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.

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.

Sexual harassment: still happening at Cons

21 DECEMBER 2015




Happy Winter Solstice! Remember in 2014 when everyone was talking about sexual harassment at Cons and how CCI refused to author a stronger policy despite many other big Cons doing so? And we had that fascinating interview between David Glanzer and Albert Ching of Comic Book Resources, and this article and that article and others?


Like its subject matter, the conversation has never really gone away. It just expanded to be less about SDCC and more about Cons in general. And interestingly, the stories getting the most attention aren't about attendees getting harassed, but about professionals - artists, writers - getting mistreated. Maybe they get groped or some industry legend offers to give them a few pointers up in their hotel room or someone with power over their career won't stop hitting on them. Or an executive senior editor bites and gropes them in the Hilton Bayfront bar.

Which has shifted the conversation more to bad behavior in the comics industry, rather than at Comic Cons. But let's not pretend there isn't a connection. A passing glance at many of these stories reveals that yes, they happened at a major Con. And the line between pro and attendee blurs more and more these days, with so many new and aspiring creatives using Cons as networking opportunities to get a foot in the door - not just in comics, but in film, animation, game design, costume design, publishing, etc.

So what does this all mean for attendees? The Comics Alliance article says, "Sometimes dependent on hearsay and short on specifics, anecdotal warnings are still very much necessary to help newcomers and veterans alike navigate an industry in which personal and professional lines often blur and networking often takes place in hotel bars at the end of convention days."  

But your average attendee isn't in a position to get those warnings. And sometimes what seems weird (like when someone invited me to his room to talk about a writing project) is a legit thing being crammed into a busy schedule. Other times you're innocently talking to another attendee at the Hyatt bar and he gropes your chest (me at SDCC 2014) or posing for a picture in your Iron Man cosplay and a woman grabs your crotch (my friend at Alamo City Comic Con a few months ago). Or you're holding an event at your comic shop and a very famous writer offers to get you into any Con you want in exchange for some private time, then badmouths you when you decline (happened to my friend years ago, writer is still a notorious jackass.)

On the professional side, many people are calling for the comics industry to hold predators accountable. Attendees are still calling for stronger anti-harassment policies at some Cons and cosplayers want everyone to know they deserve respectful treatment. I don't think the harassment will ever go away entirely, because where there are humans, there is someone behaving horribly.

However, we can support each other as much as we can - and if you are taking your first steps at networking at Comic Cons and are wondering who to trust, it doesn't hurt to do some background research. Ask around, find out who has a reputation. Use your best judgement about the industry players who seem willing to "help" you. And whatever you do, don't let an incident scare you away from Comic Cons or your chosen field. You belong here and there are people who will support you.

ECCC offers artists Schoolism Live workshops

4 DECEMBER 2015

Anyone who goes to Emerald City Comicon knows it's all about the creatives. There's a Writer's Block, panels on storytelling, writing, drawing and making comics, a dazzling Artist's Alley and a general sense of passionate creativity. It's not just about big comic book names and a smattering of celebrities like at some other Cons - ECCC caters to its attendees who are book and art fiends, whether they're fans, creators or both.

So this is some exciting news: ECCC will be holding Schoolism Live workshops. Described as featuring "the most knowledgeable and experienced artists in the industry," these workshops will demonstrate art techniques and Q&As and the chance to meet other artists. You can expect to see a range of skill levels there, so don't fret about whether you belong: sign up even if you're still a little shy about your work.

Here's who's on the docket.

7 April
Robert Kondo - 9 am - Noon: Creating Worlds
Mike Yamada - 1-3 pm: Designing to Support Your Story
Dice Tsutsumi - 3:30-6:30 pm: Color Scripts

8 April
Marcelo Vignali - 9 am - Noon: The Fractal Method of Figure Drawing
Terry Whitlatch - 1-3 pm: Creature Design
Bobby Chiu - 3:30 - 6:30 pm: Painting Creatures

Yes, those are very talented and high-achieving artists. You saw Bobby Chiu's cool art in that Tim Burton version of Alice in Wonderland (and you may have chatted him up at other Cons like SDCC, where he is one of the friendliest vendors around.)  Robert Kondo and Dice Tsutsumi both worked on Monster University and Toy Story 3; Terry Whitlatch and Marcelo Vignali both worked on Star Wars: The Phantom Menace, Mike Yamada's work you've seen in How to Train Your Dragon, Big Hero 6 and other movies. You get the idea. These people are operating at the top of their field.

