Truth
If it was me I'd want the truth. The submitter should also be made aware that even if professional work at Marvel is never going to happen, that he could still self-publish or distribute digitally as a matter of creative fulfillment.

Posted by tech knight on 2008-01-07 18:09:54
the painful truth
As an aspiring comic book artist, I've been on the other side of the portfolio review.
Everyone showing their work wants to hear that their work is fantastic, and please come work for us. So when you hear anything to the opposite it can be painful. But I feel that if you have what it takes to eventually become a comic book artist, then the criticism can only help you improve. And if the reviewer tells you, however politely or bluntly, to consider another line of work, you should consider who is speaking to you. One of the editors many jobs is to be able to determine your ability. The editor is the perfect person to give you an honest review of your work. If you're the next Brian Hitch or Frank Cho, they'll see it. They would like nothing more than to find the next hot talent that will increase sales on their books. I guess my point is the truth is always best. False hope is just false and wont help you. The truth may sting a bit, but not as bad as squandering years away trying to do something you're not good at.

Posted by jmee777 on 2008-01-07 18:52:57
Why not meet him half way? Tell him everything he's doing wrong.

Posted by Fetsur on 2008-01-07 19:38:01
Tom, you know the answer to this question.

What would you want to hear? Would you want to think that you are just on the brink of success or would you want to know that you need to find another way of making a living?

Life is too short to be "nice". It is more compassionate to be honest with someone.

And your other editor needs to hear this as well.

Posted by bigdaddyhub2 on 2008-01-07 20:20:22
Be honest, brutally so, even if it means telling them "You're a long way away from professionally drawing comics" ... but tell them why: storytelling, anatomy, perspective, whatever. The best rejection I ever got was from Marvel Comics, many years ago, telling me exactly those things. Sure, I was (naively) pissed, but I eventually learned and mastered those foundations, even if my career took another path.

Just ask any of the writers or artists about their early work and which rejections actually helped them ... Compliments are nice, but it's real criticism that allows one to improve.

Posted by jabraham on 2008-01-07 20:31:45
Back when I was publishing Comics Career Newsletter I reviewed a lot of portfolios at conventions, and I took the polite but honest approach. "You've got a long way to go to reach a professional level..." Often these creators were showing me pencil pin-up drawings. I pointed out their major weak points. I would remind them that they would have to be able to draw realistic cars, telephones, buildings, sofas. I would emphasize that drawing and creating fan comics is a lot of fun and is rewarding in itself. I'd mention my own fan comics efforts. Finally, I would encourage them to set aside professional aspirations and pursue small press options first, and have fun at it. I never had anyone get angry to my face. Most admitted their limitations when I pointed out the many challenges of going pro.

Kirk C

Posted by chritton on 2008-01-07 21:18:28
"I think at this stage you have to be content that you have a hobby which you find very, very pleasurable...and on that basis, you ought to keep doing it. But on a _professional_ basis I have to say that you're a long ways of from creating the sort of work that a mainstream publisher like Marvel would buy."

Posted by Ihnatko on 2008-01-07 22:04:30
Back when I was trying to pitch some writing to you guys, my submissions were very well recieved (I thought), but the editor I was talking with never quite bit. I would have loved some honest critique on how I was missing the mark. Looking back on it, the lack of any real critique made me assume that I was more off base than I actually probably was.

I'd recommend, if he has future potential, an honest critique. If he doesn't have a thick skin, he won't make it as a creative anyhow. From a business standpoint, however, spending the time to give an honest critique to every person who submits would not be a great use of your time. A simple "you're not ready" should make sense to him (or her).

The nuggest of truth that working in the comics industry is a full-time career and not a fantasy dream job shuld be enough to make him commit to getting better, find another career, or become a creator who make comics (good or bad) simply for the love of creating.

Posted by aaronlinne on 2008-01-07 23:15:34
Brutal honesty about brutal honesty
Back when I was doing sales, I did some basic management too. During a meeting about how to be better managers, we talked about the best way to deal with people under us. Some people need to be told politely when they need to improve, others need a swift kick in the butt. But you don't always know which is which, sometimes the people you think need the swift kick will actually react very badly to such a direct approach.

