and other potentially squirmy topics.

You may or may not get seen by your ideal company; you may or may not get valuable feedback; you may or may not get an invitation to a working relationship. But I think Portfolio Review can still be a worthwhile exercise, especially if you're fairly new in your career. The more experience you get pitching your work, the better you'll be at it - less nervous, more natural and eventually, more compelling.

And as with everything at SDCC, you never know who you'll meet. Be open and see where Portfolio Review takes you. Good luck.

Marketing yourself as a creative at SDCC

26 MAY 2015




In recent years, Cons have become a magnet for creatives of all stripes. Video game designers, colorists, YA novelists, scriptwriters, costumers - if you can think of any creative field that is tangentially related to pop culture, you'll find a panel addressing it at a comic convention. This is because:

1) Creating art forms and appreciating art forms tend to go together, so plenty of fans are also creators.
2) The proximity of influencers - both celebrities and the more background (but often even more powerful) players like producers, chief creative officers and editors - sets up the possibility of being "discovered."
3) There are already a ton of creatives present at all stages of their career, often in collaborative positions, so the networking is dope.


That said, it's not as easy as most people think. Beyond the established portals like Comic Creator Connection and Portfolio Review or the IFF film school, most attendees have to navigate a sea of indifference and isolation. I know a respected indie comic creator who was investing considerable sums in exhibiting at SDCC solely so she could make valuable connections. Year after year, it never happened. I know many writers who faithfully attend all those "Get an agent! Write a best-seller!" panels just so they can approach an agent afterward and dazzle them with their pitch. Generally speaking, they just meet other unpublished writers, or writers/agents who are wildly exaggerating their industry clout. The idea of meeting that one person who can make it all happen for you rarely materializes.

Rule of thumb: most industry people are at Comic-Con to either promote themselves or because they're forced to be there, just like your job might force you to attend a business conference. They didn't travel to San Diego just to audition random hopefuls - they could have done that at home. So try to view the Con as a very creative community with fertile touchpoints, rather than a career fair. Because attendees who come in guns blazing (and they are legion) do more harm to themselves than good.

This isn't to say SDCC doesn't hold valuable opportunities - but it's partly about random opportunities and partly about playing a very deft game. I wrote a 3-part novella on this last year which I would advise any creative to read; it covers the type of materials to prepare and events to expect, and soft skills. The last post may seem harsh but it's based on my observations both as a creative trying to make a deal and the person who hires the talent. And I saw every single issue in that post at Comic-Con last summer.

Ultimately I see SDCC networking work best for people who are already established in their careers. I know this isn't what anyone wants to hear. But every year my friends who are already successful in the comics industry come away from the Con with a new cover offer in their pocket or a new collaboration, while struggling newcomers generally go home without any new useful connections. (Worthless connections are always to be had, however.) Where I do see newcomers make strides: smaller Cons like ECCC, Phoenix, DragonCon, Denver and Boston. While there are fewer power players in attendance, it's much easier to connect with the ones who are there.

But of course if you're reading this, you're headed to SDCC. So my advice is get prepared, be reasonable in your expectations, and be strategic. Associate with people in your field, rather than trying to zero in on one particular superstar. That's really how most doors open. Most of all, remember to have fun - after all the energy and time you've spent getting to SDCC, it would be a shame to spend your entire time there exhausting yourself in pursuit of some mythical breakthrough. Take advantage of the right panels and events, then switch back to fan mode and enjoy yourself. Because that's really what Comic-Con has to offer.

Portfolio Review schedule will post in July

22 MAY 2015




If you're a creative attending SDCC for the first time, you may want to consider participating in Portfolio Review. This is a program where industry pros from companies like Cartoon Network, Lucasfilms, Disney, Nickelodean and others will evaluate your work and give you professional feedback.

It's not a job fair, but it can be a doorway to collaboration, networking and even an offer. It's best to go in prepared and make the best of whatever interaction you get. For attendees who are early in their careers, this can be their first opportunity to get feedback from the type of people they want to work for. Taken in that spirit, it can be a worthwhile use of your Comic-Con time even if it doesn't lead to a new position.

