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.

Submit your work for the Souvenir Book

2 FEBRUARY 2017

Much like Punxsutawney Phil, I'm going to make a prediction: I think this year's San Diego Comic-Con is going to be great. I just have a feeling. That doesn't mean we'll all get rooms at the Marriott Marquis, or be carried to the front row of Hall H on a palanquin, but I do feel like the programming, the guests, the surprises, the overall experience, will be exciting and satisfying for most attendees.

Yet one place this year falls oddly short is the anniversaries being celebrated. Each year CCI notes important dates - a famous artist's birthday, the anniversary of a character or comic book - and those themes guide art and narrative work submitted for the Souvenir Book. That's the thick, pretty journal full of articles and artwork you receive at SDCC. Some years are just ripe with these anniversaries. Last year was an abundance of riches.

This year, though, is slim pickings. That isn't to cast shade on anyone or anything being celebrated. It's just a smaller number of opportunities around which to center your work:

The 100th birthdays of Jack Kirby and Will Eisner. Obviously there's a wealth of their characters and achievements to be inspired by. In addition, CCI wants you to share any memories or personal encounters you may have had with these gentlemen. You could be featured in their "Close Encounters of the Kirby/Eisner Kind" series.

Weirdly, CCI says, "This year's book will also salute a number of other comic creators with milestone anniversaries in articles." Um... like who? Tell us so we can write/draw/paint about it, CCI.

Then there's the 50th Anniversary of Batgirl. If last summer's Killing Joke gargoyle-dominated sex scene left you deeply unsettled, this is your chance to reimagine our Barbara in happier surroundings. There's a lot of creative potential for this one, I'd say.

And finally we have the 25th Anniversary of Batman: The Animated Series. Again, this should be a fun basis for creating something - but the trick will be to rise above the pack of Joker and Harley Quinn art submissions. The Ventriloquist or the Clock King would be my choice, but I'm sure you creatives will come up with something novel.

As always, you do not need to be a pro in any sense of the word to submit for the Souvenir Book. Give it a shot. You do need to follow specific formats and requirements, so review this carefully. Then submit your work by 14 April. Who knows - maybe everyone at Comic-Con will be admiring your genius this July.

Interview with Grant Morrison

22 JULY 2016

For those of you who don't know, Grant Morrison is now the editor of Heavy Metal. (You can check out the 2 issues he's helmed at booth 1529, along with back issues.) During the panel, Morrison, Kevin Eastman and others talked about the possibility of another Heavy metal movie (yes, it's possible but it didn't seem much on their minds), the future of the magazine ("more sex and intensified science fiction") and what they look for during the submission process: "the buzz of novelty."

Afterward I talked to Morrison and he shared some advice for emerging writers and artists.

On balancing your own direction with the dictates of the marketplace:

"It's hard not to be dictated to because the world is going that way and there's always middle-aged people telling young people what to do. But the one thing I tell everybody is this: be honest with your own life because no one else has ever lived your life. No one else has ever seen through your eyes. You might have seen something everyone else missed. So it's really important to use your experience - if your parents die, write about it."

On skill in storytelling:

"I'm not an advocate of diary comics. You have to turn your experience into myth, symbol, something everyone else can relate to. Because everyone's had those same feelings. If you can say it in a way that reaches out to people and makes them feel less alone, or makes it more understandable and do it in a way that is genuine and truthful, you will be original. You can't fail. Always be true to yourself and don't do what you're told to do."

On partnering creativity with pragmatism:

"At the same time if you want to be a commercial artist, you have to learn some rules. Because there are rules. If you go in pitching and they demand a three-act structure, you've got to know that stuff. If you want to play guitar, train yourself to play guitar, but at the same time, play it with your heart."

So there you have it, wisdom from one of the most original writers working today. And do check out Heavy Metal - based on some of the work we saw last night, future issues will take you on a very colorful journey.

Will you be in the Souvenir Guide this year?

21 JANUARY 2016

Writers and artists, your chance is here. Submissions are open for the 2016 San Diego Comic-Con Souvenir Guide, that annual paperback full of articles and fan art that you receive alongside your program guide.

Here are the anniversaries being celebrated this year that you'll want to reflect in your work.

• 100th birthday of Forrest J Ackerman
• 75th anniversary of Aquaman
• 75th anniversary of Archie
• 75th anniversary of Captain America
• 75th anniversary of Green Arrow
• 75th anniversary of Plastic Man
• 75th anniversary of Wonder Woman
• 50th anniversary of the Batman TV show
• 50th anniversary of Black Panther
• 50th anniversary of the Silver Surfer
• 50 years of Star Trek
• 25th anniversary of Bone
• 25th anniversary of Deadpool

 
This may be too much of a good thing. Will you draw Julie Newmar's Catwoman in all her sultry glory or write about your childhood fantasies of Spock returning you to your Vulcan birth family? Will you pen a Marxist analysis of Veronica Lodge as capitalist swine or paint a brooding Aquaman throwing down with the Silver Surfer in Atlantis?  Hard choices, hard choices. Unfortunately we only have 1 Souvenir Guide, not 10, to do justice to all these themes.