So my manager had a simple suggestion. Ask them. Before there's ever a problem, just ask them if they'd prefer a considerate approach or brutal honesty.

I've learned over the years that my manager's advice was completely useless. There isn't a man alive who won't say, "Give me a swift kick in the butt, I can take it!" It's a pride thing. And they're usually wrong. No matter what they say, if you try to get tough with them when they're down or tell them they stink about something they care about, they'll react negatively.

So I sympathize. There really is no good answer to your predicament, Tom. A ton of people will ask for brutal honesty and then get upset when the honesty is more brutal than they expect. But that doesn't necessarily mean that was the wrong way to go, it might just mean you need to take the hit. All I know is that the worst I've ever seen from being to considerate is that they don't take the advice seriously and the situation doesn't improve. So I try to be honest in as considerate a way as possible, because I think it usually gets better results and at least avoids unproductive conflict.

-Jason M. Bryant

Posted by CodeGuy on 2008-01-08 00:43:53
Maybe he'll just read this blog and realise it's him you are talking about. Which, though not the best way of telling him, will certainly prepare him for what you do decide to say to him personally.


Posted by dugdale24 on 2008-01-08 02:54:24
I got rejected this year--but it was my first time submitting, so whatever. I didn't get to show any artwork directly to any editor (except for my lettering work at the Dark Horse guy). I only submitted to Marvel and DC through that mail box/contest system. I basically went to San Diego to only show my lettering portfolio but then I got so excited when seeing other guys' portfolios on the first day that I bought some of that large strathmore paper and sat down for about five hours in the outside hallway and penciled four pages, photocopied them, and mailed them in at the booths. The next day I went to see if my name was on the list of ten hopefuls on both booths' screens, and it wasn't. I was dissapointed because I didn't get to know what was wrong (although I'm pretty sure it's because I'd only done four pages). Plus they were only in pencil, because all the editors kept insisting on that even though I normally fully illustrate (pencil, ink, and colour). I think they probably just wanted more pages and actual butt kicking action rather than the more understeted minimalistic thing I did. Still, although I was sure it wouldn't fly with Marvel, I was pretty sure someone from those other DC imprints like Vertigo or whatever might have been interested. Alas, I haven't had the time before or since San Diego Con to do an 8 page Spider-Man/Rhino submission (and send it to Marvel). I'm always so busy with work--even during the holidays. It's tough. I know I illustrate well--I'm a professional illustrator after all--but I didn't take it seriously and it showed through my work. So obviously some people need to realise that if they really REALLY want it, they need to go all out with their submission and not just provide talking heads. Mind you, if you're good enough and get hired by one of the big two, you'll most likely be drawing talking heads 90% of the time.

Posted by underscore on 2008-01-08 04:44:17
Why didn't any editor's stop and critique Rob Leifeld? I mean he could've been good if an editor told him to take some figure drawing classes.

Posted by doncorswhazie on 2008-01-08 05:39:13
Silence Not Golden
From my own attempts trying to make it as a writer the worst thing, to me, is to hear nothing at all or hear some brief blow off that doesn't tell me anything. I'm at the point where I would give actual money to have someone say "your writing would be better if it had more [blank]."

These days there are far too many people vying for any job, and as you mentioned, far too many that think they're brilliant writers, artists, or whatevers. That said, it's terribly hard to get ANYONE to take two seconds and look at anything you've created long enough to get an honest response. So at least in my mind, a personal, objective critique of creative work is PRICELESS!

As for honesty vs. humoring, it basically comes down to your perspective. Do you believe that anyone can learn to draw properly if they spend enough time? Or that some people will simply never make it? I would at least hazard a guess that there are a chunk of people who are sort of good at any given creative work that COULD be much better if someone just sat them down and told them they had potential but were deluding themselves into thinking their current level was professional enough. In other words, maybe some of these artists simply need to be told, honestly, what they're missing and how they could improve on it.

Are you going to get a good solid group of people ticked and screaming at you because you aren't stroking their egos? OH yeah! But that's people, and that's America: everyone expects to be rich and famous with very little work, and all they really want to hear is that they're perfect. But obviously you'd be putting out garbage if you humored any of them too far...and on the opposite side, maybe you'll save a couple lives (figuratively speaking) by explaining how a professional views their work.

