Comic Creator Connection: Advice from an All Star

17 JULY 2025

Meet Josh White, illustrator on Area 51 Studios. Two years ago he went to his first San Diego Comic-Con and met his future collaborator, Ernie Altbacker, at Comic Creator Connection. Today they have a graphic novel coming out - and you can hear them speak at the Comic Creator Connection All Stars panel.

Josh shares his opinion of CCC and his advice for finding a collaborator.

 

So Josh, I know this happened at your first SDCC in 2023. Why did you go to Comic Creator Connection? How did you know about it?

I'd always wanted to go to San Diego. I was looking to network and a few of you recommended it. So I put it on my list of stuff to check out.

 

What happens at Comic Creator Connection? I think it's like speed dating, is that correct?

Kind of. As the artist, you're the hot date. There's 10 times the number of writers as artists there. Yeah, I think there were 10 artists and about 30 writers.

 

As an artist, you're stationary and everyone else is moving.

 

Sounds like it should be a reality show. What was your impression of the people there, the level of creative talent? Be honest.

Definitely a mixed bag, but mostly not great.

 

I've heard that from other people.

But you never know who you're going to meet there. Most people didn't have very good ideas to begin with. One person had a story where their plot was a purple dildo with swords coming out of it. I thought, this is going nowhere with any publisher. It was strange. Some people seemed to be looking for a way to get someone to listen them. A lot of it was too weird to even be marketable.

 

There were few artists you could do projects with. There were fine artists who did painting, sculptors… Of the 10 artists, 2 or 3 could put together a graphic novel.

 

They probably need to do some vetting. But they've had a number who've come through and create legitimate published projects. Several have done graphic novels. Like anything else, it's a numbers game.

 

But despite all that, I would still do it again if I was looking to do a project. You never know unless you try. It’s worth checking out.

 

People talk about it like they're hoping to be discovered - like it's Schwab's drugstore and they're Lana Turner.

Yeah. I'll say that when it comes to anyone successful, you don't see the journey there - the doors slamming in their face before they get famous. That part gets ignored. You're still going to put in the work and do crappy networking events.

 

So what happened with Ernie?

Ernie was one of the few writers there that had cohesive ideas, and a way to articulate them. I was the first artist he saw whose portfolio showed work that could be put in a book. I think the mutual connection was pretty quick.

 

Did he show you a treatment? How did it work?

There was no time for that. Writers only had about 5 minutes total to talk about what they’ve written and their ideas. I'd seen 10 people at the point. Ernie showed up and told me he'd written some things for DC. Then he saw my stuff and said, This is where I want to go. That's how the conversation progressed.

 

Then I reached out and we went back and forth and he pitched 4 or 5 different ideas. I thought Area 51 was a great idea, and it was a self-contained story we could do in a one-shot with a clear story.

 

You left out the part where we were in Ballroom 20 watching Justice League: Warworld and he came out on stage.

When the CCC ended, there was only one event left for the day, which was the DC Justice League: Warworld premier. They brought the producers and writers out for a panel before the premier, and Ernie was the first one called. I turned to the people I was with saying, that's the guy! while showing them the card he gave me at the event.

 

What's your advice for people who want to try their hand at Comic Creator Connection?

Make sure you've got something that can be marketed. If you're a fine artist or doing watercolor portrait work, even if it was compatible with a writer trying to do a graphic novel, it could take more than a year to just produce the artwork to get it published.

 

Go into this having thought it through: What can I bring to market that makes sense? Is it a story that can be adapted, does it have a beginning and end? If you're an artist: can I reasonably produce this thing, could I draw through it in a couple of months and get something made?

 

It's Comic Creator Connection. If I have a stylized painterly style, having process down to produce it quickly is the only way I’m going to get it done. If you don’t work digitally, I’d need a proven workflow to achieve that success. Look at your stuff and make sure whatever you're presenting communicates that you can create a comic or graphic novel.

 

Tell us about your comic, Area 51 Studios.

Area 51 is not a secret government facility. It's a soundstage where aliens make TV shows, including human dramas like the Black Plague or the Crusades. The comic is the story of a producer is trying to get his mojo back. He's won awards for producing the Crusades and this is his attempt to do a comeback story.

 

They do different shows for other planets all over the galaxy – humans don’t know the only reason they haven’t been wiped out already is because it’s more trouble than it’s worth to find a new budget TV studio.

