| Fan Expo 2010: Beyond the Cool Costumes I attended Fan Expo in Toronto, for the first time ever, this year. Yes, cartoonists get to go to cool events like this, as part of their work! The five main areas represented were anime, horror, science fiction, gaming, and comic. Along with the general fun, carnival-like atmosphere, there were a lot of great sessions on the business of all things cartoon-related, such as videogames and comics, as well as some cool technical sessions on writing, painting and drawing. There were also a lot of information booths. I wasn't able to get to all the sessions, but the ones I could attend had valuable information, which I'm sharing here, along with some pictures from the event. Enjoy! |
| Yes, there were crowds. But everyone was good-natured, and that helped a lot! |
| A typical panel session--questions from the audience were encouraged, and knowledgeably answered. |
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| Lining up for events was a way of life, but well worth it once you got in! |
| Steam Punk! |
| Storm Troopers Helping People! The 501st Legion was there to assist the 'Make A Wish' Foundation. Who says the Empire doesn't have a heart? |
| Session: DC, Breaking Into Comics Dan Didio, DC Editor, was the dynamic speaker. He pulled no punches in this Q&A with the audience, but wasn't obnoxious. He seemed honorable as well as knowledgable, and he was able to deal well with this unexpectedly large crowd. Note that this session was around the time of the WB acquisition of DC (who also does MAD magazine), and some information may have changed. Also note that this information is what I gleaned from the session--any errors or omissions are because of the notes, not because of Dan Didio. DC has gone to convention booths, looked at art. However, DC is expecting to set up a 'show me your portfolio' time at FanExpo in 2011, for the artists and writers. As for writers, there are no unsolicited ideas considered, but they will take a look at published work, even if self-published (provide the links). In general: Try to find out where the 'buzz' is regarding webcomics. Dan Didio, for example, looks at over 300 comics per month. When writing comes in to DC for established DC characters, they cover up the names of each character in the story and read the dialogue. If they can't tell which character is which they toss it. Also, they look at the ability of being to tell the story within the existing DC framework, not the great new idea. They also look at the pitched story--it must relate to the character. For example, it can't just be a car accident with Batman, it has to be related to Batman directly. Note that the only people who are able to pitch a 'great new idea' is someone who's been in the business long enough. Comic books is a hierarchical business, and DC views it as also being a custodial role, in the sense that these established characters are being taken care of for the next generation, not just for this generation. DC views itself as the 'last stop', for the best writers and artists,and puts out 70 to 80 books per month. When a person is hired, DC plays to that person's strengths and unique voice (e.g., what characters excite him/her). As an example: D. Didio first submitted work in 1978. The first time his work was accepted by Independent was 1988 or 1989; he got $40 per page, b&w comics. D. Didio notes that early writers will probably get a horrible first deal. But it can get better. In particular, work on pacing, voice, tone, personality, and get published anywhere, so that you have published work to show DC. The advice for anyone is to find one person who is there and cares about your art. Remember, it's all subjective, so persevere. Find people publishing your kind of work. Note that a break-in story is 8 to 10 pages tops. But, if trying to break in, craft to their needs. A new artist will be called in because there's a panic, so you have to be dependable, do quality work, be reliable, fast and willing. In Artist Portfolios they look for form (body and structure, which includes body proportion), sequential story-telling (close, medium shots, camera angles; also different perspectives in camera angles), backgrounds. Also, demonstrated ability to do hand/foot/horse drawings in the comic format is a huge deal. Writers are brought in slowly, but opportunities are there. DC 80 page books are there to help new writers break in (writers generally do 3 to 4 books per month) For inks/colourists: make friends with pencillers. Note that inkers are needed less, since new technologies mean less need for inking. Colourists = lower pay scale, higher number of books/pages Letterers: on-staff already Penciller/inker/colourist are packaged together. New writers don't pick their teams; just writers who are established veterans can do this. Writers might be able to come in because they've done animation books, wherein they struck up positive relationships. Note that no matter what, find the editor who shares your sensisbilities. Note thate they're busy, but also that persistance is good as long as it's respectful. Note that there are other jobs available, through the DC/WB on-line site, so take a look there (DC has 3 assistant editors who used to be interns). Assistant editor jobs are posted; they have to identify art mistakes, edit writing, they call the talent, arrange meetings, etc. DC (as of summer 2010) has about 100 full-time people, and about 600 freelancers. If the person is doing a book a month, can't live on it, and will need another job too. Base payment is $40 per page for writing; $100 per page for artist. Payment can increase over time to $175, $300, pretty much anything if the person is an established 'star'. Portfolio Review Tips: The worst thing to say at a portfolio review (which is, actually, a job interview) is 'this isn't my best work', or 'not my best page', or 'it's getting better'. Hundreds of portfolios are reviewed at a conference--at the 2010 Comic Con none were selected. Note that you have only a few minutes to show your work, so plan accordingly. I |
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