Breaking into comics (The Marvel Way) Part 2: Questions from the floor

With the intros and back stories for each of the panel members established, it came to the questions from the floor- always entertaining, sometimes uncomfortable if the question is deliberately offensive, or not constructed into a snappy sentence. One question regarding ethnic diversity being represented at Marvel could have been asked in one breath, but was somehow muffled out by aimless rambling about what is currently on the shelves.  Oh well, nerves can get the better of the best- it was at least a valid question. The same may not be said for the question “are you editors just frustrated writers?”- a tad trite and unnecessary in what was a perfectly amiable panel and presentation before that. Editors provide a different function to writers, and they are very much necessary.  To say they are all just frustrated or failed writers belittles what they do, and in the end, without them, there wouldn’t be much for us to read or talk about.  It did cause big inhalations and some awkwardness- the answer back was a simple ‘no’. I would have gone with no, we are frustrated editors.

The first pertinent question came with “What is the percentage of people that get work through submissions at conventions?” The answer is sadly quite low, with only one person at Kapow! being cited for potential employment. They did point out that it is more an opportunity for a review and feedback, and shared that generally anatomy and perspective are the main problems with unsuccessful applicants.  The rule of less is more applies here folks, with no more than 8 pages advised, showing only your best work. No unfinished work- the fact that it is there is not a good sign to an editor.  However, Dougie doesn’t mind and quite likes looking at unfinished artwork. We wonder if it is because he himself is an artist, rather than an editor.  Adi pointed out that it is slightly different for the computer graphics field- as well as finished pages a sketchbook (containing mostly unfinished work you would assume) is also required.

With the premise already established that you need to already be published (this includes self-publishing) to likely get a break into Marvel (or DC for that matter) came the question- “What small presses should we approach?”. The answer is simple- all of them. And try to get paid if you can. The most useful thing to this would be learning to work to a real deadline.  Writers have a harder deal somewhat with submissions, as scripts can’t be read for legal reasons. Writers need to get artists to do it to get the actuals out there. They should try 3-5 page stories and expect sometimes that artists will flake out and not finish. Harsh.

As for the longest question in the world regarding cultural diversity being represented in the art form itself (seeing as the actual creators are nothing short of an international smorgasbord of talent), business driven decisions are the reason why we see things still from a mainstream/American perspective. They have to speak in sales at the end of the day. They are trying to fill those niches but while they have international talent in artists, it is more difficult to have the same with writers, mainly due to the language barrier. I can see how that would make it trickier to tell international stories believably, and without offending or overly-amusing the natives. I am an Irish man and I could not take Heroes season 2 seriously due to the ridiculous accents and representation of Ireland. It is a tricky thing to pull off for an American, or even English writer, to write about Ireland convincingly, so I imagine it would be as tricky for say China, or Russia. There needs to be some degree of familiarity with the culture being written about I would assume.

When asked what hopefuls should absolutely not do, writers were again told to not hand in scripts. Get it drawn and hand in a comic. Cold pitches were said to be pretty much pointless- all the slots you might be angling for are already filled.  They will know instantly if an artist has the chops or not- writers are picked up more through word of mouth, and script submissions ignored for fear of idea stealing court trials. You should also never get drunk and embarrass yourself in front of an editor.

My favourite question was “Why comics instead of film, or advertising?”. Dougie said it was the best way he could express himself artistically. Kieron likes to play with high stakes, to protect a world that fears and hates you (a plugging reference to his new gig as Uncanny x-men writer). Adi, whose background is computer game and film concept art finds it much more enjoyable – it is the shortest line between what is in the mind and getting it out there. There is much less editorial interference on this much more direct line, citing the speed and ease as better than with games or movies.

The Breaking into Comics the Marvel Way panel was an enjoyable part of the show.  Nothing revolutionary came from it but it did feel somehow nice to have some of the advice and tidbits picked up from articles over the years re-affirmed. An affable lot, it was a pleasure to listen to creators and editors talk about their careers. I would rate all their advice and have walked away inspired- just where is my sketchbook?