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.

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.

Nickelodean wants your pitches at Comic-Con

24 JUNE 2014

Here's something you don't hear too often - a major media company inviting your pitches straight from the convention floor. Nickelodean is holding an open call for original animated projects Thursday-Saturday of the Con, right there at their booth. Why? So they can greenlight a project for the global Animated Shorts Program.

Now - that's exactly what the press release says - they're going to greenlight A project. As in one. It also says the chosen pitch will be developed into a short with the "potential" to air on Nick on TV or online or even be turned into a full-fledged series. Potential is a word fraught with loopholes but I'm sure that's just a CYA term on their part. And who knows, even if your pitch isn't the lucky winner, you're still getting in front of an influential development team.

How it works:

The traditionally loud and hectic Nickelodean booth will have a windowed pitch room at its center with open call hours throughout the day. If you want to be in that pitch room, you need to register in advance at www.nickshortpitches.com by Friday, 18 July. (If past experience has taught you nothing else, you should know to register way before that.)

Here's a direct quote on the program: "Nickelodeon’s Animated Shorts Program, which is designed to identify and develop original comedy-driven content for kids, was launched in 2012 and took 600 pitches in its inaugural year. The program became global its second year. Concepts are received in all animation, styles from 2D, digital 2D, stop motion, CG and mixed media. Finalists are provided with the necessary artistic and production support teams to help them complete their fully animated original, humor-based and character-driven shorts."


You can find out more here, including a list of recent projects and artists discovered by the program.

Marketing yourself at San Diego Comic-Con: Part III

25 APRIL 2014



It used to be around 2009-2010, when I started this blog, the #1 question I got was "How do I meet people at Comic-Con?" It slid to the #2 spot as "How do I get a badge?" became the most common question, and then it slid to #3 as "What time do I get in line?" edged it out.

These days hardly anyone asks me that. Instead the #3 question I get, albeit in many forms, concerns self promotion. Meeting agents, making deals, getting feedback, plying your charms and your wares. Everyone's a brand these days. And Comic-Con has become increasingly viewed as a career move and networking opportunity - probably less because of the content-rich panels it offers and more because there are real live famous people around.

Who, by the way, you probably won't meet.  But the Con can offer some people some professional value, if they take the right approach. Previously I talked about marketing your creative brilliance at Comic-Con - specifically, the kind of events and opportunities available to you and the assets you should prepare now.

Today I'm unleashing a torrent of advice on soft skills and mindset - areas where I see people routinely (and amusingly) blow it. Some of this is particular to creative work, some to conventions, some to networking in general. Much of it will be old hat if you're an experienced self-promoter - but most of the people I've met at Comic-Con are not.


Be realistic.

Yes, I know - you are very special. You're not a hack like those other people; you're the real next big thing. I get it. Being any kind of artist means having faith in your talent. But sometimes this faith spills into delusion, and then that meets Comic-Con excitement, and it all flares up into an inferno of wild expectations. If you truly believe the Big Name Agent-Producer at the Con will take one look at your novel, portfolio or screenplay and sign you right then, you may want to scale your dreams down a tad.

Be courteous.

I think too many creatives have seen the movie where someone aggressively forces themselves into an influencer's office and becomes an overnight sensation. In real life, being pushy doesn't go over so well. Especially for people who are tired from traveling/the crowds, and are already being hunted down by hopefuls just like you. Be respectful, mind your manners and remember that the person you're trying to impress has other demands on their time. Also, at the risk of being called ageist - a lot of industry top dogs are heading into their senior years, and generally older people find travel and long days more exhausting and stressful than youngsters do. Something to keep in mind at any conference or convention where you're trying to get an industry leader's attention.

But don't be a syncophant either.

"Oh, Mr. Famous Comic Book Writer, no one is as brilliant as you. I'm going to recite all 75 of my favorite lines that you've written, and then I'm going to insult all your colleagues just so you know how much I love you and only you." Servile flattery has its place in the off hours, but at the Con it's just tedious. Be open about being a novice if indeed you are, but still carry yourself like a professional. No one wants to work with (or recommend) an obsequious puppy. Also, don't give unsolicited criticism. Often following on the heels of lavish praise is a sudden complaint about a character's love life, and how that whole storyline could have been improved. Just keep it to yourself, seriously.

Learn to read the room.

I'm always amazed by people who think it's a smart idea to linger after the panel ends, approach the exiting Superstar and try to hand them a manuscript/ask 11 questions/walk with them to their hotel. Or people who persist in engaging someone who was nice enough to answer a question but is now clearly growing annoyed. If there's a line of other people waiting for sketches behind you, if that cute actress is throwing panicked looks at her handler, shut up and make a graceful exit.


