Comic Books 101—Part Five

How Will You Break into the Comic Industry?

“How will you break into comics?” my professor asked the class. He chose three students to convene in the hall and discuss their determined path to becoming comic book writers. The rest of us, he told us, were to play devil’s advocate.

The three students came up with three very different plans for how they were going to break into comics. After the remainder of the class picked apart their ideas until things got a little feisty, we had developed three unique—and possibly doable—ways to break into this turbulent, unpredictable industry.

  1. Attend comic conventions and network like a crazy person. Or, as one student put it, become a comic book whore. Give your comic to anyone who walks within a three-foot radius. Stalk editors and pitch them your arsenal of story ideas. Grab a beer with some fellow comic con attendees after the day is over and continue your networking endeavors well into the night. Basically, make full use of the opportunities a comic convention has the offer. What could be more beneficial to an inspiring comic writer than a large group of comic professionals crammed into a convention space for the sole purpose of talking comics?
  2. Pursue the indie rout. Utilize your current contacts within the industry and just BE NICE (because you never know who can help you later on). Sell your work on consignment in willing comic shops. Set up shop on Self-publish until a publisher with more funds and expertise is willing to pick up your work. Basically, prove your worth as a writer by creating your own stuff NOW, nurture and grow you contacts, and just get yourself out there.
  3. Brand the hell out of yourself. Start a blog. Don’t create a new you, but do hyperbolize the real you. Social media is your best friend, so utilize it. Write for other blogs or web sites, even if they don’t initially seem to be relevant to your career path. Basically, build your digital platform and launch off it as much as possible. Hell, go viral!

My personal plan for success consists of branding (hello, Ms.Comix!), networking (did you know that comic book publishers/editors/writers/artists actually really like to chat with newbies?), and writing, writing, writing.

Which path will you take?

And, by the way, some other quick tips I learned in class today:

  • Standards are tough right now, so hold yourself to them.
  • Take advantage of what might seem like a disadvantage (e.g. being a woman in a formerly all “boys’ club”).
  • The self you are selling is yourself…only more so.

See you next week for another Comic Books 101!

Comic Books 101—Part Three

Everything in a panel matters.

Everything in a panel matters.

Everything in a panel matters.

Got that?

My professor had the class watch a Charlie Chaplin silent film and then asked us how Chaplin’s techniques could be applied to our comic writing.

1. Sequential action. One thing leads to another that leads to another. Comics are also called “sequential art” because they show actions that sequentially build on each other. A good comic clearly portrays the sequential action. A good comic isn’t just a bunch of people standing around in a room and talking. Stuff actually happens.

2. Expression. Have you ever read a comic in which the character has the same mild expression on her face when she’s sad, angry, happy, tired?…you get the idea. The mark of a good comic is accurately portrayed expression. If a pair of eyes filling the panel tell you something, the comic is doing its job. Just look at Charlie Chaplin’s face. No sound, and you know exactly what he’s feeling.

3. Everything presented matters. In the Chaplin film, images—wine bottles, a revolving door, a man with a cast on his foot—repeated themselves. But everything was there for a reason. The plot and characters depended on these images, and no image was carelessly thrown in and never referenced again. As comic writers, we not only control what our characters do and say, we also dictate what surrounds them. If I put a picture of Buddha in the background, it better be significant.

So remember, everything in a panel matters.

Here are some more small gems of wisdom from my third comic writing class:

Try using Open Office Word processor for your scripts. It’s more user-friendly.

There is a fine line between too much detail and not enough. Provide models for your artist and address any cultural references.

Don’t insult the artist.