If this is your first Souvenir Guide rodeo, there are rules to follow regarding formatting; be aware that no gore or smut will be tolerated, as this book goes to an all-ages audience, and you can only submit 1 piece of work per anniversary. You can study up on the whole submission process here. But the most important thing you should know is the deadline is 15 April, which isn't that far away. Get cracking on your submission now - and your taxes, always an exercise in brutality for creatives, so you won't have to worry about both deadlines come spring.

CCI has thoughtfully provided all of the past Souvenir Guide cover art to jumpstart your Muse. I can't wait to see what gorgeous work you nerdy geniuses produce.

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.

 

 

 

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.

Going to SDCC as an indie comics creator

9 JUNE 2015

People outside the comic book world think of Marvel and DC when they think of comic conventions – if they think of them at all. Yet anyone who goes to San Diego Comic-Con or any other convention knows that indie creators and small press publishers are some of the most exciting aspects of the Con. This is where you can find work that’s often more fresh and creative than anything filling the shelves of your comic shop on Wednesdays. And because Comic-Con is a natural meeting ground for comic fans and the creators who are trying to get their work noticed, it’s a dream of many indies to just get in the door – something that’s gotten harder and harder each year.

Someone who did just that for SDCC 2015 is Chase Cunningham, co-creator of a comics universe called The Cynja. Inspired by his two daughters, Cunningham collaborated with partner Heather C. Dahl and illustrator Shirow Di Rosso on the series. As techies and parents, the three formed the perfect creative team to develop The Cynja – a character who helps kids understand online dangers as they navigate apps and virtual environments in their digital lives. From the book:

 

Hidden deep inside our planet’s virtual world, lurking in the darkened cyber alleys of our digital neighborhoods, a new generation of bad guys has risen. Zombies, worms, botnets – all threaten our happiness and future. But there is hope. A lone warrior battles this new sinister cyber evil. He is the Cynsei. 

The Cynsei is trying to keep us safe. But the guardian of all things noble in cyberspace cannot fight alone. His enemies are too numerous. If the Internet is to escape falling into darkness, the Cynsei needs help. But who would be brave enough to travel into the depths of malicious networks? 

A Cynja, that’s who.

After releasing their first graphic novel last year, the team now publishes The Cynja as a weekly web comic in English and Dutch, along with activity books, blog, subscription newsletter and children's workshops. The series has been so successful that it’s been recognized by PBS NewsHour, the Guardian, Children's Book Review, HelpNet Security, PC Magazine, the National Press Foundation and the former inspector general for the NSA. That's some serious prestige.

Recently they were selected by a panel of judges to be a featured small press publisher at Comic-Con. I talked to Chase today about how The Cynja came about and what it’s like to be facing San Diego Comic-Con for the first time.

What can you tell me about The Cynja? What motivated it?

The real idea behind the Cynja came from my partner Heather and I looking at the industry and seeing an absolute lack of material for kids to get interested in cyberspace.  We started talking about doing something cool for kids to get them interested in cyber security and shortly thereafter the character of The Cynja was born. We’re motivated by trying to educate the next generation about the benefits of cyberspace while also providing real knowledge about the science and math that really make the magic of the Internet work.  

When we use the Internet, each of us enters a virtual world where forces of immense magnitude battle for power. Like ancient myths and tales of fantasy and science fiction, this cyber darkness is filled with a new generation of monsters—zombies, worms, botnets and more – but these monsters are real.

How are you participating at SDCC this year? Have you been to SDCC before?

This is our first year at SDCC.  We entered a contest for small publishers that had thousands of entries and we were lucky enough to be selected.  We are truly blessed and extremely excited to be coming to a venue like Comic-Con.

What challenges did you have in 1) creating the comic book and ) getting to SDCC?

Probably the hardest thing was figuring out how to go about publishing the comic and not going broke doing it. It is not cheap to self-publish. But it’s worth it after it all settles out.  

How are you marketing your book?

We have active campaigns going through sites like Twitter, FaceBook, and other social media channels. But we also have our own Circle of Cynjas who are members of our forum who are basically all about the Cynja. We talk with them regularly and they help us spread the message about being cyber smart and cyber safe.  

What advice do you have for indie comic creators?

If you have an idea and a dream, then don’t hinder yourself by thinking, “It might not go anywhere” or “Who will want to read this?”  If you like it and you think it is a cool concept, odds are someone else will as well. The only other thing I can say is to just fight for your cause, whatever that may be, and watch like-minded people flock to you.  

To me, writing a book or comic is one of the best ways we can really leave our mark on the future. That tome will be around long after we are gone and it can speak to someone across the span of time if we do it right.