Which is all easier said than done. Of course.

Posted by PseudoSherlock on 2008-01-08 07:35:37
Submissions
What if the writer has great potential but very ruff around the edges, do you take him or her under your wing to be your predecessor? What would you do in that situation? personaly I would, it's like a diamond in the ruff. submissions come down to potential.Thats the bottom line

Posted by gsgs on 2008-01-08 09:13:45
@gsgs

i'm not sure that submissions really do come down to potential. ultimately, marvel is a business, not a fanboy club. and, they're at the top of the business. Marvel and DC should be attracting the high-quality professionals that warrant publication by the top company in the business. in submitting my own manuscripts to Marvel I realized I was reaching too far too high; Marvel needs proven writers to sustain their sales levels, and taking a risk on a fresh writer is quite the burden.

perhaps the better solution is for marvel themselves to develop some sort of "farm-league" where writers can develop at a lower investment cost to the corporation... DC's Zuda initiative is a great example of that. on the writer/artist side they might be required to attend classes (like Schmidt's comic course) to show Marvel they're committed to their own development...

Posted by aaronlinne on 2008-01-08 11:17:38
if you really want to make comics, as in any jobs, you must be able to hear everything from everyone.It is still possible that they are things that you don't see about your own work, but you don't have to be- you editors-especially rude also.
as pointed by underscore you have to know what is specific with comics, but it isn't an unchanging fact as well also, they're many approaches possible, the problem is also what kind of risks you editors are ready to take, I'm thinking about Chris Bachalo who had really the time to evolve on his previous work on DC, and see what it had becomes at the end of 20 issues ! (Talking about risks I'm thinking also as artists like Ted Mc Keever ( even if I prefer his Extremist-Doom Patrol period to what he's doing now ) or Fared Dalrymple : this is something that I'm at least very happy to see in your Marvel's books - that's a no problem, I know where are independant stores too-)
I must probably be also the only person to really want to read a book by S.R.Stahl, too, these guy seem have something to say,( especially in sci-fi, why not 'Guardians of the Galaxy ' ,mmh ? nobody seem wanting to make something with these interesting characters who cumulates the sci-fi possibilities with the item of heroic-fantasy ),and that is also the case with Mr PseudoSherlock...The fact that you're actually prefering doing minis ( Foolkiller, Terror Inc, Omega Flight, Last Defenders ) can be taken for a great opportunity for young creators, and for that I can be anything else than thankful as a wanted-so creator.
Be ready too.


Posted by notapotatoe on 2008-01-08 11:19:28
Too Old?
Amateur enough and old enough? Are we talking artwork here? What does age have to do with this all? Are you saying that if you reach a certain age and haven't broken into this business that you're screwed? Is there some sort of unwritten law stating one must have a foot-hold by a certain age? That a lifelong dream of art and writing has a narrow window that's near impossible to spot?

I say never give up on your dreams and they'll come true. But I'm also a college grad who just entered the American workforce, my enthusiasm's my main motivator.

But at the same time, talent, most often, speaks for itself.

Posted by cody44 on 2008-01-08 12:22:39
I always appreciated it when whoever was reviewing my writing was honest with me. It gave me a better idea of what area that I needed to work on.

Posted by Tom Reed on 2008-01-08 12:29:44
I agree with cody44
Age has nothing to do with developing talent. I know your experience as an editor may say otherwise, but if someone in their 40s approached you with a portfolio that was just shy of being "professional," would you give him the information he/she needs to improve or would you simply say, "You're too old."

That said, I am for the more honest approach. Just be ready because you will crush some spirits along the way. That's just how it is in the creative biz.

Posted by FuzzyDan on 2008-01-08 12:38:55
I'm an amateur artist who already REALISES he does not have what it takes to make the grade. But I still would love some critique in the sense of becoming better. Not to become professional or anything but just to improve what I'm doing. I still keep evolving. My stories are getting better and better and my art improves as well... but the rate is so slow. And when somebody gives me some critique the evolution really speeds up!!

