Questions about Convention Etiquette

[steeler80]

I was reading some old Master of the Obvious columns and came across one where an editor was saying not to hand an editor anything, not even a business card, without it being asked for. Is this pretty much standard or just one editor's preference? If so, do you chat with an editor, mention you are a writer and verbally pitch some of your ideas and hope he asks to have the pitch sent to him in writing.

I'm not trying to be obtuse but I'm a bit confused and want to go about this stuff in the right way and as professionally as possible.

I have read that the proper way is to have sample packets made up that have your business card, one page with two, no more than three brief pitches on it, and a couple of sample script pages. You should approach an editor, chat for a few moments, and then leave your sample packet with the statement that you hope he/she might look at it when it's convenient for them. Is this a feasible plan or should you follow that one editor's advice and not hand out anything?

[NatGertler]

Don't even verbally pitch your concepts without asking permission first; some editors are in a position where they're avoiding being exposed to pitches for legal reason.

And frankly, don't expect much from even handing the editor your written pitch. Unless that editor is specifically looking for written pitches at the con, the odds are against that pitch even making it into the suitcase for the trip home, much less make it out of the "things that I got at the con that I theoretically oughta read" pile.

Even if you do hand the editor a packet at the con, follow up with another copy by mail.

[bartl]

Don't even verbally pitch your concepts without asking permission first; some editors are in a position where they're avoiding being exposed to pitches for legal reason.
I learned this one the not-so-easy way. I once mentioned a plot idea to Grant, and was informed (and, by Grant's standards, pretty gently) that this meant that he could never actually use it.

[WatsonGlenn]

In your last article you said: "Wanting to be published is understandable, but being published, even if you have to do it yourself, is better."

I know nothing about publishing but this makes sense to me. With modern computers and a $1000.00 it seems that a writer and artist could put out a comic and sell it to local stores.

Like you said it does not really matter how much money they make.

And they could keep a few comics to give to editors at Cons. That would seem to be a lot cooler than 4 to 5 pages in a folder and the editor would remember you.

It shows the art and story and the ability to finish a project, which as you say is very important.

My question is why don't more kids and young men do this. Why aren’t the comic shops, especially in New York, filled with this sort of thing or are they?

They could later put to comic online for even more exposure at very little cost.

[Steven Grant]

Mainly it takes time, money, effort, planning. I suspect most of what you'd print you'd hand out to editors; that would sort of be the point, if you're using it as a work sample. I think you'd have to be pretty naive to expect to sell a ton of them, so the best choice might be to print up a couple hundred copies...

[NatGertler]

Once you're printing up those couple hundred copies, printing up additional copies is pretty cheap; if spending another hundred bucks will get you five hundred more copies, it seems a reasonable thing to do.

But if you're going to all the trouble of printing them up to sell at local stores, you might as well go for national distribution. It costs little more than postage and time to approach Diamond, and if you have something that looks even vaguely professional they will be interested in carrying it. Might as well go for the national exposure and the nationally-generated income; you probably won't sell a ton, but every sale is money and exposure.

And to learn how to do this, you could do a lot worse than checking if your local comic shop or library has a copy of The Complete Idiot's Guide to Creating a Graphic Novel (http://AAUGH.com/to.htm?1592572332). Yes, it does cover working in the pamphlet format as well as squarebound.

[WatsonGlenn]

Mainly it takes time, money, effort, planning. I suspect most of what you'd print you'd hand out to editors; that would sort of be the point, if you're using it as a work sample. I think you'd have to be pretty naive to expect to sell a ton of them, so the best choice might be to print up a couple hundred copies...

Of course. The idea is not to make money selling you comics, although that would be nice. The idea is to self-publish and then show the editor what you have created. Tell him you sold a few hundred copies in Alabama or wherever and he can have this copy for free. I think he would be impressed. Do people not do it because its hard?

[WatsonGlenn]

And to learn how to do this, you could do a lot worse than checking if your local comic shop or library has a copy of The Complete Idiot's Guide to Creating a Graphic Novel (http://AAUGH.com/to.htm?1592572332). Yes, it does cover working in the pamphlet format as well as squarebound.

