This reminds me of the story about the violin student. He goes to see a famous violinist for a critique. The famous violinist asks the student to play, and after just hearing a few moments of the student playing he tells him to stop.

“You do not have the fire to be a successful violinist” the Master says.

The student goes home and puts the violin away, because he is sure the Master is right.

Years later the former student finds himself meeting up with the old Master once again. He says to the old Master, “You only heard me a few notes, but you knew I didn’t have the fire to become great. I have lived a good life and have a good job, but I have always wondered how you knew I would not succeed at the violin?”

And the Master replies, “because if you truly had the passion, nothing I said would have convinced you otherwise.”

Well, good, frankly. As a creator, doubt is your constant, baleful companion. It says things like “is this any good?” and “What if people hate it?” and “am I going to get paid?” On the plus side, it keeps you honest and stops you getting complacent. If you’re not kicking your own arse on a regular basis then – newsflash – you’re not a creator.

Can’t say this is true, at least on my end. How about as a counter to not be a William Hung, how about how not to be a Simon Cowell? Both sides can share equal blame, and I understand this after being on both sides. The creative field has management who can’t begin to understand the work it takes to produce the end product. It’s easy for them to talk down to potential talent. I’m not envious of the bitter and jaded editors and art directors. Why would I want to work with someone that piles their personal baggage on me? Forget dealing with it. There are people who do understand the creative and business end. They keep a clear head, stay grounded, don’t mock, and most importantly, remain positive and open-minded. Instead of gripes, they give real constructive criticism that inspires rather than pushes away.

That said, I’ve never really been able to find out clearly what publishers are looking for, be it pitches or just art and writing submissions. You can read the basics on their site, but that stuff is vague. I guess what I’m asking is what exactly do editors and publishers look for in pitches?

Having been one of those guys that consistently goes to San Diego Comic Con every year to pitch and network I do feel the pain of having my artwork torn to shreds. Writing style as well. And you know what? I’m ok with it. In fact a lot of times I look forward to it. Because I have one or two friends here who are perfectly honest with my work here. Going to a con and talking to these editors is like talking to a hundred of those two guys, each with their own perspective.

Here’s the deal – these people in the position you (and I) want, and you’re not. Deal with it. Everyone I’ve seen here complaining are the same guys who rush to sign up to be interviewed by everyone in the portfolio reviews and is never around when their name is called. They want it, but they want it handed to them. I sat there last year nearly everyday last year with my buddies Tom and Steve and listened to countless names of people who no showed. Everyday of the con. No, I can’t say everyone who’s complained or sounded like a smug dick is like that… but it sure sounds like it. The guy who shows up right as the editor is packing up, 10 toys in his arms, a portfolio and outraged that he’s been called but won’t be seen because it was 89 people ago and the editor is beat.

Last year after Comic Con I didn’t hear a whole lot afterwards. I won’t even lie, I made some great contacts with artists and writers but not a lot from companies. The fact of the matter is, is that I’m an unproven commodity and while I do good work… I haven’t proven I can do the job yet. And so are you. So you know what I did? I quit working up tons of submissions and went on to writing my own webcomic. I started putting my freelance illustration out there. I’ve made gig art, I’ve made tons of stupid cartoon logos for companies, and I kept working on my own comic. Yeah, it was demoralizing and this article is a lot of the same I’ve kept hearing. But dammit, I love me some comics. I can’t imagine doing anything else!

Sure, it gets me down, but I’m not quitting. And why should I? This last year one of my pieces was featured in the New York Times, and now I’m friends with one of their editors with the options to do more illustration for them. While I love illustration, my heart lies in comics. And I’m close to launching my webcomic and therefore proving myself the artistic commodity that editors want to see.

Contrived as it sounds, you gotta really want it kids. Grace gets you a long way in this world, and from my experience a thank you will get you a smile and a better chance next time you go to pitch. I apologize if I sound like a dick myself, but it’s just the reality of it all. And reality kind of sucks sometimes. But I have to tell you, I chased James Lucas Jones down just to hand him my little ashcan last year. As put off as he was (he was a bit overwhelmed as everyone is at SDCC) when I cruised by the booth later I stopped by just to shake his hand and say thank you for even taking it. A little of that kindness will go a long way, and from my pov he looked genuinely pleased (if not surprised) that he actually got a thank you.

So be NICE, listen to these guys and use this damn internet to get your name out there! That’s what it’s here for! They don’t have to be doing this, ya know?

And as an aside, Thank you Randall. Again, great column.

Randy’s too classy to say it, so I will:

Once you’ve landed a multi-book deal, hit the kind of sales numbers that SCOTT PILGRIM has, have a major movie in the works, and have a shelf full of industry awards to go with it, THEN you can start publicly running your mouth about the work of other artists and their publishers.

