RAC/RACM FAQ Part 4: Comic Book Professionals--And How to Become One
Carl Henderson
Beta Release
By Carl Henderson
Based on original FAQs by Francis Uy, Tom Galloway, Paul Estin, et al.
PART 4: COMIC BOOK PROFESSIONALS--AND HOW TO BECOME ONE
4-1: DO ANY COMIC BOOK PROFESSIONALS READ/POST TO THE RAC NEWGROUPS?
Quite a few do. People like: Mark Bagley, Terry Beatty, Brian Michael Bendis,
Tom Brevoort, Kurt Busiek, Chris Claremont, Peter David, Keith R.A. DeCandido,
Colleen Doran, Evan Dorkin, Chris Eliopoulos, Warren Ellis, Jackie Estrada,
Mark Evanier, Jay Faerber, Nat Gertler, Steven Grant, Jenni Gregory, Peter
Gross, Lea Hernandez, Matt High, James Hudnall, Tony Isabella, Paul Jenkins,
D. Curtis Johnson, Caitlin R. Keirnan, Leonard Kirk, Erik Larsen, Steve
Lieber, Jeff Mariotte, Heidi MacDonald, Dwayne McDuffie, Stuart Moore, Michael
Netzer, Fabian Nicieza, Richard Pace, Christopher Priest, Ben Raab, Robin
Riggs, Tom Spurgeon, Roger Stern, Ty Templeton, Martha Thomases, Joe Quesado,
and Lawrence Watt-Evans (he worked for Tekno, so we list him last).
And quite likely more than a few I've missed...
4-2: WOW! THAT'S LIKE A VIRTUAL COMIC BOOK CONVENTION. HOW SHOULD I TREAT ALL
THESE PROFESSIONALS?
Like anyone else. In other words, just because someone works in comics is no
reason to treat them with any less respect and civility than any other poster.
Also, please see the warning about sending unsolicited submissions under
"Where can I find fill-in-the-blank creator's email address?"
BTW, pros online should be treated the same as any other RAC'ers. It's nice if
they read or answer your posts, but they're not paid to do so any more than
you are. General compliments/fan mail should be sent by email rather than
posted. Also, it's silly to ask a specific pro questions about comics that
they aren't associated with. For example, Kurt Busiek will post about Astro
City, but not about Spawn.
4-3: I'M A COMICS PRO AND I WANT TO JOIN IN THE FUN. ANY ADVICE?
Yes. WHITEOUT artist and regular RAC participant Steve Lieber has written an
essay called "Steve Lieber's Guide for Pros New to USENET." Check it out. It's
on the web at:
http://www.bonner.rice.edu/morrow/faq/pro.html
4-4: WHERE CAN I FIND FILL-IN-THE-BLANK CREATOR'S EMAIL ADDRESS?
Check out Indy magazine's "Comic Pro E-Mail Addresses" at:
http://www.nexilis-hobbies.com/indyworld/reference/pro.html
Or the "Comic Book Professionals on the Internet" list (on the NCRL site) at:
http://www.ccse.net/~ncrl/pro.html
However-keep in mind that while most creators are happy to get constructive
feedback, you shouldn't expect a reply. These people are busy. Comics may be
your hobby, but they are their business.
Furthermore, don't send creators unsolicited story ideas, scripts, etc. Only
editors can give you work (and it is usually not very effective to sent
unsolicited stuff to them, either). Almost without exception, comic book
creators will delete such things unread. They usually don't have time--or the
power--to help you, and they want to avoid the chance of being accused of
stealing an idea or a character someone sent them.
Don't sent unsolicited art samples over email, either. Sending huge binary
files ties up people's email system. It is rude, and--depending on your ISP's
policies--may be considered mail bombing, and grounds for getting your account
pulled.
4-5: HOW DO YOU PRONOUNCE [FILL-IN-THE-BLANK] PRO'S NAME?
