Creating Comics - Pitching at Conventions

What is the best way to pitch scripts at conventions? This short guide is based on discussions on the Comics 2000 Yahoo group. Special thanks to those who threw in ideas for this and gave permission for their comments to be included here. For more advice on portfolio presentation, click here. Further thoughts always welcome!

Speaking from experience as a commissioning editor at Marvel UK in the early 1990s, in my humble opinion editors really need time to read scripts properly if they want to make an informed judgement about them, and also have time to respond without a background of clinking beer glasses.

So it's great for them to meet prospective writers, but I wouldn't honestly expect them to read scripts at such an event. But if you're lucky, they may well come back to you later in the weekend about your work if they do find time to read it.

If you're approaching an editor about working for their company, I'd suggest you simply express an interest in pitching scripts and see what they say. Ask if you can send in some samples to their office. (As you know, many of the larger companies won't even look at unsolicited story ideas and pitches now). That way, you can begin your letter "Dear...., we met recently at [insert convention name here] and you kindly suggested I send you some samples of my comics writing." Include in that letter any relevant experience - have you been writing a comic strip for a fanzine for example?

Be polite, keep the covering letter short and let your script tell your story. Make sure it is well presented, spell checked and reads well. If you can't find time to invest in these simple preparations, then you are unlikely to sell yourself. Do not submit by e-mail and only send photocopies of your work, never originals.

Go and see as many editors on panels as you can, and if they are prepared to make time to talk to you afterward, offer to buy them their preferred legal poison in the bar and quiz them further if their title appeals to you. What are they looking for in terms of upcoming scripts? How should you submit a pitch? Sometimes you can glean more than might be available on the company's web site or from anything they send by way of a stamped addressed envelope.

I'd also STRONGLY advise that as for artists, if you are approaching a particular company, you should submit a sample script featuring the characters that company features, rather than your own. As they want to see artists can really draw their characters, so they'll also want to see that writers can really write for their characters. Keep the script short, perhaps: write an eight page vignette rather than a 22 page complete story. (More on cold pitching here)

Also, rather than thrust a script at an editor, give serious consideration to submitting a strip, working with an artist. That way, two aspiring creators may get work. If you can, ensure it is well lettered. Definitely ensure it looks as professional as possible given your budget. (Again, this is an investment in your future. If it looks cheap, you reduce your chances of success).

If you edit a fanzine, give the editor a free copy and make sure you have included the editorial address in it! If an editor has the time to read your story, they'll know pretty quickly if you have the potential to write effectively for comics. Warren Ellis began his career by writing fanzines and it hasn't done him any harm. So did I (hmm, maybe the logic becomes flawed here).

Matt Brooker's Pitching Advice

"Go with the intention of making contacts to follow up later. Even as an artist, where it's easy to show your work on the spot, it's almost unknown to pitch to an editor and walk away with a commission.

"My best advice for meeting editors is; if you get the chance to talk to them in a relaxed situation, (i.e. at the bar later on) talk about anything EXCEPT comics - they'll be so relieved not to be pitched at that they'll happily chat about almost anything.

"Establish the relationship first - that way they'll be more likely to remember you (and hopefully respond) when you send stuff on later.

"Above all, play the long game."

Matt Brooker (D'Israeli)

Kev Sutherland

"For years I was a nervous and anxious wannabe, desperate to show my work to editors and get a job, but woefully insecure and intimidated by the more confident show-offs.

"As long as you have your work in a neat presentable form, then the best advice is to present it - and yourself - in a friendly way, listen to any comments or advice anyone has to offer, and if possible relax and enjoy the weekend.

"I find the best way writers sell themselves is by talking to people."

"As for pitching scripts to DC editors, possibly the best method to use is the tried and tested one which worked for Alan Moore, Grant Morrison, Alan Grant et al 15 years ago...

-- Get something in 2000AD first then show them that!"

More Links

• How NOT to Pitch at Conventions
Sound advice from one of the US Boom! Studios team.

"I love working at conventions," says Michael Alan Nelson. " Don't get me wrong, it's a lot of hard work that's both physically and mentally draining, but it's also genuinely fun. I sincerely enjoy getting the chance to talk with people about books (yes, mine especially) and socialize with colleagues.

