Breaking the Fourth Wall: Episode 10

It's been quite a while since the last update about my quest to break into the comics business as a writer, so I thought I'd get you all up to speed today. When last we met on this field of battle, I was discussing some theories on how to craft a competitive submission for Zuda Comics. One of the reasons I was interested in the topic is that I believe that Zuda may currently be the best opportunity for new creators to break into the field and as a result I have spent my time since working on developing a few Zuda projects of my own.

That, however, has its own pitfalls, in that I've discovered an industry secret that you probably aren't aware of, but which I am now going to share with you free of charge. You ready for this insight? Okay, here it is: comics need artists.

Yes, amazing as it is to think, comic books do require artists in order for them to have art and thus be comics instead of scripts. This is actually the next phase for me anyway, as I have already been sending out scripts and pitches to the few publishers that still accept them. But with those avenues in play, it's time to look to other venues, i.e. those that require completed art to accompany (or, more accurately, replace) the script.

Now, finding an artist isn't my strong suit. Many of the people I have spoken with about this subject have recommended certain online venues for meeting artists, but to be honest, none of them hold a lot of appeal for me. I have spent a decent amount of time reviewing art on these sites and checking out possible collaborators, but it's a pretty random and off-putting process that is not altogether unlike internet dating. Without being able to meet face to face and really talk about the concepts and ideas, it's hard to judge whether an artist would be a good fit for the project or not, or whether they would be enthusiastic about the project or not. And when it comes to art for my stories I am a bit of a perfectionist; comics is a visual medium and thus the art makes or breaks a story. No matter how awesome my script may be, bad art -- or simply art or an artist that doesn't suit the story -- will invariably undermine it. If something is going to be submitted professionally with my name attached to it, then it has to be professional and the best effort that can be put forth.

In terms of finding an artist, then, this means basically one thing: pay. The only way to really be sure about what you're getting is to hire a professional who has samples to prove both their suitability and their professionalism itself. And, of course, many of the artists available even through these online meat markets are freelancers looking for pay as much as portfolio credits, so when you do find someone good, chances are they are going to want some action up front. While many Zuda contestants have back end arrangements with their artists (i.e., if it gets accepted, then they get paid), that's not going to fly with your better, more experienced and more desirable artists.

So where does that leave me? Well, for now, I'm still looking for artists, but I'm also concentrating on making some money so that when I do find an artist I can actually pay them for their work. This has meant a bit of a break from actively pursuing comics work as I get other, paying jobs, but in thelong run I think it will pay off once I can find that elusive artist. And in order to do that I am currently exploring membership in the Comic Book Artists Guild, which will likely be opening a Boston chapter early next year; it is designed specifically as a networking organization to help up and coming creators develop their works and skills, so hopefully it will be a good way to meet a like-minded artist.

Until then, I will likely be sitting on my hands more or less. But that's okay. In the meantime I can still read comics, study Zuda and hone my craft until the time when I can actually take the next step and work with an honest-to-god, living, breathing artist.

And when that -- or any other development -- happens, you, my beloved readers, will be the first to know.

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Voices from Artists Alley: COMICBOOK ARTISTS GUILD

Rounding out our weeklong review of the indie presence at the recent Boston Comic Con is a Vault first: an interview with an organization rather than a person, in this case, The Comicbook Artists Guild. Oh, sure, the guild was represented by people, but I think it is best to keep things on a pure artistic level and instead just refer to the representatives of CAG by iconic comic nicknames instead, so that their message doesn't get diluted by focus on the individual. Which is my way of saying that my recorder malfunctioned and didn't record the part where they told me their names. But whoever those men of mystery were, gentlemen, we salute you!

Since there were two men manning the booth at the show, we'll refer to them as The Man and King. Onward!


What can you tell us about the Comicbook Artists Guild?

THE MAN: We’re representing the comic book artists guild, which formed in 2000 -- we’re in our ninth year -- of up and coming, amateur, independent comic creators – writers, artists, inkers, pencillers – who network and collaborate. We do things like throw in on convention tables to make it more affordable for members, collaborate on each other’s projects, the guild does several publications a year that members are invited to contribute to so that you can end up being published for the first time, and generally support each other in the creation of our own independent projects as well.

So it’s anyone working in comics, not just artists? The “artists” in the title refers to artists in the general sense?

THE MAN: Yeah, anyone. I’d say we almost have a 50-50 split between writers and artists. In fact we have a prose project coming out next year that the writers got together and started, and each story has a couple of illustrations from the artists. But it’s more prose focused than the traditional sequential art.

KING: And even on our Facebook page we have different groups, you could be in the artists group, you could be in the writers group, you could join as many as you want, whatever. If you have anything you do in the comic book industry or anything you want to do in the comic book industry, that’s what we’re all about.

THE MAN: And we’ve even got just a few diehard fans who just want to be involved. And it’s very low dues, just $25 for the first year and $20 a year thereafter. And the website is www.comicartguild.com.

And you have regular meetings?

THE MAN: Yep. We have different chapters, the New England chapter meetings take place in Connecticut once a month, usually around the third week of the month on a Saturday or a Sunday at a regular location. There’s a New York chapter that meets regularly, a Midwest and a West Coast chapter and we even have a couple international members in London and Brazil.

And what do you do at the meetings?

THE MAN: Discuss everything from… sometimes we pass around artwork for critiques from artists and writers. Sometimes there’s a little kind of mini-seminar. At a recent meeting, Keith Murphy, our President and co-founder of the guild gave a seminar on how to put together a portfolio presentation for one of the major comic companies. So you have like people giving advice, you do have members who have worked professionally for some of the big indies and even the Big Two.

About how many members do you have in the New England branch?

THE MAN: I don’t think I could tell you how many we have in the New England Branch itself, but all told I think we’re over 100 members, I think 120 or 130.

KING: I’d heard we’re up to about 160.

THE MAN: And the last meeting I went to [in CT], there were about 30 members present.


[editor's note: the banner on the front page is from the CAG Anthology #7 story / series "Agent Unknown" by Robert Sodaro and Chris Torres]

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