How To Break Into Comics

When Justin from Magnus asked me to write a 600 word article on what I – in my role as a professional comic book writer – consider most important to get a good foot in the door, as opposed to a bad one, in the comic book industry the temptation was to direct him to my recently published title, How to Break into Comics #1 (Antarctic Press). The other temptation was to simply provide a link to an interview where I feel that I thoroughly covered this same topic and probably in greater depth than I could do so here:

http://www.greatwriting.co.uk/content/view/1570/

But then I realised just how polite and courteous Justin was. I mean the guy even put a postscript note in his email blessing me for writing the new “Mr.T” comic book. (Before you ask, yes it is THAT Mr.T and yes, T IS heavily involved in the comic's creation.)

And therein that statement lie the ironies (plural, as there's two of).

One way to break into the comic industry is to ASK potential work providers.

The emphasis here is on TO ASK. “Don't ask, don't get,” or so they say – therefore always be cheeky and ask. The worst that can happen is the answer is “thanks but no thanks”. This act alone has secured me a few useful gigs and/or resulted in me teaming with an artist in order to pitch a comic book project.

And by ask I don't mean, to put in bluntly, “brown nose”. There are some who take this approach. I think the polite term is “networking”. And, yes, it may occasionally pay off for them. But does it do an industry already full of hackwork any good? No.

These nameless few are not getting by on their storytelling talent, they're getting by on ‘good' old-fashioned sucking up. A case of who-you-know rather than what-you-know. After all, what's paramount for both aspiring comic book creators and the comic book industry? Good storytelling. And that is what you should know.

So, sure, ask away, but above all don't rest on your laurels meantime, but instead practice your craft.

In How to Break into Comics #1 I make mention of the 3 P's that anyone looking to break in ‘comicdom' must utilise:

Practice

Persistence

Perseverance

Make sure that you obey these and raise your game all the time … don't forget that you're competing with the best sequential storytellers in the world. More and more of these are successful novelists and screenwriters. In other words: they're good, real good, at storytelling. Networking must be done of course, but at the end of the day it's your talent that you'll need to support you and it is talent that will carry you through much longer.

In summary of this first section, as Delboy says: “He who dares, wins!”

The second irony (remember I said that there's more than one!), is the very closely related theme of ATTITUDE.

Being polite, friendly and professional. I'm drawing a distinct line between this and the “sucking up” that I mentioned earlier. I'm not talking about getting onto the radar by buying Editor X as many pints as you possibly can and telling all and sundry what a terrific bloke you think he is when behind it all you barely even know him. If this is the only way that you can break in, cracks will show in time, as you will only get by on this for so long: it's talent that ALWAYS stands out.

As an example of this, compare Brit TV sitcoms “The Office” with “My Family“. Which will stay afloat longer in terms of popularity? More to the point, which one will most people know who the writer (okay, co-writer) is?

I'm talking about being a professional in the business you want to get in. Because comics ARE a business. It's an important factor having the right professional attitude. It will show that you're deadly serious about your craft, meaning potential employers take you more seriously; that you're a good team player (comic creating is teamwork don't forget!); it will mean potential employers won't avoid you in the future as a person known to be difficult; and it will – and arguably most importantly of all – allow you more room to continue to develop your skills by not being defeatist: you'll be able to handle rejection and channel it into trying harder and not giving up, while simultaneously improving your storytelling skills.

Simply put? Treat those you come across how you'd like to be treated. Does all this sound a bit preachy? Sure. But it is a valid point, trust me, and one you'll learn and realise as you put it into practice.

So here we are, way over 600 words … glad I wasn't lazy after all, as I feel this touches on a few points that I've been unable to before. Remember, this is an industry where laziness is a huge no-no. Shortcuts show like white fluff under ultraviolet lights. Worse still, shortcuts will end up transferring to your work. And in our case that's the printed page and then they‘re there permanently for everyone to see and for you to regret! Remember, talent and skill are what will get you through.

Keep active, keep trying, and above all, keep ENJOYING the stories that you're working on because the chances are that enjoyment will be there to see in the finished product!

Chris Bunting, August 2006, with a word count of 899.

www.writing.me.uk