Bill Sienkiewicz sin-KEV-itch
Fabian Nicieza nee-SEE-eh-sah
Kurt Busiek BYOO-sik (rhymes with "you sick")
Jim Owsley Christopher Priest
That last one is a bit of a joke. James Christopher Owsley (writer and editor
for Marvel and DC) changed his name to Christopher James Priest in the summer
of 1993 for personal reasons. "Personal" means don't email him and ask him
why. He won't tell you. It is none of your business. He answers to "Priest,"
"Jim," or "Christopher," but not to "Chris." He is usually credited as
"Christopher Priest" or just "Priest" on comics work.
By the way, Christopher Priest the American comic book writer is NOT the same
guy as Christopher Priest the English science fiction writer.
4-6: IS [FILL-IN-THE-BLANK] COMICS PRO RELATED TO [FILL-IN-THE-BLANK] COMICS
PRO?
Stan Lee (MARVEL COMICS, STANLEE.NET) is not related to Jim Lee (WILDSTORM) or
to Jae Lee (INHUMANS, HELLSHOCK). Stan Lee was born Stanley Martin Lieber. He
used "Stan Lee" as a pen name when began to write comics back in the 40s, and
became famous under that name. He has since legally changed his name to "Stan
Lee." Larry Lieber (IRON MAN), however, is Stan Lee's brother.
Jae Lee and Jim Lee are not related to each other, either. And just in case
you were wondering, Stan Lee (aka Stanley Martin Lieber) is not related to
Steven Lieber (WHITEOUT).
Walter Simonson (THOR, ORION) is married to Lousie Simonson (WARLOCK,
SUPERMAN: MOS).
Karl Kesel (SUPERBOY, WORLD'S FINEST) and Barbara Kesel (ULTRAGIRL,
ELSEWORLD'S FINEST) are also married to each other.
Jaime Hernadez (LOVE & ROCKETS, PENNY CENTURY) and Gilbert Hernadez (LOVE &
ROCKETS, YEAH!) are brothers. Lea Hernandez (CATHEDRAL CHILD, CLOCKWORK
ANGELS) is not related to them. Note that "Hernadez" and "Hernandez" are
spelled differently.
Adam Kubert (X-MEN, HULK) and Andy Kubert (KA-ZAR, CAPTAIN AMERICA) are
brothers. Their father, Joe Kubert (FAX FROM SAREJVO, SGT. ROCK) founded and
runs the Joe Kubert School of Cartoon & Graphic Arts.
John Romita, Jr. (SPIDER-MAN, THOR) is the son of John Romita, Sr.
(SPIDERMAN).
John Buscema (AVENGERS, CONAN) is the brother of Sal Buscema (DARN NEAR
EVERYTHING).
Jef Moy (LEGIONAIRES) and Philip Moy (LEGIONAIRES) are brothers.
Alan Moore (AMERICA'S BEST COMICS) and John Frances Moore (BATMAN: POISON IVY,
SUPERMAN: UNDER A YELLOW SUN) are not related. Neither are Matt Wagner (MAGE,
GRENDEL), Martin Wagner (HEPCATS), and John Wagner (BOGIE MAN, BIG BOOK OF
MARTYRS).
And just in case you were wondering, Kevin Smith (DAREDEVIL, JAY & SILENT BOB)
is not the same person as, and is not related to, Kevin Smith ("Ares" on
Hercules and Xena).
However, Steven Grant IS Moon Knight.
4-7: WHO WAS "NAME WITHHELD" AND WHAT WAS THE "NAME WITHHELD LETTER"?
"Name Withheld" was Erik Larsen (that's "Erik" with a "K" and "Larsen" with an
"S").
The "Name Withheld Letter" was a letter published in the COMIC BUYERS GUIDE in
August 1991. In it, Larsen complained of lazy writers who endlessly recycled
the same plots, and substituted fight scenes for stories. He claimed that most
artists didn't need writers. Needless to say, the "Name Withheld Letter"
created a huge uproar in the comics press and online forums. The full letter
is archived on the web by Jim Demonakos, as part of his "Fin World" unofficial
SAVAGE DRAGON page at:
http://www.sofos.com/elwr/elnw.html
Whatever the controversy generated by the letter, Erik Larsen went on to prove
that he-at least-could write better comics than many writers in the business.