Sounds amazing.

 

You can see Josh and other CCC All Stars at 10:00 am on Saturday, July 26 in room 29AB. Want to hear more about his comic? Visit Area51comic.com.

ADA information, creative connections, and Amazon Prime Day

 26 JULY 2023

If there's one evergreen piece of SDCC content you can count on in Comic-Con season, it's "Your San Diego Comic-Con Checklist!" It's the ever-multiplying field mouse of SDCC guidance, when you were hoping more for the rare snow leopard variety that tells you how to book a Hard Rock room and get a front row seat in Hall H.

No snow leopards here, at least not tonight. But CCI did thoughtfully serve up a listicle of SDCC prep tips and they're pretty good.  Here are a few that caught my eye:

• "Comic-Con strongly encourages the use of approved face coverings for everyone participating in the event." Encourages means not mandated, so you won't have to cover up your gorgeous visage - unless you bought some very cute masks off Etsy that you want to show off. As someone who has been exposed to COVID a few dozen times and not caught it, I will be going mask off. 

• They advocate the use of their CCI app - and I agree. I think there's a breed of SDCC attendee, of which I am a member, that scoffs at official apps and guides and prefers to forge ahead powered by their own experience, intuition, and luck - but that's honestly an inefficient way to forge. The app really does contain a multitude of valuable information that you'll need to consult on the fly.

• They also mention the FedEx office in the convention center and another on E Street. What they don't mention: the FedEx office right next door at the Marriott Marquis. This is often much faster.

• Finally, they advocate using a translation app so you can chat up international friends in your fandom. Let's be real: ChatGPT and Bard will be doing the translating, line strategizing, and other SDCC cheat codes. Will our AI frenemies do it well? I think this is their first SDCC so maybe not, but we can train them to be of more value next year. Unless we're all crushed under their digital heel by then.

Connecting and Creating

Comic Creator Connection is back, in which desperate writers swarm inkers, colorists, and pencillers with their unpublished dreams. As always, visual artists are welcome both nights (Thursday and Friday) but writers can only sign up for one night.

You might think Gaming Creator Connection runs the same way, but no - this is more of an event where aspiring game devs get advice from seasoned veterans. I wish CCI would do this for writers as well - not just comic writers but novelists, screenwriters, etc. Beginner "how to" panels are fine, but networking is far more helpful in building community.

ADA

Last year was my first year in a Hall H ADA line, due to a friend's freak accident on Preview Night. I learned a lot and saw a lot, my biggest grievance being that they let disabled people bake all the day in the sun even when it was clear they wouldn't make the cut off. Anyhow.  I recommend reading the entire ADA section because there's detailed information on requesting an interpreter, reserving shuttle rides, and other important stuff.

A few other things:

• No support animals are allowed - just service dogs. Your therapy hamster has to stay home.

• It says the first half or third of the ADA line is in the nice air-conditioned lobby but "the Hall H line may subject you to many long hours in the sun." No kidding. So bring a fancy chair with a shade visor. Work with friends to do shifts. And if you're wondering why they can't just erect a tent or move the line under a tent, "The Convention Center does not allow tents or structures in that area." I find that answer so unsatisfying.

• All attendants need a badge - and they can buy them onsite! The Disabled Services booth gives your attendant a coupon to take to those RFID booths in Lobby A, and the attendant can buy a badge there. Did everyone know that but me? A select group of attendees can still buy badges onsite. Fascinating. 

Also - they announced Amazon Prime Day(s) and it's July 11-12. That gives you enough time to order air mattresses, fancy line chairs, sunscreen, coolers, batteries, and other critical stuff.

Depressing thought: a month from today, we'll already be back home and putting SDCC 2023 in our review mirror.

Time to game up for Comic Creator Connection

27 JUNE 2017

The chance to meet your creative soulmate is back. SDCC's Comic Creator Connection gives you the chance to go speed-dating amongst unpartnered creatives just like you, letting you interview potential comic creators to find the perfect person to draw your ideas or write your story.

Unlike a novelist or painter who can take their creations from conception to birth on their own, comic creators usually need to collaborate with someone. Rare is the person who can not only draw, ink, color and write but do all of them skillfully. Comic Creator Connection gives you the opportunity to examine a potential collaborator's creative style and personality and possibly strike up a partnership.