Bryan Lee O’Malley earned his success. How? By not wasting his time anonymously shaking his fist at the world on Newsarama, for starters. Maybe Randy should write a column about that.

That’s totally fine, though, if you just email me the notes. I can most definitely wait a week.

Our submissions editor emailed everybody after APE. I think all the emails went out before the end of the year. Don’t know why you didn’t receive them. Often times, when we send out tons of emails post-conventions, we get flagged as spam or junk mail by some email providers (gmail being the worst about this). Give me a week (I am in SF for Wondercon – come by the booth if you’d like… we can talk there ) and I’ll dig up the notes on the pitch.

Randal Jarrell.

I think I’m pretty good-Obviously I do, I tried submitting it to you guys-but I haven’t heard back from Oni yet and at this point, after almost 5 months, I’m assuming you guys aren’t terribly interested. If that IS the case,Randall, would it be unprofessional to ask what was unpublishable/ straight-up bad about it? I’m still learning.

Two things:

1) What an odd response considering the last line in this column is, “Until then, never stop trying. The world needs more art, more stories, and more talented voices.” I don’t want to discourage people from trying. I want people to be more honest/objective with their self-criticism so that they may improve.

2) I can promise you that the fine folks a Dark Horse (and all the other large and medium-size comic publishers) also laugh at the constant barrage of terrible furry, demon-porn, tentacle-rape pitches they receive as well.

I forgot to add, I was wondering if I was another case of William Hung or the 95 percent.

Please don’t hold back, I can take it, but please tell me your reasons as well.

I have been working on a graphic novel for over 16 months now. I’m the writer for it. I have 107 penciled, inked, colored and tentatively lettered pages.

I am not sure if I should be facing the music now or should I wait until I have an illustrated first draft of the whole book before I start going over it with an editors brush (final polishing of panels, additional pages if there is a need, captions, dialogs and etc.) to finalize it for submissions to the publishers.

Is this the wrong way to do it? Is showing snippets of your work in progress a bad idea?

Here are first pre-final (there is a couple of spelling mistakes, and some pages will be re-worked) 27 pages of the graphic novel:

http://web.mac.com/kemirler/iWeb/TRENCHES/%20Page%201.html

Also here is the production journal I started at:

http://forums.millarworld.tv/index.php?showtopic=86581

Jennifer, I could ask you the same question after listening to this.
thecomicbooks.com/Audi/2008SDConHowNotToBreakIntoComics.mp3

I’m not knocking the advice. Most of it is great. It’s the way it’s presented that makes you look bad, more so than Randal. You may want to rethink your approach since it doesn’t reflect well on you, personally or professionally.

…There were *that* many geeks running around wearing that costume?? Egads, I will *never* complain about the stormtroopers en masse again!

…Reminds me of the attitude I’ve heard about JM DeMatteis when he “evaluates” samples. A quick look, then he sets them aside and asks “So, what do you think of [insert current JMD trash here]?”

Yep… it would be impossible for me to get everything that needs to be said in a single column. In fact, I had to drop the whole second half of this column for space. That should be coming in two weeks.

My intention is for the series of articles to collectively give advice on what editor’s see and are looking for so that creators are more informed. Though this article is light on suggestions, I’d like to think the previous one was more helpful in that regard. I’d also like to think the next one will answer many of your questions.

Stay tuned.

Randal C. Jarrell

I know what you mean, and sometimes information comes across that way.

Try looking at my column Bolts & Nuts, which was referenced at the beginning of the article. Here’s another link: http://www.projectfanboy.com/vb/forumdisplay.php?f=79

In it, I try to give information as well as pointers.

Hope it helps.

-Steven

Coming from an English/creative writing background, I’m used to critique. I spent the majority of my college career in workshops, so I know how to give it and I certainly know how to take it. Now that I’ve graduated and on my own, I’ve lost that perspective that a room full of other writers can provide you.

So I guess my question is, how do you prevent yourself from becoming William Hung? Where do you get critique from? How can I be sure what I’m writing is out of that 95% before I even bother an editor with it?

I guess my critique with this article is that it feels only halfway finished. It’s one thing to let up-and-comers know what you guys see a lot of garbage on your end, but without any information on how to improve that garbage, the article just comes off as frustrated venting instead of actual advice.

I agree that what we say in public does need to be moderated — I felt a little bad after the Comic-Con panel, to be honest. It’s easy to get laughs at the expense of the inept. It’s harder to find talented creators and help them develop their skills, which is editing is really all about.

Hot Topic no longer carries any SLG comics and has not for more than year now. The only comics with vampires in them that we’ve published for as long as I have been here are comics that make fun of the vampire thing. So, yes, know a little something about publisher you’re submitting to.

I was part of the panel Randal hosted in July ’07 and haven’t written or talked about submissions much at all since. Is that “incessant whining”? Why are you so hostile and rude?