Ironically, Larsen also went on to be fired from a successful writing gig on
WOLVERINE to--you guessed it--make way for an artist (Steve Skroce) who wanted
to write his one stories.
4-8: HOW DO YOU BREAK INTO COMICS?
Either: (a) Become a popular and sought-after independent director and/or
screenwriter, or (b) use a brick and a crowbar.
Seriously, it is really hard. There are quite a few experienced comics
professionals who can't get work, or are working at below their capacity. Not
only will you be competing with everyone else trying to break in, but you will
be competing with these guys, too.
Furthermore, it isn't enough just to be as good as the average comic book
creator. You need to be BETTER--and you need to be dependable. J. Scott
Campbell or Travis Charest may be able to get away with missing deadline after
deadline, but someone who is trying to break into the industry can't.
On the other hand, if you have the talent--and the skills to use that
talent--it can be done. There are a number of tried and true ways of getting
one's foot in the door.
Self-Publishing: Produce and publish your own comic book. If you are a writer,
collaborate with an artist. If you are an artist, find a writer. Demonstrate
that you can write and/or illustrate a story, and that you can do it on a
regular basis. You will probably not make much money as a self-publisher (more
than likely you will lose some), but you will end up with a body of work that
you can try to use to get assignments from other companies. The downside
self-publishing is, if you are not as good as you think you are, you can
embarrass yourself in front of the entire industry.
Sample Submissions: Put together samples and submit them to comic book
companies that hire freelancers. Perhaps they will give you a chance. Probably
not--submitting writing or art samples to a publisher isn't a crapshoot; its
the state lottery. If you are going to try to break in via this route, read
the publisher's submission guidelines first. This will help you avoid a number
of stupid mistakes (like sending work to publishers that do not accept
unsolicited submission). Most publishers that accept submissions have put
these guidelines on their web sites (see section 3-1).
Industry opinions differ on the importance of publisher's submission
guidelines. Some pros will say, "no, you will never get hired sending one page
story springboards to a publisher." Others will tell you that if you deviate
from a company's acceptable format at all, the editors will trash your
submission. Read what different professionals have to say on the matter (see
section 4-9), research the company you are submitting to, think about what you
are doing, and then make an informed decision. If you are basing a submission
strategy only on a few paragraphs in this FAQ, you are an idiot.
Get a Non-Creative Job With a Comics Publisher: Most large publishers have
staff positions in sales, editorial, and production. Some of the larger ones
offer internships for college students, as well. Many creative professionals
(Peter David and Chris Claremont for example) have gotten a foot in the door
with a non-creative job.
But while it may have worked for them, this career path is now far less likely
to lead to a creative position than in the past. Why? Low sales have forced
belt-tightening at many comic companies; there simply are fewer and fewer of
such jobs available. Also, due to conflict of interest problems, many major
publishers (Marvel and DC) have adopted restrictions on salaried employees
doing freelance work.
Get Established in a Different--But Related--Media: Currently, one of the
easiest routes into comics is to build a reputation in a different, but
related media. Novelists, storyboard artists, animators, screenwriters,
models/actors, commercial illustrators, with a decent set of credits have a
much better shot at getting a creative job in the comics industry. They have
already demonstrated that they have relevant talents and can meet deadlines.
In addition, editors making hiring decisions will often be familiar with their
work.
The problem with this "way in" to comics is that many of these related fields
are as hard to break into--if not harder--than comics. On the other hand, if
you do pull it off, you will likely have another (and possibly better paying)
career to fall back on when/if comic book editors stop returning you calls.
Creators like Greg Rucka, Paul Dini, and Nancy Collins established a
reputation in related fields before getting work in comics. And if you are
Kevin Smith, you can write your own ticket...
Convention Portfolio Reviews: If you are an artist, convention portfolio
reviews offer another avenue to get your work in front of an editor. At many
of the larger comic book conventions (especially shows where major publishers
have an official presence) times set aside for portfolio reviews. Editors look
at the work of aspiring artists and offer suggestions for improvement--and
once in a while, assignments. If you are going to show your work to an editor
at a portfolio review, here are a few common sense suggestions:
* Show your best work. You are trying to get a job, not present a
retrospective of your evolution as an artist.