Who Can Go

Anyone, but you should have some kind of solid offering before you sit down at the table. If you've never written or penciled in your life but might want to some day, this isn't for you. This is for emerging professionals looking for collaborators who can do the work. Yes, it's okay if you're just starting out and have no real credits to your name, as long as you're committed to making it happen.

How It Works

You spend a few minutes with prospective partners to assess each other's style, skill and personality. The compatibility is there or it isn't. If it is? Exchange contact info and samples, with something to visually jog their memory later. If it's not? Be polite and thank them and say you'd like to think about it. If you get shot down, be gracious. Usually both people kind of vaguely thank each other when they know it's not a match.

Where and When It's Happening

Friday from 7:00-9:00 pm and Sunday from 12:00 pm - 2:00 pm. Both sessions will be in the Santa Rosa room at the Marriott. You need badged access for that day - this isn't open to outsiders.

How to Sign Up

Email programs@comic-con.org and tell them if you're an artist or writer and which day you'd like to attend. Artists can go both days; writers, you have to pick just one.


What to Bring

• Water
• Business cards with a link to your digital portfolio
• Digital business cards if possible to connect right there
• 20 copies of a good art or writing sample
• A good pitch that sells your project and offers your skill set/credentials without bragging
• A succinct summary of your goals, your influences and your availability
• Something to take notes on
• A positive attitude and realistic expectations

What to Expect

The potential to make new friends and contacts. If you go in guns blazing and tell everyone you're the next Brian Vaughan, or if you expect to meet the next Fiona Staples and will accept nothing less, your Comic Creator Connection experience will not be a success. Instead, get to know the people you're meeting and be gracious even if you think they're amateurs. If you do make a career for yourself in this industry, you'll be surprised at some of the people who come up with you - so try to stay on decent terms with everyone. And don't let your ego get in the way; ask your new comrades how they're networking and getting ahead. You'll find out who's publishing new writers, which house is looking for inkers and other tips that established pros often have no clue about.



Other Tips

You'll meet anywhere from 1-2 dozen people, so don't expect to remember everyone's face, name and work style. Collect cards, connect on social and jot down a numeric level of your interest on a scale from 1-10. If you have a digital portfolio, include a photo of yourself or accurate drawing so other people can remember you more easily.

It's always awkward rejecting someone to their face, so have a few diplomatic lines prepared when you know you never want to work with someone. If you yourself are paralyzed by the fear of rejection, well, this is a low-stakes way to work through it.

Ask questions. Just because someone has a pretty sample doesn't mean they're responsible, finish projects, listen to other people's ideas or handle business intelligently. If you like someone's work right off the bat, dig in and find out if they've got chops beyond talent. Definitely ask if they've been part of remote collaboration in the past and what their project history is. If their creative past includes 7 drafts that died of starvation 60% in, consider that a red flag. Ask if they have a demanding day job, 5 kids or something else that claims all their time.

Bring hard copies. Showing off on your iPad and shooting them a link is all well and good, but giving them something physical is more likely to keep you top of mind. Offer enough samples to showcase your versatility and package them in a way that protects them and maybe makes the recipient feel guilty about tossing it. I once was at an event where I received samples from 11 writers, and one had packaged hers like a restaurant menu with elaborate design and thick plastic. I kept it (and remembered her) for a long time just because I felt bad about throwing it away.

Is it worth going?

I've heard mixed reviews on Comic Creator Connection the last two years; it seems to depend on who shows up that day, what you expect, and what you offer. You can always hit up the All Stars panel on Saturday at 10 in room 23ABC to see how other people have walked away with a successful collaboration in hand. Overall, I'd say that carving an hour or two out of your Con is worth it.

Get your game on for Comic Creator Connection

15 JUNE 2015

The chance to meet your creative soulmate is back.

For those of you who've never participated in Comic Creator Connection, this is like speed dating for artists and writers. You examine each other's creative style and skill and decide if you might have a collaborative future together. Unlike a novelist or a painter, who can take their projects from conception to completion all on their own, comic book creators generally need a partner - unless they're that rare bird who can write, draw and ink skillfully in equal measure. This can be hard-to-impossible for your average young writer or artist who isn't hooked into a thriving community of other comic creators.

Which is where Comic Creator Connection comes into play. One caveat, carried over from last year: artists can do both sessions but writers can only do one.

Where: Santa Rosa room at the Marriott.