I don't know if I would have what it takes to 'make' it, if I would devote myself to it (already 30 now) but I know that people that tell me that 'it's all good' DON'T help in becoming better... So give solid, decent critique. And you can be honest without being blunt!

Posted by Zigy on 2008-01-08 12:50:40
Jmee wrote: "Everyone showing their work wants to hear that their work is fantastic"

That's only half true. Everyone wants to hear that their work is fantastic AND they want it to be true. As the editor on the other side of the table, you have no influence on the second part.

If someone is too amateurish and too old, tell him: "Please, whatever you do, don't quit your day job. Because you're a long way from being a professional artist (or writer, or letterer, or whatever). Constant training might improve your chances, but I can't promise anything. Right here, right now, I can't really hire you because ..." and then you go into the details. Anatomy. Variety. Backgrounds. Storytelling. Whatever sticks out the most and needs the most training.

No matter how bad the artist (or fill-in-the-blank) is, never tell him that there is absolutely no chance he's ever gonna make it. Be blunt, be honest, but don't crush every last bit of hope. He's still a human being, after all. Hope is what drives us.

Posted by Michael Heide on 2008-01-08 12:58:45
honesty and the easily damaged.
Tom;

You are in a professional position where your decisions can either cost the company money, or make them more profit.
I am a professional artist. I own my own business and have been in my field for over eighteen years.
During this period i have had many Artists work for me and many more hope that i would feel that their work was as awesome as they did and just beg them to work for me.
Sadly this is not the case 95% of the time.

What do i do for a living? I am an Airbrush Artist. I do t-shirts, Wall Murals, Paint Bikes Helmets and other vehicles. Logo's Signs and many other services. I have built a strong reputation for consistently doing work of the highest quality at a very fast pace.(practices learned from many years of dreaming of being a Comic Artist.)

Many of the people that come to me usually only have drawing ability and are hoping i will hire them and basically teach them the trade. Unfortunately for them, i cannot make any money from their ability for at least a year so i tend to not hire them. Plus, many of them do not draw nearly as well as they think they do.)

When i review their work, i tell them up front that i will be honest and will not candy coat anything. I also point out that they should try to not get personally upset with me because of what may be said because they respected my work enough to come to me and ask for my opinion. I will not be rude to these people like i have seen and experienced in the past (ex; I once showed Dick Giordano 4 pages of Evil Ernie zombie action. He stated that 'If i wasn't going to draw things as they really look, i just shouldn't even attempt it.' I responded with 'i just handed you four pages of Zombies. Whats real about that? I then made the BIG mistake of mentioning another Artist by saying 'Kyle Baker is a great artist and he doesn't draw anything the way it actually looks.' He then got upset and tossed the stack of pages onto the table in front of me and stated that i 'should stick to my day job since i would never make it as a professional.' I said Mr.Giordano sir, I work as a professional Artist.
Bottom line, i was devastated and did not pick up a pencil outside of work for over six month's. This was in '94. It took me six month's to come to the conclusion that...
1. It was at the end of a long weekend and he probably didn't like Zombies. :P
2. I should have probably put more than a day and a half the week of the show into doing my samples.
He was right to a degree. It wasn't my best representation of my skill. But Comics have never been seen as requiring perfect illustration technique. Only strong and consistent story telling skill.

Artists live inside of their heads. During the creation process we will sit there and pat ourselves on the back and tell ourselves that this artwork is AWESOME! Only to have someone that knows what they are talking about to let us in on the truth.

Thats you Tom. You, because of your position and experience are the one that knows what he is talking about.
Maybe at the next show when you are about to do your scheduled critique's you should, or could address those in attendance about what an Editors job is and what you look for in an artist. Then let them know that your intent is not to hurt anyones feelings or to discourage them, but they should prepare themselves for that possibility.

I showed you my work a few years ago and you gave me your card and asked me to send you more. Sadly i let my real life of paying bills and being responsible for other peoples income get in the way and never sent it. My loss.

