Thread by @GailSimone

Okay. I don’t feel I get to speak much about #ComicsBrokeMe. I have had some shitty experiences in comics, including some I didn’t recognize at the time. But overall, I am very happy and comics have been great to me. I see the pain of my colleagues and it’s horrible.

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But there are some red flags I would tell aspiring creators to watch out for.

I hope these will help some folks avoid some heartache. Note that none of these are the creator’s fault, no one gives classes for this stuff. You’re kind of just thrown in the hopper.

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Get your deal in writing, even with friends. Maybe especially with friends. Some of the biggest breakout multi-media hits that came from comics started as limited partnerships. Almost none stayed friends and a LOT of litigation has gone on.

Get it written out.

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Never let anyone tell you they will ‘take care of you’ in some way that isn’t covered in the agreement.

If it’s not in writing, it doesn’t exist. Editors and publishers change all the time. People die. You need it in writing.

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Ask for a better deal.

I guarantee you, publishers don’t feel the least bit bad asking for a deal that works to their advantage, it’s kind of their job. You have that same right.

We are so taught to devalue our worth that we our our own worst negotiator.

Ask.

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A definite red flag is when your editor tries to cut communication among the creative team. If they don’t want the writer talking to the artist, for example, they are likely hiding something.

Don’t allow it.

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Editors are busy, try not to waste their time. However, they do have an obligation to explain requested changes clearly and fully. Your time is valuable and limited, too.

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Marketing in comics right now is a mess. The discourse is mostly yelling, sometimes the people yelling don’t even read comics.

There are far fewer news sites and message boards than years past.

Marketing teams prioritize their big news.

That leaves YOU to do it.

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So that is part of your job now, in some manner. You may be positive that your work is of such shattering brilliance that you don’t need to tell anyone, but I have seen fantastic books die on the vine while absolute rubbish hits but.

Market yourself, plan on it from day one.

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It doesn’t have to be painful. Pick a technique you can live with and out your chips in there. Get help if you can, network if it helps.

But people don’t buy books they never see.

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Next, say things start cooking and you start getting requests from other media about your work.

First, it’s time to get help. An agent, and entertainment lawyer, maybe even a business manager. You don’t have to go full Hollywood, but this is a language few speak natively.

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Be patient, Hollywood deals can take forever.

Don’t come off desperate. They came to you.

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You your marketing time wisely. You can’t and shouldn’t do every podcast or web interview. Better to have one impactful shot than exhaust yourself doing them all.

Have a pithy, snappy concept pitch for your book. If you are selling yourself, show your best stuff ONLY.

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Most comics people are great. They may not be able to help you directly. But they can give useful advice…I once saw a guy argue about his portfolio with Neal Adams until Neal finally handed it back and said he couldn’t help. Listen. Learn.

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It doesn’t hurt to show up like you are ready to work when you meet a pro you ask for advice. Stand up, speak clearly, show only your best work. Show you mean business. And be courteous, it all helps.

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Every creative business has predators. Be aware of your surroundings. Let people know where you are. No editor needs you to go to their hotel room to see your portfolio. Same advice you give any young person going to a club.

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This is an important and sad truth: almost every industry that has fans runs partially on exploiting that love of the core products. I am in comics because I love them, same reason for most creators.

Same for board games, video games, film, music, on and on.

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That love is hard wired into the economics of these kinds of media, that people dream their whole lives of working at Marvel or Nintendo. And they know that if you quit, there are people lined up who would do the job for free.

So we again devalue ourselves.

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When that is constantly in your head, you tend to speak up for yourself less. I have twice had someone who cared finally grab me and tell me to stop doing that to myself…once was a publisher, and once was a con organizer.

Be realistic, but value yourself.

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Regarding press, remember, not all the press opportunities you are offered are helpful or even fair. Many times, they will have an agenda and will use what you say in ways you did not intend.

In my first big interview, the writer called all male readers ‘pigs.’ For real.

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This was a male writer in a big, well-regarded magazine. I have no such feelings, I love guys, I have been supported tremendously by male readers since day one.

This guy just wanted to cause a fire and used my name to do it.

It’s okay to ask around about media.

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I have to go, but another thing…if you are asked to pitch or submit samples for some wfh book, it’s okay to ask these questions;

1) am I the only one being asked or are their multiple pitches?

2) is this pitch intended to be published in some manner even if not accepted?

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I also say this a lot. A con may be fun. It’s still work-adjacent.

Be aware that you aren’t invisible, that your behavior is observed and noticed. For many freelancers, this is the only time fans, press, and potential employers see you. Think that over.

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That’s it, I have to go. Again, I don’t feel I have the right to contribute much to #ComicsBrokeMe. I acknowledge I have been mostly fortunate.

But maybe this thread might help someone. I would love to hear from other pros for their advice to new people on this thread.

Thanks.