Here's who can participate:

•  Animators
• Comic book writers and artists and editors
• Inkers, letterers, colorists
• TV writers and copywriters
• 3-D modelers
• Illustrators
• Motion graphic, background and concept designers
• Storyboard artists
• Video game designers

Be aware that not all companies will be looking in all of those categories. Also be aware that - as with everything Comic-Con - it can be a game of chance. In the past, you had to sign up to be reviewed by a specific company and then check a printed list at the company's booth to see if you made the cut.

Which brings us to preparation. Obviously you want to show work that aligns with the company's objectives. An attendee who shows off brilliant surreal illustrations might be admired, but they won't be hired as fast as the attendee who demonstrates solid work that could easily fit into the company's brand. But the schedule won't be posted until a week before SDCC - so for now it's best to collect your strongest work and be ready to pivot on the fly if needed.

This is just one opportunity of many to market and network at SDCC, so now is a good time to start thinking along self-promotional lines. I'll post more about that this weekend.

Yes, we're in an SDCC lull. Enjoy it.

5 MARCH 2015




Several people have asked me this week where's all the Comic-Con news? We've  actually had an average amount of updates for these post-registration weeks; we got the Souvenir Book cover, the Early Bird Sale and we know that Hotel Day is right around the corner on 24 March.

But it feels quiet after the intense fever of Open Reg, so I understand where they're coming from. Here's the reality - you're not going to learn a whole lot about SDCC over March and April. And while that might feel frustrating right now, it's actually kind of nice. Once the tumultuous river of Comic-Con news starts roaring through the Internet, it colonizes your whole brain and induces a biological excitement/anxiety that doesn't stop until Sunday night of the Con. You'll be scrambling to make sure you hear about all the exclusives, buy tickets for the best events, are informed of all those thrilling offbeat corners of SDCC that seem tailored just for you.

So enjoy this relative calm while we have it. Here's what's coming up:

Hotel Day: March 24.  I'll share my guerilla tactics over the next few weeks.

The Ace Parking Sale: not sure when it will be yet. "We are still working with CCI and the locations to lock in the date and rates for this year's sale." Last year's parking sale was the worst pre-SDCC event of the entire year; while I'm hoping they rectified the system weaknesses behind the crashes, it's still going to be extra tight this year given the loss of several hundred parking spots. Join Ace's Twitter feed to stay on top of developments; I'd investigate other transportation methods in the meantime.

Signing up for Portfolio Review, Comic Creator Connection, other stuff: this usually comes closer to the Con. Start looking for these announcements in June.

Buying tickets for outside events: These have been getting announced earlier and earlier, probably to beat out all the other events. In the past, events like this have been the Nerdist shows, the Zombie Prom, San Diego Summer Pops concerts, various band shows - you get the idea. I would say we'll start seeing announcements and live sales by May, if not sooner.

The intense rush of news regarding exclusives, celebrity appearances, panels and clips: June is going to be a nonstop SDCC media circus, but May should offer a good number of announcements as well. The drumbeat will be palpable by late April.


So as eager as you might be for SDCC to happen right now, there's not a whole lot to do.  I already suggested the basics, like saving money, getting in shape and selling off your old back issues and collectibles to make way for the new.  I also strongly suggest that first-timers review the old programming - I know it's a ton of information, but that's why it's good to get familiar with it. You're going to have to digest the same amount of information for this Con, and it's helpful to understand in advance what kind of options are available and how you might prioritize them. Otherwise you'll be overwhelmed once everything hits.

Comic-Con starts four months from Sunday night. It might sound like a long ways off - but trust me, it'll go fast.

Ready to get reviewed?

17 JULY 2014



If you plan on getting discovered next week, the Portfolio Review is probably the most controlled way of doing that. The schedule is up, so take a look and see if any companies listed seem to be calling your name.