When: Thursday, 9 July 7-9 pm and  Sunday, 12 July 1-3 pm. You must have a badge for that day, but that shouldn't be a problem given the days they picked.

How it works: You'll get 5 minutes with each prospective artist/writer to suss out ideas, chemistry and compatibility. You can exchange information if you want to continue the conversation later.

How many people you'll meet with: roughly 15-20.

How to sign up: Email programs@comic-con.org and write "Comic-Con Comic Creator Connection" in the subject line. Indicate whether you're a writer or artist and which session you prefer.



Practical advice

Have business cards ready with links to your portfolios and social accounts. Having a photo on your card might seem like a car salesman move, but it will help others remember which one you were.

Conversely, write down a brief description of someone on their card after they hand it to you - just 1 or 2 keywords to jog your memory later as you sort through your cards. Also assign a numeric code or grade based on your interest level - F for someone you'd never work with, B for potential, A for someone who seems like a dream collaborator.

It can be really awkward when one person wants to follow up and the other doesn't. Just be graceful about it and take their card and say, "Sure, let me think about it and I'll follow up." If you're the one getting shot down, just thank them and wish them luck.

There's an "All Stars" panel on Thursday at 1:30 in room 8 where you can hear success stories from previous Connections. These people won't just talk about themselves - they'll also share tips on how to find the right partner.

If you don't already have a digital portfolio, create one. That goes for writers and artists. Make it as easy as possible for someone to evaluate you. If you feel like you need to be present to explain your work, that isn't a good sign - the story should be tangible within each piece.

Listen and ask questions. Don't launch into a long monologue all about you - 5 minutes goes fast. Ask how they feel about remote collaboration. Ask about past projects. If they have a history of projects that die of starvation 60% in, consider that a red flag. Amateurs start lots of projects but professionals finish them.

Don't skip out on the hard sample aspect of this, even if it seems old school and inconvenient. Showing your work on an iPad might seem the easiest thing to do, but it's also the easiest to forget. You want to leave them with something in their hands.

Be prepared for a range of skill levels and achievements. Have realistic expectations and be kind, even if you're appalled at some of the work you see.



What to bring

Fortune favors the prepared creative, to paraphrase Louie Pasteur. I'm going to stray slightly from CCI's recommendations here and say you should bring:

• Two dozen copies of a 1-page writing or art sample. If you want to showcase 2 radically different styles (depending on the kind of project you're envisioning), bring 2 pages - say, a dialogue-heavy script and a more descriptive page for writers, or pages that show off a more cartoony style on one and a more illustrative one on the other. Include your contact information on these in case they lose your card. Organize all this in an attractive and secure way. 
• Water.
• Business cards.
• A digital business card so you and your intended can beam each other right there at the table, rather than risking losing a piece of paper.
• An excellent pitch that sells your project and your ability and focuses on credentials rather than adjectives.
• A clear explanation of your availability - how many hours a week you can put in, your other jobs and gigs, etc. - and a list of your influences, goals, favorite creators.
• Something to take notes on - an iPad, a legal pad, your phone. It will be hard to recall the salient details offered by 20 people when you get back to your room that night.

Events like this generally go best when you approach them as a positive networking opportunity rather than a pass/fail test. You may not meet that perfect collaborator in the Santa Rosa room at SDCC, but you will meet plenty of people who are part of your community. Be friendly, stay in touch, exchange helpful information. Too many young creatives (I say "young" as in career stage - you could be 82 and just embarking on your calling as a comic book writer) think that established pros hold all the answers when it's often people at their own level who can provide the best guidance on anything from submission calls to inexpensive art supplies.

If you approach Comic Creator Connection in that light, you're bound to make some valuable contacts and maybe some new friends. And even if you don't find your creative soulmate at SDCC, you will extend your creative network - a move that always increases the likelihood of finding the collaborators, agents, editors and publishers you dream of working with.

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.

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.

Comic Creator Connection is back

24 JUNE 2014



It's back: writers and artists will get the chance to suss out each other's interests, skill sets and collaborative chemistry at Comic Creator Connection. You get 5 minutes to meet each artist/writer and decide if you'd like to exchange contact information to move forward. 

This year it's only happening on Thursday and Sunday. Anyone with a Friday or Saturday badge, you can't participate - sorry. Once again, artists can sign up for both days and writers have to pick only one because there are just too damned many of us.