Handle rejection like a pro.

Every working creative grows a thick lizard skin to deal with rejection. (And if you're thinking, ha ha, not me, I don't get rejected, then you're not aspiring high enough.) But if you're not exactly working, and have more of a future plan than a past track record, getting shut down can feel scalding. Remember that most rejection isn't about you being "bad," it's about you not being the right fit, or the art director being tired, or someone beating you to the punch. If you do get feedback, consider it a gift and a compliment - it means someone thinks you have a talent worth molding.


In fact, be professional in general.

Networking at Comic-Con and in the creative industries in general may be less formal than applying at a hedge fund, but you still need to be professional. Way too many creatives think their genius allows them to communicate in half-feral grunts while wearing a ratty t-shirt, or get black-out drunk at happy hour. No one in the actual working world has any tolerance for that nonsense. You may not be the socially smoothest person in the room, but you can definitely be clean, punctual, hone your interpersonal skills and develop a grip on basic business etiquette. It's the reliable, easy-to-work-with creatives who get hired again and again - not necessarily the most talented.


Put your ego aside.

Good advice for everyone, but especially artists. Say you're a big fish in a little art pond back home where everyone grovels at your feet, and at the Con you mingle with some industry whale who treats you like a guppy. Suck it up and see what connections you can make. Yes, even if the whale is obnoxious. You can be a passionate artist at home; at the Con, you need to be a wily and pragmatic businessperson. Also, don't exaggerate your credentials because everyone will see right through you. If you're humble but self-possessed, you're far more likely to be taken under someone's wing.


Remember you're talking to people, not opportunities.

There's this weird objectification that goes on when an aspiring artist talks to a Powerful Person. The artist seems to forget that person has feelings, idiosyncrasies, biological needs, dorky moments. Talk to the person, not the job title. You're more likely to make an authentic connection and stay in touch. (But don't overshare by mentioning your recent overdose or the restraining order against you - real life examples.) Also, if you're at a social event, don't just promote yourself all night. There is no faster way to alienate everyone. You might think that's networking 101, but you'd be surprised how many people try to turn every conversation around to their script.


Offer value.

You might think you're too lowly to offer anyone anything, but you're wrong. If you're ambitious and committed enough to be marketing yourself at Comic-Con, you probably have done a fair amount of homework on your industry. Share it with other beginners. Instead of just waiting to talk about yourself, listen to what others are saying and answer their questions if you can. Offer to run to Starbucks for an exhausted-looking writer trapped at a booth (if you can pull this off without seeming creepy.) People will remember you and see you as worth having around.


Don't be an industry snob.

Telling some artists not to be an art snob is like telling them to be an accountant - but try. Don't dismiss someone when they say they live in Wisconsin, don't ask pointed questions about their representation or screen credits without asking anything else. If sheer decency isn't enough to compel you, remember that even a nobody may know someone important, may become someone important. They may become your most devoted fan after you hit it big. Rather than categorizing people into some industry taxonomy, treat everyone as worthy of your time.


Listen.

It's just stunning how many people will move heaven and earth to speak with an influencer in their field, then disregard everything the influencer says. Usually it's because they had an expectation the influencer didn't meet. Obviously you shouldn't take everything as gospel, but if an industry leader is giving advice, you should at least consider it. Chances are, they know what they're talking about.


At the same time, recognize a sales pitch when you get one.

This happens more at smaller cons, but I've run into it a few times at SDCC. The self-pubbed author who says you too can move 4,000 books a month if you hire her as a consultant; the rising star who seems like he wants to be friends but really just wants your contact info to assault you with marketing campaigns; the "indie reviewer" who asks you to send all your work to her free. These people aren't going to drain (much of) your bank account, but they will waste your time.


Follow up.

Another stunner: how often people will assume the influencer will do the work of sorting through the mess of business cards they got, reach out and stay in touch. No - they're busy. You need to follow up. Send a brief and appreciative email, and thank them for any feedback or help they gave you. Depending on the tenor of your meeting, include a link to your YouTube channel or online portfolio, or ask if you can check back for freelance work in six months. Connect on social media and be an occasional, intelligent and non-intrusive presence.



If you've read all the way to the bottom of this novella, you must really be committed to advancing your career. Good for you. I'll leave you with this. You know how many times you read a mediocre book or see clumsy film editing and wonder how that person got work? It's because they had the professional intelligence to compensate for their lack of talent. Lots of talented people half-ass it and end up with a half-assed career. Creative skill is all well and good but business skill is what takes you across the finish line.

I can't guarantee you'll meet the right collaborator, client or agent this summer. But I wish you the best of luck.