You can find out more about The Cynja on Twitter at @TheCynja - and of course you can visit them in the Small Press section at Comic-Con.

 

 

 

RSVP now for Drinks with Authors at ECCC

6 MARCH 2015



If you're a bookworm who still isn't sure how to spend Saturday night at ECCC, here's a plan: Drinks with Authors. Penguin Random House authors and their fans will mingle, drink and eat free pizza at the Pike Brewing Company. Authors include Myke Cole, Peter V. Brett, Jason Hough, Robin Hobb, Patrick Rothfuss and Naomi Novik, among others.

The catch: space is limited to 150 people, so attendance will be capped. That means you need to RSVP now by emailing DelRey@RandomHouse.com. Write "RSVP Drinks with Authors" in the subject line and list everyone who's going to attend in the body.

Date: 28 March

Time: 8:00 - 11:00 pm

Location: The Pike Brewing Company at 1415 First Ave in Seattle (7 blocks from the Con)

Obviously all attendees need to be 21+.

ECCC Writer's Block

25 FEBRUARY 2015




I'm MIA in San Francisco at the moment but I did want to point out the Writer's Block at ECCC. Official Emerald City programming should be announced in the next few days; in the meantime writers can look at the guests involved and think about who they might like to see.

Writer's Block will offer panels on writing, literary trends, Q&As and book signings. As always, these types of panels at smaller Cons usually allow for better networking, interaction and advice than at huge SDCC creative panels - so don't write these off. And if you're a new or unhatched writer who thinks they're not "ready" for a panel on writing methods, I say balderdash to that - go anyhow. Even if you don't currently have a project going, you can soak in all the advice of the people around you and come away with a more grounded sense of your vocation as a writer.

SDCC Souvenir Book submissions are open

26 JANUARY 2015

It's here: the chance to show off your art and writing chops by submitting work for the SDCC Souvenir Book. You don't have to be a professional, whatever that word means to you, but you do have to be good. You also have to tailor your work to reflect one of this year's anniversaries, which are....

The big 75 for:

• Will Eisner's The Spirit
• Catwoman
• The Joker
• Robin
• Shazam!
• The First DC Comics Heroes: Flash, The Atom, The Spectre, Hawkman, Doctor Fate and Green Lantern

...and the 50th anniversary of Nick Fury, Agent of S.H.I.E.L.D.

In other words, DC fans should be able to go full-tilt crazy with stories. Marvel fans - well, this isn't your year so much, but you should find something to write or draw about. Everyone, don't let the fact that there will be an avalanche of Joker-Catwoman work submitted stop you from exploring the same.

Also, be aware that you can't commingle characters from different companies/universes and that you have to keep it clean. So if it was your dream to write a steamy Catwoman-Nick Fury takedown-turned-hookup, keep your filthy thoughts to yourself. Oh, and you can't insert your own characters or try to promote your own company. This is about pure fan-fevered imaginings.

(Random suggestion: It would be beautiful of CCI to post a digital magazine of runner-up work that doesn't make into the book, or just post it on their Toucan blog. I'm sure the pool of work that doesn't get selected each year has some high-caliber pieces in it. Seriously, I think a lot of people would appreciate that as much as looking through the cosplay galleries.)

If you're new to Comic-Con, the Souvenir Book is a very pretty color trade paperback handed out to all attendees. In addition to fan articles and art, it features information of Eisner winners and nominees and is generally a nice keepsake people like to collect.

The deadline for submissions: 17 April 2015. Make sure you read all the rules and regulations on formatting and such before submitting.

Ready to get reviewed?

17 JULY 2014



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

 

What Portfolio Review offers

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

 

Who it's for

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

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

How it works

 

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

Who will be there

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

Advice

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


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

 

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.

Do you want to cover New York Comic Con?

3 JUNE 2014

Whether or not you scored a badge for SDCC, your thoughts are probably still on this summer and the geek pageantry lighting up the West Coast this July. But now is the time to turn your thoughts East and contemplate trying for a spot covering New York Comic Con for Bleeding Cool.

Your duties are described as "covering the panels, discovering new comics, interviewing the creators, catching all the cosplay, gossiping in the bars, or just basking in the glory of it all." And you need to come equipped with your own laptop or tablet and be prolific enough to write 3 articles a day.

Words that are used in the announcement several times: "team" and "strong." As in, you won't be a lone wolf, roaming the Con and typing your isolated perspective, but working with the rest of the Bleeding Cool tribe. And you need a strong voice and "strong local knowledge," which suggests that maybe long-distance nerds need not apply.

Normally I dislike posting opportunities that don't clearly outline the compensation involved, but I'm going to assume you at least get your Con paid for. And of course the opportunity to put Bleeding Cool in your publication credits.

If you think you're the right person, email Editor-in-Chief and coordinator of convention coverage Hannah Means-Shannon at hannah@bleedingcool.com.

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.

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.