* Your work should demonstrate your storytelling ability. A neat collection
of superhero pin-ups will not get you a job. Draw multiple-page stories,
with multiple panels on each page. Don't skimp on backgrounds--draw
buildings, cars, trees, civilians not in skintight suits, etc.
* Make every effort to present a professional appearance. Dress nicely.
Bath. Brush your teeth. Treat this like a job interview--it is.
* Have several sets of 8 1/2 by 11 photocopies of your samples for an
editor to take away with him. Make sure your contact information (name,
address, phone, email) is on each page. It also helps to have a
professional looking business card to give out.
* Take criticism well; you might learn something. By looking at your work,
an editor is doing you a favor.
* Don’t cut down other artists working for a company. It looks
unprofessional, and besides--the artist you mock may be that editor’s
best friend.
4-9: WHERE CAN I FIND ADVICE ON WRITING COMICS?
There's an embarrassment of riches out there. Some of the best writers in
comics have put their advice on writing and breaking in to the comic book
business--together with samples of plots, scripts, and pitches--on the web.
Here is a list of URLs with advice to writers:
"The Secrets of Writing Comics," plus an AGE OF HEROES script by James Hudnall
at:
http://www.thehud.com/write1.htm
Essays on writing and breaking into comics, plus a sample script from LAWDOG,
by Chuck Dixon at:
http://www.dixonverse.com/articles.html
Kurt Busiek wrote an essay called "On Writing Comics" intended for
contributors to the OPEN SPACE anthology he edited for Epic. It is archived on
the web at:
http://www.bonner.rice.edu/morrow/cwrite/index.html
Ampersand's "The How to Guide To Comics Page" contains links to essays on
breaking into the business by Peter David, Mark Evanier, and D.G. Chichester:
http://www.teleport.com/~ennead/ampersand/how_to.html
Dave A. Law's "Creating Comics" website contains links and archived articles
of interest to anyone considering a career in comics-whether as an artist, a
writer, or a self-publisher. It is at:
http://www.cadvision.com/dega/main_frame.html
Also check out the Comics-Pro Mailing List FAQ:
http://www.twistandshoutcomics.com/smallpress/comics-pro-faq.html
Finally, would-be writers should read Gerard Jones "Getting Off the
Merry-Go-Round (Before You Puke)" as a cautionary tale. It is archived on
Deja.com at:
http://x21.deja.com/=dnc/getdoc.xp?AN=133628313&CONTEXT=
937003117.1632567301&hitnum=23
There is also a wealth of plot, script, and pitch samples by professional
comics writers on the web:
An ASH script and a FLASH plot by Mark Waid at:
http://www.wizardschool.com/wizschool/wswriting.html
Another Waid script, this one for CAPTAIN AMERICA #14 (and having little to do
with what was actually appeared in CA #14):
http://www.sigma.net/capt_am/stuff/waid_02.html
A SHADOWMAN plot by Dan Abnett and Andy Lanning:
http://www.wizardworld.com/news/acclaim/shadowplot.html
Plot, script, and pitch samples from Devin Grayson, Jay Faerber, and Brian K.
Vaughan
http://www.2kcomics.com/samples2.htm
Plot, script, and pitch samples from Dwayne McDuffie (featuring ICON,
HARDWARE, SHE-HULK, etc.) at:
http://members.aol.com/_ht_a/dwaynem595/site/Scripts.html
Treatments and scripts by Warren Ellis at:
http://www.warrenellis.com/writing.html
A sample script from NIGHT FORCE by Marv Wolfman at:
http://www.primenet.com/~marvw/script.html
Scripts from CHALLENGERS OF THE UNKNOWN, DAMMED, and ENEMY by Steven Grant at:
http://www.access1.net/sdgrant/work.htm
What? You want more? Well, turn off the computer and go down to the bookstore
or library. Books of value to the would-be comic book writer include:
Neil Gaiman has an essay on writing for comics and other media in the Comic
Book Legal Defense Fund benefit book, GODS AND TULIPS. Your local retailer
should still be able to get you a copy, or you can order it through the CBLDF
web site (http://www.clbdf.org).