"What isn't quite as much fun is having to deal with a creator who has no concept of professionalism or courtesy. Fortunately, 98% of the creators that come up to the booth don't fall into this category. Most know how to present themselves. It's just that 2% leave me scratching my head in disbelief... Read the full article on Kung Fu Monkey

• Read an interview with 2000AD writer Tony Lee about writing for comics and the art of pitching on the Forbidden Planet International blog

Thank You!

Thanks to Kev Sutherland and Matt Brooker (D'Israeli) for their tips on this matter. If there are any writers and editors out there who would like to add to the comments, please feel free to comment below!

Portfolio Advice: A View from the Editor's Chair

Both writers and artists agonize over their work and many fine tune it a lot before delivering it to an editor. That's a welcome sign of a professional approach, but it is possible to go too far.

An editor should appreciate a script that is well laid out and also follows any company stipulated layout if the publisher has one. They also appreciate good spelling.

My next point is a bit harder to explain, but I hope it makes sense. Ever since my days at Marvel, we often encountered a situation where an artist had delivered a draft or layout that instinctively worked well in terms of comics storytelling - and then ruined it in the final pencils by 'overpolishing' the art.

In some cases, especially on comics work, this means a page becomes a piece of art rather than a piece of storytelling - the energy and dynamism of the artist that inspired you to employ the artist was lost.

Sometimes, your first, gut instincts when it comes to drawing or writing are often the best. Too much re-working can stifle raw creativity.

Quote Me: Potfolio Advice from Pete Ashton - Don't be Nervous

"One thing I've noticed over the last couple of years is that the creators doing portfolio reviews at the 2000AD table [at the Bristol Comics festival] at least are very encouraging to new people probably because a lot of them were on the other side of the table until quite recently. In other words, the younger generation of pros know exactly what you're going through hawking your portfolio around so they are often sympathetic and willing to give advice."

Pete Ashton from bugpowder.com, ostensibly a resource for the UK small press but there's much more on the site besides!

Quote Me: Pencils Provide when it comes to portfolios - Marcia Allass

"I'm not an editor, but based on friends' experiences - I would try to have some pencils in your portfolio, just so you can show the quality of the art before and after inking - I know artists who have picked up inking work, for instance, by demonstrating what they can do with ink over rough pencils.

"Also make sure that you have some sequential work in there as well as pin ups or splashes. It's important to show that you can visually tell a story.

"If you write and draw, then a finished short might be nice too.

"I've mostly seen people showing the actual artwork at shows in the past but
I'm not an editor so I don't know if they have a preference on that score."

Marcia Allass, Sequential Tart, a leading web zine about the comics industry

Quote Me On Portfolio Presentation: Matt Brooker

Small in Beautiful

"Back when I was breaking into comics, I always used to present my work in an A4 ringbinder, and never had any problems as a result - in fact, at a crowded portfolio session, A4 binders are a lot easier to deal with," advises creator Matt Brooker, best known for his work on 2000AD as D'Israeli.

"[Include] whole pages of comics. Three pages is a good amount for a sample piece. A good way to do a sample is to take a scene from a real comic, write down what happens in each panel, plus dialogue, then re-draw the pages from scratch without referring to the original comic. Some publishers do also provide sample scripts for this purpose.

"Showing pencils can be helpful if you're showing samples to the Americans - if that's the case, try to get photocopies of pencils before you ink them. It's best to show pencils and inks on facing pages in your portfolio for direct comparison. The only exception to this is 2000AD, who tend to prefer people to ink their own work.

"I'd also say that it's better to keep it short; only submit your strongest work, and leave out anything non-comics related - no life drawings, illustrations, stuff like that. Perhaps one pin-up and one page of character sketches to show you know how to do such things.

"It also helps to target your work a little; for example, have a giant robot sample for 2000AD and a superhero piece for Marvel/DC (or even a piece based on a character from each publisher if you can).

"And above all, don't let the fact that you haven't, or can't do any of the above from going and talking to editors. Go for it, and have a great time!"