Also to cody44; You are never to old to break into Comics at any company. It is just that sometimes older more dependable and experienced artists do not get work because some editors feel that they can only hire someone who's artwork is like the current 'HOT' artist. (I have been told this by some Pro's)

I have one question of my own that i hope can be answered.
How can you submit writing samples?
At Wizard World Philly two years ago, i had a friend directly introduce me to his lifelong friend Dan Didio. Mr. didio would not even look at my script because i was as he stated 'an unsolicited writer.' Our mutual friend actually read the script ahead of time to make sure it was good so that he wouldn't waste Mr. Didio's time. He literally told him that it was one of the best Superman stories that he had read. (it made me feel good) Mr. Didio still wouldn't look at it and said that the main reason was because they had to avoid potential lawsuits if they released a similer story that actually came from some script they had read somewhere.

So, what do i do.
Thanks and good luck with your conundrum.

Posted by BIGW1966 on 2008-01-08 13:23:05
Think about this
Tom, you mentioned that this person was not professional enough to work at Marvel. What about one of the other companies that are out there? There are tons of little comic companies that are either just starting up or can't pay a lot or whatever. Marvel and DC are the major leagues and there is no reason he can't go to one of the minors. Suggest to him that he try one of those (and if you know someone at one of those companies, because this is a small business, give him a name). In 5 years this person may be fantastic - you don't know, and the last thing you want is for him to think of you as a jerk, but rather as someone who helped him.

Posted by scooter1a on 2008-01-08 13:40:05
FuzzyDan, Tom isn't talking about the guys who are "just shy of being "professional,"".

He's talking about the guys who are "amateurish enough and the person is old enough that you just absolutely know that they're never going to be able to make a living drawing comics."

There's a big difference. He's definitely not talking about the people that are almost there.

And I think the people saying that age doesn't matter aren't being realistic. It's nice to think that anyone can do anything if they put their mind to it. But the reality is that if someone has already spent years learning to be an artist and his work isn't very good, then more years or effort aren't going to get better results.

Posted by CodeGuy on 2008-01-08 13:40:22
submissions
Considering some of the junk we see published on a weekly basis and considering the success of someone like Rob Liefeld who to this day still has trouble drawing hands, feet and backgrounds who can really say just who will somehow be able to get a job in comics.

If I were in Mr. Brevoort's position I'd be honest and say, "I'd never hire you but history says persistence and luck beat out talent and skill more often than not. Besides one can always publish their own web comics these days."

Posted by izzatrix on 2008-01-08 13:49:01
truth is best
I'm not a fan of brutal honesty, but it's best to tell the guy the truth, in a constructive manner. Let him know in which areas he's falling short, make a suggestion or two about improving and end it all with a nice "you're just not right for marvel right now". Who knows how much he'll advance in the comings months and years. Same thing for goes for writers.

Posted by kedd on 2008-01-08 15:37:33
From your entry, it sounds like you think the creator may someday be ready to do professional work. If so, I think a decent critique of his weak points (even if it's as simple as "you need to work on dialogue; all the characters sound the same and are being far too expository...") would probably be in order. If you think it's someone who really never will be able to contribute to Marvel, I'd go for the brutal honesty, I suppose, though I know it's hard. Perhaps suggest he work with some smaller companies for a while to refine his techniques. Who knows? Maybe he'll come back and show you something in five years (obviously, I have no idea how old the guy is, but if he's younger, you can improve a lot in five years).

Posted by motteditor on 2008-01-08 16:56:45
Submissions
It helps to let someone know what is expected (e.g., how many acts? what is the character doing that is new? or have you read _Story_?) even if you don't have time to explain why the submission itself doesn't work.


Posted by Mjohnson on 2008-01-08 18:06:55
Marvel as American Idol
As long as you don't go Simon Cowell on the guy, I would think that a little honesty would go a long way. Maybe he will hold a grudge, but I'm sure he won't be the first to do so. ("Get in line!") Constructive criticism, even ill-taken, is a valuable commodity.

Posted by Lonesome Pinky on 2008-01-08 20:33:04
Be blunt and honest
Take your bad day out on him, and take the sadistic "pull the wings off the fly" approach.

If he's got it in him to see his dreams through (and isn't just talking a big game), that'll make him better than he ever dreamed he could be. He;ll thank you for it in the end!