You can also find a script from one of Neil Gaiman's SANDMAN stories is
reprinted in the "Dream Country" TPB collection (DC/Vertigo, ISBN 156389016X).
Be sure and pick up a copy of "But I Digress," a collection of Peter David's
COMIC BUYERS GUIDE columns (Peter David, Krause Publications, ISBN
0873412869). It's highly entertaining and filled with lots of good advice on
writing, and the comics industry, in general.
Lurene Haines' "The Writer's Guide to the Business of Comics" (Watson-Guptill,
ISBN 0823058778) provides practical advice on breaking in, and on the business
end of comic book writing.
"Writers on Comics Scriptwriting" (Edited by Mark Salisbury, Titan Books, ISBN
184023069X) contains interviews with a number of comic book writers, including
Peter David, Warren Ellis, Neil Gaiman, Kurt Busik, and Grant Morrison. It
also features examples of, and excerpts from comic book plots and scripts.
And if you are lucky enough to have (or be able to borrow) a copy of the
Graffiti Editions slip-cased WATCHMEN collection, a copy of the original
WATCHMEN proposal by Alan Moore-along with a partial script-is included.
4-10: WHAT ABOUT ADVICE FOR ASPIRING ARTISTS?
Steven Lieber has written an essay on "Learning the Craft of Comics." It is
available at:
http://www.geocities.com/SoHo/Museum/8914/craftofcomics.html
Don Simpson (MEGATON MAN, BORDER WORLDS) offers "Dandy Don's College of
Cartoon Knowledge!" with information on figure drawing, cartooning, art
materials, and lots of other things an artist really needs to know. Take
advantage of Simpson's decades of experience at:
http://www.megatonman.com/cartoon/cart.html
Aspiring artists should also check out Ampersand's "The How To Guide To Comics
Page." He has archived essays and advice from a number of artists:
http://www.teleport.com/~ennead/ampersand/how_to.html
Robin Riggs posted a good piece on computer coloring ("Computer Colors: How
To?") to rec.arts.comics.misc. It is archived on Ampersand's "The How To Guide
To Comics Page" at:
http://www.teleport.com/~ennead/ampersand/computercolor1.html
Pay special attention to the "Cartoonist's Materials FAQ" (also on Ampersand's
site). It contains a wealth of practical information for the would be comics
artist:
http://www.teleport.com/~ennead/ampersand/materials.html
R'ykandar Korra'ti's "Art Materials FAQ" should be on your reading list, too.
It is archived at:
http://www.tigerden.com/infopage/furry/art.txt
Dave A. Law's "Creating Comics" website contains links and archived articles
of interest to anyone considering a career in comics-whether as an artist, a
writer, or a self-publisher. It is at:
http://www.cadvision.com/dega/main_frame.html
Basics:
"Understanding Comics"
Scott McCloud, Harper Perennial, ISBN 006097625X
"Comics and Sequential Art"
Will Eisner, Poorhouse Press, ISBN 0961472812
"Graphic Storytelling"
Will Eisner, Poorhouse Press, ISBN 0961472820
"How to Draw Comics the Marvel Way"
Stan Lee & John Buscema, Simon & Schuster, ISBN: 0671530771
"The Art of Comic-Book Inking"
Gary Martin, Dark Horse Comics, ISBN 1569712581
"Dynamic Figure Drawing"
Burne Hogarth, Watson-Guptill, ISBN 0823015777
(Burne Hogarth also has several other books of interest to the potential comic
book artist, including "Drawing Dynamic Hands," "Dynamic Light and Shade,"
"Drawing the Human Head," and "Dynamic Wrinkles and Drapery," all published by
Watson-Guptill.)
Business:
"The Business of Comics"
Lurene Haines, Watson-Guptill, ISBN 082300547X
4-12: IS THERE A COLLEGE OR TRADE SCHOOL FOR COMIC BOOK ARTISTS?