• Matt's guide to colouring comics on the computer can be found by clicking here

What's in that Portfolio? Do's and Don'ts

More than anything else - DON'T stuff your portfolio with artwork.

Be ruthless about your portfolio. Evaluate the work you plan to show an editor, then cut it down. Think about the number of people who will want to show off their art and may be queuing behind you.

This sound harsh, but any editor worth their salt is going to make a judgement about your art after seeing the first page, not the last of 20, so make sure everything in your portfolio is the very BEST you're capable of. If you aren't happy with the art, don't include it.

DON'T include splash pages, cover illustrations or if you do, keep it to the very minimum.

What editors want to see is that you can draw comic strip, not pretty pictures. Have both pencils and inks of those pencils to show editors. Present pencils on the left, inks on the right. (Copy your pencils before you ink them if you're used to inking your own work). If you're looking for inking work and have inked some samples, show editors copies of the pencils you've inked.
 
Consecutive pages is a good idea, as suggested by others. I don't think size is important, an A4 ringbinder/portfolio is probably a damm sight easier to carry to a convention than an A2 folio.

Less is More

Less is more. You'll have ten minutes at most with an editor. Be ready to have your very best work on the opening pages of your portfolio and be ready to change those pages to suit different editors (see above about drawing samples for specific publishers)

Present a good script

Find some professional scripts and work from those if you can. I've encountered many a determined comics artist has been let down by with their portfolio by trying to draw a badly written script.

If an editor likes your samples, be ready with a set of photocopies of your work for him to take away.

Follow up a positive response with a letter of thanks as soon as you can when you get home, and send the same set of copies. There's always a chance the one you gave them got lost on route, or your address got separated from the samples (so make sure you put your name and address on them.

If you're after advice from editors, then please, please don't start arguing the toss if they don't like what they see.

A comics convention is a good opportunity to meet several editors, and if one editor doesn't like what you've done then another sure as heck may do. Thank them for their time and move on.

If a professional editor offers advice about your work, listen: even if you don't agree, if you argue, that will be remembered. Editors will be looking for specific things in a portfolio. If your portfolio doesn't offer what they're looking for, they'll say so. Accept it and try somewhere else, or take note of what's said and you'll be better prepared for the next time. (That, by the way, isn't to detract from the quality of anyone's art. The professionals will be looking for work they can publish that fits their corporate needs, not just good art).

By the same token, I don't consider it appropriate for editors to be rude about someone's work, but that doesn't stop them from being honest.

Fanzines sell your work!

I cannot emphasise enough how great it is for an artist or a writer to give an editor a fanzine they've had a part in. For one thing, all editors like freebies. For another, it shows that you, as a creator, have the commitment and belief in what you're doing to get right down to it and draw a strip people want to see. Plus, publishing a fanzine and selling it at a convention might just cover your bar tab (but there are no guarantees).

"I think they work pretty well as business cards to complement a portfolio," says Pete Ashton from bugpowder.com on taking fanzines to conventions: plus if you make them A6 they fit in pockets better. It's a good way to stick in the editor's mind when they find your mini in their jacket pocket a few days later and read it on the train. About 12 pages A6 should do it.
"Make sure your address/email/site is clearly on it though."

Tailor your work for the target publisher

Have pages for DC with Batman, Superman etc, Marvel heroes for Marvel, 2000AD characters for Rebellion. The editors for DC and Marvel will want to see their own characters, not yours. Also, before you go to the event, see who's announced they will be there and plan your pitches accordingly. Check the event's web site if they have one.

That of course may not apply to smaller publishers at the event looking for new strips and concepts to publish.

Be honest

Be ready to answer, honestly, "How long did it take you to draw this?" That kind of question is a good sign, it means they might be thinking of trying you, unless it took you a week to do just one page (a comics professional will as a general rule draw a page of pencils in one, one and a half days if they want to get a 22 page book done every month, that is!)

Best of Luck!

 

You'll be competing with hundreds of determined creators. If you think those wannabe TV Pop Idol contestants have it bad, you've never presented a portfolio. But if the work you sweat over to present at the event gets you a job, it will be worth it.

Links
• Artist Bryan Talbot's advice for new comic creators