 

What Portfolio Review offers

Industry professionals will look at your work and provide you with feedback. Note that it's Portfolio Review, not Job Fair. If you expect someone to take one look at your work and hire you, you may be disappointed. This is about hearing the opinions of a person who hires people like you. That said, sometimes these meetings do lead to offers.

 

Who it's for

Not just aspiring comic book artists and writers, as everyone seems to think. Some of these companies are looking for:

• animators
• editors
• 3-D modelers
• copywriters and TV writers
• inkers, colorists and letterers
• storyboard artists
• background and concept designers
• motion graphic designers
• illustrators

How it works

 

As you may have guessed, sometimes more people want to take part in this than can be accommodated. Therefore every morning you can sign up to be reviewed by a specific company who's on the docket for that day. You won't know if you got picked (randomly) until 15 minutes before the review time slot starts - and you'll find out by looking at a printed list at the company's booth. If you made it onto the list, you must wait in that area for your name to be called. 

Who will be there

A range of companies, including Disney, LEGO, Nickelodean, Hasbro,Titan Comics, Cartoon Networks, Capstone and Lucasfilms  and lots of others.

Advice

The best thing you can do is tailor your work to the company's objectives. If they're not providing much detail in that department, do some research. Don't think your sheer talent will blow them away - companies scout for someone who can fit into their already established creative ecosystem.  


If you're unfamiliar with having your portfolio reviewed, you may want to study up on the general dynamics. Here's my novella on marketing yourself at Comic-Con and some very good posts from Steve Lieber. Good luck.

 

Marketing yourself at San Diego Comic-Con: Part II

22 APRIL 2014



A few days ago I listed the events, designated and not, that you can use to make connections at Comic-Con. The first email I got asked the obvious; who can market themselves at San Diego Comic-Con? Right. I should have mentioned that.

There really isn't a concrete answer here. While an aspiring comic book writer or game designer is obviously likely to find some valuable contacts afoot, even those in the fine arts or in occupations adjacent to creative fields could ferret out some good opportunities. But again, be realistic; Comic-Con is not a romcom where you 'll run into a kind-hearted legend who spots your potential and launches your career. Most of the contacts you'll make will be of the less dramatic variety. That doesn't mean they won't have value, though.

Also please note this isn't to suck the fun out of Comic-Con and turn it into another grim work responsibility. But if you do decide to actively market yourself or simply want to be ready if the right moment presents itself, remember that fortune favors the prepared.  Consider the below.
 

Business cards.

No, they're not dead yet. If you're still using those free Vistaprint ones that say Vistaprint on the back, get some real cards made. Include links to your social accounts and online portfolio. Don't do that weird salesperson trick of not printing your cell number on the card, then writing it down by hand to make your contact feel special. Just include it. I'd say make sure your phone is set up to bump or scan other people's cards except that I never meet people whose phones are actually set up to do this. 

If you want to bring any other promotional materials - postcards, swag - or intend to market digital assets like a new site, video or social platform, start getting all of that ready now. We're only 92 days from Comic-Con. That's a tight timeframe if you still need to develop, print or produce content.

Samples.

Bring the ones relevant to whoever you're trying to impress, not necessarily your favorites. Don't include rough or unfinished work. Some companies don't want to see adult content, some don't mind, but make sure it's not the bulk of your work in any case. In general it's good to demonstrate the ability to go beyond just one theme or subject.

Bring clean copies on high-grade materials. Don’t lug in some massive leatherbound portfolio with every project you've ever done – use those smaller portfolios good for leaving with prospective clients. (But ask if they want it before you actually leave it with them.) Make sure your business card is in the portfolio and include a sheet of reviews or testimonials if they're prestigious - i.e., not Amazon reader reviews. Don't include a standard resume; do a professional profile if you absolutely must list your credentials and clients.