Posted by Dusty. on 2008-01-08 22:16:34
LIE
You Gotta Lie So The Person That Has That Dream Will Work Even Harder Rember There Is A Time Even When The Best Artist Were Not Even Good Enough.

Posted by NuckingFuts on 2008-01-09 00:05:58
no...TOM...
please.no.
...., please,
later.

thank you

Posted by notapotatoe on 2008-01-09 03:51:32
Be honest with his work, not the man himself
You mentioned "the person is old enough that you just absolutely know that they're never going to be able to make a living drawing comics" If they cant draw thats fine, tell them to go to college and major in Fine Arts, but there age has nothing to do with it. Be careful not to confuse the standards Marvel has set upon themselves with the truth about what it takes to make a great comic. In the end sure it takes some talent to do the job but lets be honest Ive seen comics bieng published where the artwork is down right horrible but the story is good, these books are flooding the market because its a numbers game and they have the support and finances to print it and ship it WHY not becuase there the best of the best but because they have the support of a larger company backing them with finance. Come on man Look at the great artistists who have made a name for themselves some majored in somthing other then art in University or college, some didnt even do it and they became fantasitc, AND THEY ALL STARTED WITH SUBMISSIONS THAT DIDNT EVEN LOOK GREAT AT THE TIME. in the end its about this 1) its who you know that gives you that step through the door 2) how determined are you to keep banging on the door 3) It helps to get an education in the field you want to get into 4) Make sure you Love the industry thats your fuel 5) LUCK!!! ITS ALL ABOUT BIENG AT THE RIGHT PLACE AT THE RIGHT TIME......Oh and it never hurts to kiss some butt with the editors.

Posted by terciera on 2008-01-09 05:42:43
DRock1
I'd be careful. If the guy is as serious as he is and you tell him he's not good enough and never will be then not only are you telling him to slag off in a very rude way but you're also saying, in a way, that he wasted his life and his dreams.

And the way I see it everyone still has a chance if they apply themselves hard enough. Age has nothing to do with it. Everyone has a chance to improve no matter how old they are.

I'd go with the practical advice. Me, I am a writer. A hack, but that still doesn't stop me from reading to better understand how to write in an entertaining manner. I'm not as good as I should be now and I have been a failure so far, but it doesn't stop me from breaking out the thesaurus and dictionary to learn new words.

I don't believe in secret handshakes or hiring 'one of your own'. Those that do earn my contempt, but I find more often than not that this is all too true. Still, I believe in sheer effort and the only way I'll stop is when I'm dead. I'll never be too old to write and never be too old to submit my ideas and I'll never be too old to improve. That's how I see it. I hope you see it that way too.

Posted by DRock1 on 2008-01-09 10:45:36
sad!!!
it is sad that i am one of those delusional people that think they cab actually make a comic and be successful with it but one must earn a living do regular work and my comic has sufferd greatly i was hope for suggestion on how to get more help with it

Posted by ~THUNDERGOD~ on 2008-01-09 11:28:27
Tell him to take the Liefeld Approach
Make buddies with Jeph Loeb. Be such a great friend that your talented pal will take pains to have you attached to his projects.

Posted by Felon on 2008-01-09 11:55:19
FIRE JOE!!!!!!!!!!!!!!!!!!!
He is mucking up SPIDERMAN and the rest of the Marvel universe. I mean what the hell is he smoking people?

Posted by chrisrudy72 on 2008-01-09 12:39:55
Age
(Sigh...I'm reposting after the website dropped my post. I apologize if it's a big less polished.)

I think the point of age is simply that human beings tend to get better over the years after practicing a talent. So that if you're 42 and your drawing skills still look terribly unprofessional, a little anatomy lesson won't save you.

Sad as it is to say.

As for getting into comics, from my very meager personal experience I have to roughly agree with terciera:

The comic industry is quite small, even within the big two. Far too small to let in every writer/artist who'd LIKE to be in it, or even the ones that could do it well. It really does come down to being in the one spot when someone with decision making authority decides to give you a chance.