Previously CCI held Comic Pitch Reviews to help you practice your pitching skills but I don't see that mentioned this year. Instead there's a Comic Creator Connection All Stars panel on Thursday at 11 am in room 32AB.


Session I - Room 29B

Thursday, 24 July 2014

7:00 - 9:00 pm


Session II - Room 29B

Sunday, 27 July 2014

1:00 - 3:00 pm


What to bring

You should bring business cards, your portfolio or at least 20 copies of a one-page writing sample. Make sure your portfolio URL, contact info and LinkedIn are included and have your best pitch ready. Remember, you're not selling your work but looking for a collaborator, so be ready to explain your influences, your storytelling techniques and show samples that indicate how you create - not just how commercially successful you've been in the past.

If you feel awkward rejecting someone to their face (who doesn't) have a few lines prepared to let people down gently. If you do find a possible match, don't just swoon over their pretty work - ask how experienced they are at remote collaboration, who they've partnered creatively with in the past and what day job/other project obligations are already claiming their time. Lots of people can write/draw well on their own, but fusing two creative visions is a whole separate ability. And there's nothing worse than investing in a project that eventually dies because your partner flaked.

If you have problems remembering people, only focus on the few people who strike you as really having potential. Write down a number indicating your own interest level and a few words describing them right before you leave. Most people have a head shot on their LinkedIn or site which should also help.

Registering

This is Comic Con, so signing up in advance is highly recommended, which you can do by emailing programs@comic-con.org and writing "Comic-Con Comic Creator Connection" in the subject line. Apparently specifying "Comic-Con" is really important when emailing San Diego Comic-Con. Indicate whether you're an artist or a writer in your email.

Interestingly, CCI says there will be onsite registration, which suggests that people aren't chomping at the bit to sign up for this. Apparently there is still an SDCC program in existence that doesn't completely fill up ahead of time. Who knew.

Phoenix Comicon still has badges, hotels available

1 JUNE 2014



If you've been toying with the idea of hitting up Phoenix Comicon, there are still plenty of hotel rooms (and badges) left. These aren't SDCC prices, either; some hotel rooms are as low as $77 a night and the badges are $70 for the entire event up until 4 June.

The Con runs from 5-8 June at the Phoenix Convention Center. This year's events are too numerous to list but include comedy shows, cosplay fashion shows and mixers, the Doctor Who Party Like a Timelord bash, a geek prom, a Peter Pan pool party, roller derbies, a Sherlock Holmes scavenger hunt, the Talk Nerdy to Me Burlesque, a zombie walk/beauty pageant/ obstacle course, a haunted house and a steampunk ball. And of course lots of gaming, film festivals and competitions.

As far as programming goes, the panels are a bit more eclectic than you'll see at other Cons. There are workshops on drawing and writing for comics and movies, of course, but also on horror makeup, planning your geek wedding, ghost-hunting, making money on YouTube and other sundry topics. People like Stan Lee, John Barrowman and Nathan Fillion have spotlight panels.

Overall, it's a very laidback Con. Does it bring the thunder and grandeur of San Diego? No, not even close. But if you have nothing to do this weekend, and can travel without an exorbitant plane ticket involved, it's worth going.

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. 

Find your creative soulmate at Comic Creator Connection

18 JUNE 2013


Last year (or maybe the year before), Comic Con premiered the Comic Creator Connection, which is basically speed dating for writers and artists who want to find their perfect collaborative match. You get 5 minutes to meet each artist/writer and discuss their interests and skill sets, and then at the end of the night, you provide your contact information to whoever struck you as having the right collaborative chemistry.

The catch: you must have a badge for the applicable days, Thursday and Friday. Artists can sign up for both days; writers can only sign up for one, given that we tend to multiply like rabbits.

Session I - Room 29B
Thursday, 18 July
7:00 - 9:00 pm

Session II - Room 29B
Friday, 19 July
7:00 - 9:00 pm

You should bring business cards and at least 20 copies of a one-page sample with your contact info on it. Make sure your portfolio URL and LinkedIn are included and have your best pitch ready. And if you're nervous or inexperienced in that, Comic Con is ready to help; they're holding Comic Pitch Review in the same room from 5:00 - 6:00 pm to help you practice your pitching skills via some free individual coaching. Given how awful most artists and writers tend to be at promoting themselves, this alone could make the whole shebang worth your time. 

This is Comic Con, so signing up in advance is highly recommended, which you can do by emailing programs@comic-con.org.