Each day is $120; you can get access to both for $200. Discounts are available for groups of 5 or more. And you don't need an Emerald City ticket to attend. But if you're committed enough to your art to go to these workshops, why would you miss out on all the great panels, discussions and vendors at ECCC? Just say yes to your bliss and immerse yourself in everything Emerald City has to offer.

When you look at all of the ECCC guests that have already been announced (we'll get another celebrity announcement Monday), it's kind of crazy to think we're still only in early December. I really think Emerald City 2016 is going to be jaw-dropping.

Is SDCC summer camp for creatives?

29 JUNE 2015

If you're new to the world of Comic-Con, you may have been surprised by the number of creative workshops and panels in the programming.  This is something that's grown over the years, both in breadth and in volume. Whether you're a screenwriter, video game designer, colorist, animator, novelist or makeup artist, you can probably find several panels offering professional advice at SDCC.

Often this leads to a confluence in the attendee mind: they blur the celebrity wattage of SDCC with these panels and think that they're going to meet illustrious movers and shakers who can make their careers happen. They think they can pitch agents and editors, charm producers and generally slide into an industry through a special side door marked "Comic-Con."

Unfortunately, that probably won't happen for you. But it doesn't mean these panels can't be valuable. Here's how to get the most out of them - whether you're starting out or already have a toehold in your field.

1. Look at the panel presenters. Probably everyone there has some kind of respectable credentials or they wouldn't have a panel at SDCC. But it doesn't mean they're top dog in their industry. Every industry has a subset of "experts" who make a brand out of blogging, presenting at conferences and self-publishing. Some got in on the ground floor of the Internet early enough that they created an impressive digital persona that doesn't correlate to their actual ability to sign and close deals. So just be aware that while you may get good advice from panelists, they may not be the industry titans you assume.

2. Be aware that you may not learn anything groundbreaking. We live in a world where a dedicated creator can pick up a lot of tricks and tips on their own from various online forums. You'll notice that many of these panels are 101 and focused on breaking into the comics industry or how to write query letters. That's great for super novices, but not terribly helpful for people who are further into their careers. If you've already done your industry homework, consider sticking to the panels that examine practical matters like legal negotiations and cross-medium production.

3. Be aware when you're getting a sales pitch. Panelists generally don't spend a small fortune to come to SDCC and give panels in the hopes that they'll be inundated with your wireframes and manuscripts to sort through, unpaid, back home. They do it to network, elevate their brand and sometimes to expand their customer base. It's not at all uncommon for a presenter to get  chummy with you and appear interested in your career when really they just want you to become a Facebook fan and buy their books. I see attendees fall for this every year. Last year it was someone thinking a famous writer had invited her out for drinks and career talk; she showed up to find a few dozen people there, fawning over the writer, who didn't acknowledge her.

4. Don't ignore your fellow fledglings. Getting to know the other neophytes in your career can open more doors than you think. One, it's comforting to have friends who understand what it's like to struggle in a harsh industry. Two, they'll often have better advice on advancing today than someone who started out 17 years ago. Three, some of them may become wildly successful down the road. Creative breakthroughs rarely happen in a vacuum so start building your network now. Too many creators view each other as competitors when they should be viewing each other as a community.

5. Don't come with all your materials in hand unless a panel actually requests it - but have a flawless digital game at the ready. Nothing screams AMATEUR like someone who actually shows up with a manuscript or sample pages crumpled and stained from travel. Have some art ready to show on your iPad or phone, and cards that link to your digital assets. But don't expect a panelist or established creator to accept your physical samples and evaluate them. (That said, I have a friend who is gracious about accepting these at his booth and offering feedback - but I've seen people who aren't as kind be quite rude about this.)

6. If you have a question a panelist can't answer, ask where you can get an answer. Sometimes they won't know but sometimes they'll refer you to a good resource or even have someone from their company contact you. Someone else in the room might have an answer for you after the panel.

7. When you do ask a question at the panel, don't dwell on your project. Just ask your question. Writers are notorious for starting out with, "So I'm about 20,000 words into my novel which is about..." and launching into a 4-minute synopsis. One, this is time-consuming; two, it sounds like you're pitching. Often the secret hope is that the agent or writer will say, "That sounds fascinating!" and leap to get you a contract, but trust me, they'll just want you to get to the point.