There you go. So why don't more people do this? Heck why don't high school art teachers do this as an assignment for the class?

[steeler80]

I've thought long about self-publishing and would love to do it for the reason already mentioned here: to have something to show to editors. I've read time and time again (plus it's common sense) that editors prefer to see a comic you've created. It's easier to read a comic (and faster) than to look over a script. Plus it shows you have enough commitment and iniative to complete at least one issue.

There are even several companies that can print a run that looks very nice and professional for a reasonable cost. My sticking point: an artist. Given enough time, I can create a decent pin-up shot. But my skills aren't good enough for a comic. And I can't find a local artist that combines the talent and desire to do a comic with me. I've hired an artist to do five pages from a script for submission purposes but to hire one to do a whole book would be very, very cost prohibitive. So that's the Catch-22 I'm in right now. I'm planning on advertising in some of the local papers to see if there are any artists wanting to collaborate. But I'm in a very rural area so I'm afraid my options might be limited.

[badMike]

My sticking point: an artist. Given enough time, I can create a decent pin-up shot. But my skills aren't good enough for a comic. And I can't find a local artist that combines the talent and desire to do a comic with me.Think globally. Have you tried craigslist.org yet?

[NatGertler]

Actually, if you're looking for collaborators, there are some websites that specialize in exactly that. I actually found one of my artists for Licensable BearTM (www.LicensableBearTM.com) issue 2 that way.

[Steven Grant]

Of course. The idea is not to make money selling you comics, although that would be nice. The idea is to self-publish and then show the editor what you have created. Tell him you sold a few hundred copies in Alabama or wherever and he can have this copy for free. I think he would be impressed. Do people not do it because its hard?
You don't have to tell them HOW many you sold. It's irrelevant. All you have to say is that it has been published and offer them a copy. And make sure your contact info is printed somewhere inside. (Think of it as a big business card.)

Most people would rather have created than create. Having created is fun. Creating is hard work.

[steeler80]

Actually, if you're looking for collaborators, there are some websites that specialize in exactly that. I actually found one of my artists for Licensable BearTM (www.LicensableBearTM.com) issue 2 that way.

I have looked at the sites when I was looking for someone to draw these sample pages and actually hooked up with an artist from digitalwebbing. But it seems that most artists (I'm going by the sample I corresponded with on the pages) want $35 and up per page for penciled pages. You get into the $50s (this is low end, some artists are more) for inked pages.

I realize that an artists commitment to a project is far more intensive time and effort wise than a writer's so I don't begrudge paying them for their efforts but you're looking at a lot of money for a whole book.

I need to find someone that's trying to break in, same as me, that would be willing to work cheaply in exchange for exposure. Either that or maybe just make a 8 to 10 page comic.

[NatGertler]

Or even do a number of shorter stories, putting together a small anthology or chapters with different viewpoints drawn by different artists. Even as someone who has been working in this field for mumblety-mumble years now, I do a number of things that way. Check out either of the issues ofLicensable BearTM, or my miniseries The Factor, or my delayed-but-upcoming GN The Big Con is being done that way. It's easier to hit an artist up for 4-10 pages than for 24.... particularly if you're willing to be generous with the comps, because the new artists need portfolio pieces as well.

[bartl]

In your last article you said: "Wanting to be published is understandable, but being published, even if you have to do it yourself, is better."
I made a few thousand bucks self-publishing a game around 1979 or so. On the other hand, here's a bit by the Science Fiction Writers of America (http://www.sfwa.org/Beware/epublishers.html) on self-publishing, at least electronically...

[bartl]

I have looked at the sites when I was looking for someone to draw these sample pages and actually hooked up with an artist from digitalwebbing. But it seems that most artists (I'm going by the sample I corresponded with on the pages) want $35 and up per page for penciled pages. You get into the $50s (this is low end, some artists are more) for inked pages.
It may be that I'm a better writer than I thought I was, but when I was thinking of putting something together, I had several artists who liked my writing sufifciently that they asked if they could go in with me as partners. And these were working artists. If you can't find some talented wannabes who are willing to hook in with you, your writing may not be as good as you thought.