Posted by PseudoSherlock on 2008-01-09 13:03:35
Comics and Literature
The credits of the would-be comics writer outside of comics weren’t mentioned. His credits as a fiction writer, in any format, would be pertinent, since, if he has the skills to write a salable story in some format, acquiring the needed skills to be a comics writer should mainly be a matter of studying the market, the characters, and the specific format requirements. If he’s an amateur with no significant experience as a writer or editor in any format, then he shouldn’t have been referred to Brevoort; if he’s an amateur without experience who has decided he wants to make a living as a writer now, he needs to learn some harsh realities.

Note that the differences between stories done as SF/fantasy and stories set in the Marvel Universe aren’t nearly as large as might be imagined. For the purposes of writing a story with any given character, the story can be structured as solidly as any prose work could be; it’s just a matter of the writer having information about the subjects his characters are dealing with. The recent “Endangered Species” storyline made it painfully obvious that the writers involved didn’t have info on current genetics research, or they wouldn’t have even considered stating that the Beast couldn’t reconstruct a mutant gene. The points behind my recent suggestion that mutant powers could be tied directly to the genes responsible for postsynaptic proteins, neurotransmitters, and thrombospondins, is that those genes actually exist, and that the evolution of postsynaptic proteins has been very important for the human brain. Whether the concept is background material or explicitly mentioned in a story, having something solid to work with would be useful for a writer concerned with details. Someone familiar with quantum theory knows that new universes can be created (and quickly die) without nonsensical measures being needed to justify them. Such universes can be used to generate characters on any power level imaginable or any environment imaginable, from a “Flatland” look-alike to a horrific universe suiting the fantasies of the Red Skull. Then there are quantum computers--what would happen if Eternity had access to a quantum computer? What would he do with it? No writer unfamiliar with quantum computers would think of that, much less use it as the basis for a story.

Modern science and SF (Piers Anthony’s SF novels, such as OMNIVORE, are worth studying, for example) are great sources of story ideas.

SRS


Posted by Steven R. Stahl on 2008-01-09 13:47:20
Felon, just FYI
Jeph Loeb was a nobody when he started riding Liefeld's coattails, not the other way around. I believe Loeb is even on record giving Liefeld credit for his career taking off. You really need to get the facts straight instead of bashing like some mindless drone.

Posted by Dusty. on 2008-01-09 18:11:31
Submissions
For what it's worth, Tom B. is way off the mark. Be wary of anyone who isn't an artist telling you you'll never make it as an artist. George Perez was told by Neal Adams (the best in the business as far as I'm concerned) he didn't have the stuff and if an artist had brought the work Frank Miller did on Dark Knight 2 to Marvel as a submission, I'm pretty sure he'd have been shown the door. Fortunately, Miller had established himself as an artist of note already!

Art is a living thing and as such no-one, and I mean everyone who thinks he 'knows' what it takes to be an artist is living in a fools paradise. Rob Liefield's work has power and attitude, but there is no way you can tell me he can draw well; yet Marvel gives him work anytime he looks in their direction. That's because good art has never been the hallmark of what makes a book good. It contributes to it but storytelling is much more important. If an artist can tell a story in a way that engages the audience, they'll accept art that isn't good, knowing that if the artist continues to ply his trade he'll get there.
Tales of the Beanworld was a book done primarily with stick figures and did well enough in the marketplace to have a place in comic book history. Stick figures used to tell a story people, imagine that.

I know Marvel has a 'look' it's going for and that too is a problem. It limits what's able to be done in its own market medium and shrinks the talent pool to those whose work must look like something already out there if they want any chance of getting work.

Additionally, all aspiring artists need to understand that doing comics is a grind. [An imaginative one, to be sure]. If you're thinking about going in that direction do yourself a favor...practice, practice, practice!