8. Don't be afraid to take notes. Attendees get embarrassed about this - but if you're hearing genuine pearls of wisdom from the panelists, type away. 

9. If you're a writer - and I know you are legion at SDCC - recognize that you will get the real power agents and opportunities at good writer conferences or BookCon. If you're a comic creator, keep small Cons in mind - it's often easier to make connections there than at SDCC. That's on the floor, mind you; if you have access to the right parties at SDCC, that's another story.

 

10. Creative panels can be great, but in the end they probably won't change your life - so remember to mix in a few fun and frivolous activities and panels too. You're at Comic-Con, after all. It'd be a shame to be so grimly focused on your hot pursuit of FAME that you miss everything else it has to offer.

 

If you're serious about networking at SDCC, I'd advise reading my 3-part marketing series on events, preparation and soft skills. Be warned, it's lengthy. But ultimately Comic-Con is a great opportunity for any creative, from inspiration to connections. You already have a golden ticket in the form of a badge, so you may as well maximize everything it has to offer.

 

 

 

So you got a badge. Now what?

24 FEBRUARY 2015




We are 19 weeks away from Comic-Con. If you were one of the lucky ones who got a badge Saturday, that might sound interminably long to you, or it might sound not long at all.

You'd be right in both cases. Although we have some sales ahead of us - hotels and parking, namely - the next month or two are kind of a dead zone in terms of anticipation; more wishful thinking than solid news. (See the panel talk on my 2015 page for an example of baseless speculation.) The drumbeat of steady coverage and announcements won't start until May or so.

But that doesn't mean there's nothing for you to do.


Save money.

The obvious one. You're going to want to spend hard at SDCC, whether it's on drinks or comic books or collectibles, so put money aside now. And if you're freaking out about hotel bills - as in, you want to stay at a pricy downtown hotel but Mission Circle is more in your budget - you can find that extra 100 a night if you start a fund now.


Get in shape.

I say this every year and I think everyone ignores it. You don't have to be Jillian Michaels, but you do have to be able to walk long distances (sometimes fast, to make that panel) and endure sitting or standing in long lines. Don't think this doesn't apply to you; it applies to everyone. No one is carried around Comic-Con in a palanquin. If you want to enjoy your SDCC experience, rather than end up sore and stiff with blistered feet that can't walk one more step, get in shape. I know two comic book artists who are on their feet all 5 days and even though they're both basically fit people, they start hitting the exercise bike every winter.


Sell off your back issues and exclusives now, not at the Con.

First-timers tend to think that the Exhibit Hall is the ideal place to sell off their unwanted stuff. It isn't. Those vendors have enough physical merchandise they're trying to unload, and they won't give you top dollar for yours. Sell it off now when you can hold out for a good price.


Think about what you want out of Comic-Con.

I know this is vague. But it's important. You'll hear me say this about eight more times over the coming months - don't just show up and do SDCC on the fly. It's too crowded, chaotic and multi-faceted for that. I understand well the urge to be spontaneous and go with the flow and trust that Fate will steer you wisely, but that isn't how it works. (Well, for the most part. Some people do luck into a certain Con serendipity.) Unless you figure out what you want to see, where and when it is, and what you need to do to make it happen, you'll miss it. The crowds, the Exhibit Hall thunder and dazzle, your friends' ideas, will all pull you into currents that take you away from what you originally wanted.

I'd suggest looking through last year's programming, just to get a rough idea of the panels and activities that are available, and think about the kind of Con you want to have. Maybe you're all about seeing the Hollywood panels; maybe you want to network with industry people; maybe you want to go to parties and meetups; maybe you're all about completing collections or cosplay. It's good to at least sort out your priorities now.

 

Join your hotel’s rewards program. 

You don't know your hotel yet - but once you land after Hotel Day, join their rewards program. The free Wifi and continental breakfast are nice perks that can add up, and generally speaking, if you arrive at the hotel as a current member, rather than having to be talked into it at the reception desk, you get that extra layer of service - room changes and such.

Plan your costume. 