THE JOE KUBERT SCHOOL OF CARTOON & GRAPHIC ARTS
Mailing Address: Joe Kubert School of Cartoon & Graphic Arts, 37 Myrtle Ave.,
Dover, NJ 07801
Phone: 973-361-1327; 973-361-1844 (fax)
Email: kub...@intrepid.net
Web: http://www.kubertsworld.com/kubertschool.html
According to its website, the Kubert School offers "a 3 year residential
school specializing in the development of professional cartoonists and
artists." The Kubert School also offers correspondence programs.
4-13: I WANT TO SELF-PUBLISH. WHERE CAN I LEARN ABOUT THAT?
"The Dave Sim Memorial Note from the President Archive" contains dozens of
articles from the grandfather of comic book self-publishing. This
Sim-authorized archive is maintained by Ampersand and is at:
http://www.teleport.com/~ennead/ampersand/sim/
Ampersand also maintains "The How-To Guide to Comics" featuring a complete set
of links to self-publishing information on the web:
http://www.teleport.com/~ennead/ampersand/how_to.html
Adam Swan’s "Publishing Your Own Comic" site on Cerebus the Gopher offers
information on printing, pre-press, advertising, and distribution, from
someone who has done it. Somewhat out of date, but still well worth looking
at.
http://www.hoboes.com/html/Comics/Creators/Legacy/
The Comics-Pro Mailing List FAQ contains a lot of valuable information for the
would-be self-publisher:
http://www.twistandshoutcomics.com/smallpress/comics-pro-faq.html
Dave A. Law's "Creating Comics" website contains links and archived articles
of interest to anyone considering a career in comics-whether as an artist, a
writer, or a self-publisher. It is at:
http://www.cadvision.com/dega/main_frame.html
4-14: COOL. I’M GOING TO SELF-PUBLISH. NOW WHERE CAN I FIND SOME COMIC
LETTERING FONTS?
ComicCraft offers "Balloon Tales" an online guide to computer lettering, at:
http://www.comicbookfonts.com/cgi-bin/font_catalog.
cgi?page=balloon_tales/index.html
ComicCraft sells a number of comic book fonts and balloons at:
http://www.comicbookfonts.com
There are also some excellent shareware and freeware fonts available online.
Check out:
Nate Piekos' (creator of the indy comic THE WHOLE ENCHILADA) Blambot Forts
offers lots of free comic fonts:
http://www.piekosarts.com/blambotfonts/
For only a $10.00 shareware fee (or a comic book of equal value), Ron Evry
offers his "Witzworx!" font at:
http://www.reuben.org/evry/witzworx.html
------------------------------------------------------------------
Carl Henderson
carl.he...@airmail.net
------------------------------------------------------------------
Lea Hernandez
>ROCKETS, YEAH!) are brothers.
Lea Hernandez (CATHEDRAL CHILD, CLOCKWORK
>ANGELS) is not related to them.
Because I'm a Hernandez by marriage. According to the bros, my husband is some
sort of cousin.
This begs the question: what about -Mike- Hernandez.
>Note that "Hernadez" and "Hernandez" are
>spelled differently.
On all the varied LOVE AND ROCKETS collections it's spelled "Hernandez"--two
"n's".
(Maybe you were being jokey.)
Lea Hernandez
Woman of Image
www.DivaLea.com
2K: RUMBLE GIRLS: Silky Warrior Tansie
Carl Henderson
>>aime Hernadez (LOVE & ROCKETS, PENNY CENTURY) and Gilbert Hernadez (LOVE &
>>ROCKETS, YEAH!) are brothers.
> Lea Hernandez (CATHEDRAL CHILD, CLOCKWORK
>>ANGELS) is not related to them.
>
>sort of cousin.
>
>This begs the question: what about -Mike- Hernandez.
>
>>spelled differently.
>
>"n's".
>(Maybe you were being jokey.)
No. I was being wrong. I take some solace in the fact I got the spelling for
"Hernadez" of a Fantagraphics website :)
Thanks. I'll correct it.
Lea Hernandez
>>On all the varied LOVE AND ROCKETS collections it's spelled "Hernandez"--two
>>"n's".
>>(Maybe you were being jokey.)
>
>No. I was being wrong. I take some solace in the fact I got the spelling for
>"Hernadez" of a Fantagraphics website :)
Ooopsie! How embarassing for them!