You might think that you're too small time for all this. Look, I don't care if you're in high school - you should always put some effort into your work's presentation. I've seen multiple people pull a folded up sketch or handwritten story out of their pocket and hand it to a famous artist for consideration. I can guarantee you that at the end of the Con when people are packing up their hotel rooms, they will save what looks worth saving and toss what looks like trash. At least protect your work in a folder.

As for how many to bring - that depends on your plans. For the Comic Creator Connection, you need business cards and at least 20 copies of a one-page sample with your contact info on it. Again, be sure your portfolio URL and LinkedIn are included. For Portfolio Review, it depends on your field, but display everything on high-grade materials. Remember to select a few strong pieces, not thirty samples, and to display your work in its most flattering scale.


Sales pitch. 

Even people who are normally articulate and smooth when selling themselves can choke when pitching an influencer. Practice a 30-second pitch that sells your product in a compelling way without making wild claims. That's always more important than talking about yourself - but you should be prepared to discuss your background, goals and influences if someone asks.

If by some wild chance you get a green light from someone and they want to seriously discuss your product, be prepared with a modicum of business strategy. You don't have to roll out a thoroughly mapped marketing plan, but you should show that you've thought about who your game or book would appeal to, and the financial benefits someone would get from bankrolling it.

I'll reiterate this when I talk about soft skills - but don't exaggerate your achievements, don't try to make every conversation about your work, and don't grovel. All of that is obvious, and all of it is a turn off.

Game plan.

99% of your success at all of this depends on the groundwork you lay in advance. If you just show up and expect to randomly run into someone helpful, nothing will happen. But if you're clever and diligent and do some research, you can create your own luck. If you're targeting a specific publisher, research them. Find out what they need, what they like and where they'll be. I know it seems fake to look up someone's recent releases or a company's latest developments and then talk about them, but it does show interest and effort. At least be able to converse intelligently on your industry of choice.

If you have your eye on a specific personage, try to find out who you know in common. But look beyond them too and cast a wide net. Reach out to people in your online communities. Focus on developing a bigger network in general, rather than just one specific company or editor. The biggest breaks come from surprising places. I know Comic-Con is a magnet for shy introverts, but this is a time to squash your wallflower tendencies and take the initiative. Remember that networking takes on a life of its own after a while - if you can just get the ball rolling by making a few new contacts, often you can tag along with them and extend your network that way. 


Check back in a few days for Part III - my thoughts on soft skills and networking at the Con.

Marketing yourself at Comic-Con: Part I

18 APRIL 2014

We're 14 weeks from Comic-Con and I'm starting to get emails. Can I find an agent at Comic-Con? If I meet someone famous, is it rude to ask them to look at my work? How can I meet people in my industry?

San Diego Comic-Con has evolved in many ways, but one of the best and most practical is the content and networking opportunities for people in creative fields. In the mid-aughts, you could find a few panels on becoming a comic book artist; these days you can find panels for artists of all stripes on topic like promotion, editing, self-publishing, legal issues, collaboration and more, along with networking events. 

First let me make this disclaimer: I am not an expert on catapulting one's career through Comic-Con. I try to be as recreational and off-the-clock as possible when careening around the convention center. All the same, I do network somewhat and some of my friends are Con hustlers extraordinaire. Do know this; while there are great networking opportunities at the Con, don't envision a scenario where you can walk up to a TV producer, famous agent or acquisitions head and pitch them at your leisure. You will probably not meet an influencer in your field who can make it all happen for you - and even if you do, they'll probably have way too full an agenda to spend more than thirty seconds on you.

I’ll follow this up with two more posts: how to prepare for the below events and the soft skills you’ll need at SDCC. For now, look below at the main opportunities available to you.


Creative Panels

Take a look at last year’s panels for an idea of the discussions that go on. These may look too remedial for you; if so, fine, but don’t skip them if you think you’re not advanced enough. The best thing a neophyte can do is attend these and soak it all up for future use. As far as approaching panelists – I know it’s the dream of all unpublished artists and writers to dazzle an agent or editor at first glance. Surely they will sense your brilliance and commercial potential, etc. But be aware that everyone else will vie for their attention as well, and collectively you’ll all be as welcome as a swarm of gnats. I’m not saying to never approach someone, but to learn to read the room and do it deftly, if at all.