 First off, you don't have to dress up. Outsiders think we're all tramping around in costumes at SDCC like it's a huge nerdy Halloween party but cosplayers are the minority. Most of us wear street clothes. But if you do decide to dress up, start planning it out now. You might need to order something, sew something, change something that turns out to be itchy and uncomfortable or falls apart. I'm speaking, of course, to regular people. Hardcore cosplayers have been preparing their looks for months and they're usually ready to sacrifice comfort for aesthetics.

 

 

Prepare your materials.

 

A fair number of attendees come to SDCC to network and market themselves. If this is you, don't wait until the last minute to create sample art/pages, business cards, demos, scripts  and portfolios. Design and production can take longer than anticipated, so it's good to at least make your plan now. I've heard countless horror stories about expired domains, printing errors, disappearing partners - it happens. Trying to cram it all into June is to invite stress and mistakes, and the work won't be as polished and impressive as it could have been. If you need to ship anything, or print material at the Con, start figuring out the right facilities now for that too.

Come out of your cocoon.

If you want to be a social butterfly at Comic-Con, but you don't know many people there, you'll find many people in the same boat. Over the coming weeks you'll see people looking for others to have fan meetups with or happy hours or collectible and universe-based events. It might seem early to think about that - but if you're a shy person, there's no better way to make friends than to help organize something. If you decide to simply show up, often you'll talk yourself out of it. So for people who really want to meet others and branch out beyond the 2 friends they came with, start hunting around online now. If you have an idea, suggest it. There are 130,000 people coming to SDCC - some of them will share your interests. Don't forget to use the ConnectiKon app for this.


None of this, by the way, is to make SDCC sound like some laborious school project. But if you do some basic prep work in advance, you will have a better time and get to more of the stuff on your Con bucket list - I promise.

New app lets you meet SDCC attendees, find parties

14 JULY 2014



Admit it, you want to reach out and mingle with your fellow attendees. All those strangers passing you by in the Exhibit Hall, on the street, sitting next to you at panels - who are they? What parties are they going to? Now you can find out.

We all meet people at San Diego Comic-Con but it's usually through happenstance. Someone's in line behind or ahead of us, or sitting in the hotel sauna when we walk in, or they commiserate with us over the price of nachos in the Exhibit Hall. But now you can meet attendees who specifically share your interests through a social media app called ConnectiKon.

ConnectiKon promises to "give people the power to engage each other, in the real world, based on their own interests and passions, regardless of how unique or quirky those might be." In other words, it helps you connect with Comic-Con people, panels, parties and other events. This is not about making online friends, but about real-life, in-person encounters. I don't mean that in a Grindr/Tinder sense of the word. I mean in the sense of enjoying a more social experience at Comic-Con. Despite being surrounded by 130,000 people, it's quite possible to go all 4-5 days speaking only to your friends - which is a terrible waste of an opportunity.

The app was developed by Jesse Singer, a  former Yahoo executive. He claims to be one of us: “We chose to launch ConnectiKon at Comic-Con because these are our people. They are super active folks who love to engage with each other live and in-person. That’s perfect for us because CKON is all about finding that great after-hours poker game, the Yoda beer pong party, the Storm Trooper breakfast. It’s not about sharing something with old friends, it’s about doing something with new people and having fun together.”

Here's how it works:

• Download ConnectiKon from the App Store.
• Add your events, using San Diego as the location tag.
• Browse existing events and profiles to connect with people who have similar interests.
• Connect.

You can get as creative as you want, entering any three words you want to ‘tag’ activities. Those tags appear on a word cloud where other users discover and tap them to find out more about the activity and the person who posted it. And it's not just for San Diego Comic-Con - you can use this globally.

This is a ginormous opportunity, considering how often you find out about parties the day after they happen. Because that's how people usually use social media at the Con: to post pictures and brag. ConnectiKon can help you connect with people who share your specific collectible passion, or point you to a cosplay party, or find a meetup of fans from your favorite show. I'm sure you can use it to meet people one on one too. (Don't pretend you weren't wondering - people ask me all the time how they can "meet someone" at Comic-Con.)  

Basically, this is a way to ensure you don't miss out on something fun and unique. Don't just spend Comic-Con with the same 3 people you hang out with every weekend. Reach out and stir the social pot. There is no other opportunity in the world quite like this one.

Download ConnectiKon from the App Store.

Watch the ConnectiKon video.

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.