Here's a way to gage if you're ready: Do a page a day for two 5 day work weeks. (If you don't have a story to work from, take a comic you like and redo the story your way). If you can keep a schedule of a page a day you're a quarter of the way there. Now show it to all your friends and see if they think it's better that the story you used as a basis. Ask them for their honesty and not just to get an ego massage.
Now go to a convention and show it to strangers who don't know you and see if the response is the same. If you're still getting kudos, now you're ready to approach an editor. Good Luck.
The Nightray

Posted by Nightray2002 on 2008-01-10 13:02:37
Professionalism in Cartooning
I have been reading this type of conversation for a minute or two..and it is trite and stupid.If you don't mind my being blunt.
When a Pro that makes his money mainly from Wanna be's goes around denigrating their work,,it shows not only a lack of respect for their patron but also for the community that supports them as well. I have only worked for the Marvel Production Company as an Artist but ..I have often talked to my friends who wished to cross over into Marvel Comics...I don't know how else to say it..If Marvel wants to offer Jobs to begginers they should try to emulate the Walt Disney way and start a College that teaches their techniques..then the Master Artists can pass on all of the Tricks to their Assistants..and their writers. Then maybe their can be a Union that will help the Artists make a livable wage while the pay off their Tuition. I apreciate the stress of being a Commercial Artist..but the Rock Star Attitude needs to be given up Gents...everyone under the Age of 60 is a Copycat trying to re-invent the wheel. I hope we all get it together enough to appreciate the Fans and their efforts..and be as considerate of them as possible. Because only a few get to have their name above the Title..and we all know who they are...and not all of us get to be the Alex Raymon or Will Eisner that we have dreamed about being..remember it does not last forever Gentlemen. So please try harder...

As our friend Morrie Turner often says.."Keep the faith"

Posted by MAdd Pro on 2008-01-10 21:10:16
I COULD HAVE SUBMITTED A TURD BETTER THAN BND
Marvel should take an internal look at themselves at the crap that was OMD. It is causing fans to leave in droves.

Start by not insulting your fan base!

Posted by HiddenVorlon on 2008-01-11 17:57:27
Submission age?
What, pray tell, does age have to do with ability? I am a writer who is a late-comer to the comic world. I see no reason why any writer or artist cannot make it, simply because of his or her age. Many creatives may be starting out later in life- as I am- simply because they did not have the opportunity before, or were simply too busy dealing with the business of life, or were unaware of an untapped talent within. For myself, I have only been reading comic for a few years. Up until then, I had never even considered it as a possibility! Now, after learning enough to feel that I half-way understand the medium, I believe that I have some good stories to tell, and am ready to try my hand as a professional, if given the chance to prove it. Tom, you don't know the guy's background or situation, so please- PLEASE- don't just assume that he cannot improve, that he doesn't "have what it takes" just because he's not some young hotshot just out of high school or college. Age should not be a factor- after all, look at Stan Lee! He's in his eighties and STILL going strong!

Posted by MsMarvelDuckie on 2008-01-18 14:00:02
Shatterer of Dreams :)
When I interned at Marvel in the mid-90's one of my responsibilities was opeing and returning submissions. I had a stamp (not mine...it was iven to me) that said the aforementioned phrase. It was fun to stamp terrible submissions because the submittor never saw the stamp, just the form letter, if they enclosed a SASE.
I was also told to chuck out the letters from the little kids who wanted Spider-Man's autograph because they never enclosed a SASE or any postage, but I used to sign a letter to them anyway and mail it on Mavel's dime. ;)
It was great to work there, though most of the folks that I worked with (save for you, Tom) are gone, baby, gone. :)

Posted by zenbird on 2008-01-19 22:36:03
nada
You should be able to work with whoever you want.

Posted by sociald13 on 2008-02-05 01:35:01
A little help goes a long way.
Speaking as someone who is trying to make it as an illustrator. I always appreciate it whenever feedback is given. Of course good things are great. Who wouldn't want to get their ego stroked? The worse thing is when you get "false flattery" though. Honesty is always the best policy mixed with constructive criticism. Whoever submitted their work is vulnerable, because he/she put themselves out there and frankly they worked hard for it. So, why not entitle them to some kind of response? Not letting them down easy, but have tact. "I know you worked hard on this, here's what I see that could benefit you later. You're not right for us now, but....blah blah blah." It would be great to hear what was done well(if anything), so at least they'll have that to hang on to....ya know?

If they're really serious about what they want...they'll work on it and re-submit. If not, then at least they won't feel like they were walked all over. Ya know?

Posted by cyd424 on 2008-02-29 07:35:27