Regular Panels

I’m referring to panels on a certain book or TV show, when you’re just dying to approach one of the panelists afterward for advice. See above. And don’t become personally offended when someone’s handler drives you off. It’s not you getting rejected, it’s the Bothersome Stranger character you’re playing at that moment.

Portfolio Review

This is where you sign up in advance (of course) to have your work professionally appraised by industry professionals. Last year companies like Disney, LEGO, Nickelodean, Cartoon Networks and Lucasfilms participated, along with other non-household brands. It’s not just for aspiring comic book artists, but also for animators, copywriters, video editors, comic book writers, inkers, colorists, letterers, storyboard artists, background designers, monster designers, concept designers, illustrators and TV writers.

Doing it dumb: showing up with your entire portfolio and expecting the professionals to look through all of it; showcasing your favorite work, whether or not it matches the company’s brand and product; showcasing work that’s so subtle or long that it requires a private, attentive examination. Being surly when they give you feedback.

Doing it smart: showcasing a few high-impact pieces that are relevant to the company you’re meeting; doing advance research on their output and creative strategy, and tailoring your work to their qualifications; listening respectfully to whatever feedback is given.

Comic Creator Connection

Two nights of speed dating for writers and artists who want to find their perfect collaborative partner. You get 5 minutes to meet each artist/writer and discuss interests and skill sets, and then you decide later if anyone seemed like a possible match. There’s usually a Comic Pitch Review ahead of time to help the inexperienced practice their pitching skills and get coaching – all free.

This is only available to people with badges for the applicable days, which historically have been Thursday and Friday. You have to sign up first – and know that in the past artists could sign up for both days and writers could only sign up for one. Writers, there are just too damn many of us.


General Networking

This requires a light hand and a deft touch. I’ll cover more of this in my post on soft skills, but do look beyond the organized events to make contacts. Maybe someone at a small press table would be interested in seeing your book. Maybe a writer in your field could tell you how they got their break. Swing by Artist’s Alley – but don’t expect someone to educate you for an hour if you’re not buying anything. Nerd HQ, GamerCon, and various parties could have people relevant to your field.

Sometimes opportunities just come up and other times it pays to contact someone in advance and ask if you could have just 5 minutes of their time. Be polite, be accommodating. And be professional – even though you’re in a somewhat informal environment, you need to convey the general impression of being committed, reliable and possessed of basic interpersonal skills.


I'm posting all of this now so you have some time to plan how you can best maximize your Comic-Con trip. Check back in a few days for a post on ways you can start preparing. 

Do you want to be discovered at Comic-Con?

10 JULY 2013


Alternate title: The Portfolio Review schedule is posted. And you can see it here.

Let's talk about what you might not know about Portfolio Review. On a basic level, it's an opportunity for aspiring creatives to have their work professionally appraised. You show off your best pieces, an Important Industry Professional tells you their thoughts, and you hopefully learn from the experience.

But here's what's important: it's not just for aspiring comic book artists, which seems to be the general perception. Next week companies like Disney, LEGO, Nickelodean, Cartoon Networks and Lucasfilms will be looking for people in a range of fields which include: animators, copywriters, comic book writers, inkers, colorists, letterers, storyboard artists, background designers, monster designers, concept designers, illustrators and TV writers. So if you're a creative who thinks that Portfolio Review is only for people who can draw, look again. You might see a company looking for someone like you.

Because this is Comic-Con and you're competing with god knows how many people, it's not as easy as just showing up. You have to complete a Sign-up Ticket for each specific company and then wait to see if your name gets randomly selected for them. You should also be specifically prepared for each company, as they can have precise goals and disqualifications. Consider for instance the withering advice of Space Goat Productions: "We are not interested in a portfolio full of pin-up art."

You can read about the entire process, and review the schedule, here.