The insider’s guide to creating comics and graphic novels

I’ve seen it a thousand times. Creators who don’t understand how to approach editors and publishers experience difficulty getting their careers off the ground. It’s a cold reality that creators, writers, pencil-lers, inkers and colorists have to be able to sell themselves to editors and publishers. It’s important to realize two things about approaching editors:

It’s not always the same thing. Most of them are interested in putting together projects that interest them and that they can sell to their superiors within the company. What that means is this: Editors and publishers are not there to do you favors and they are not there because they owe you work. They are there (at a convention or in their own offices) to complete their jobs the best way possible. Take into account the editors’ needs and focus on what you can do for them, rather than what work is “owed” to you or how great you are. Find in your own work or process how hiring you can benefit an editor and the publisher.

2 Speed. If you can pencil four pages a week or more, you’re in good standing. And that can help increase your value to a publisher.

3 The ability to get along and communicate clearly with your editor, and to listen to your editor, is also extremely helpful.

The last one is more difficult to prove, since an editor typically has to experience working with you to come to this conclusion. Present yourself as an easygoing professional who understands their pressures and obligations. You want them to know that your goal is to help them make their jobs easier.

Approaching editors can be daunting. It just can be. I sat on that side of the desk for over five years and now I’m on the other side and know the editors, and I still find it daunting at times. It’s an intimidating process. Do your best not to let it intimidate you. The more natural you are, the better your conversation with an editor is going to go.

At conventions, don’t approach an editor while he’s clearly on a lunch break or walking the convention floor. That’s usually him on his own time and it’s not appropriate to hit him up at those times. After convention hours isn’t a very good time either. But during convention hours, at the publisher’s booth, is perfect. Th at’s why they are there—to talk with fans and professionals.

When approaching an editor, take into account that the editor is a human being. He is not a deposit box for your samples. He is not a microphone to record your verbal pitch. He is a human being. Be polite. Ask how he is doing. Inquire about what comics he has worked on or is currently working on. Find out about his job. Ask him to talk about himself a bit. It loosens up the editor, gives you some valuable information (maybe even something to talk about if he mentions something that interests you), and gives you time to become more comfortable.

Pocket Tips for Approaching Comic Book Editors

• Remember, it’s not about getting a job on the spot, it’s about making that connection.

• Engage them at appropriate times.

• Be polite.

• Ask questions about what they do.

• Ask them to look at your work.

If you get that far, you’ve done really well.

You may be dying to show your pages, but don’t back an editor into a corner. Simply ask if he would mind looking at your samples. If the answer is no, ask if you can leave him with a packet. But don’t get pushy. That won’t help you in the long run.

1 Ask for a business card. You want his contact information so you can follow up later.

2 Ask if it is okay to follow up with that editor (even if you don’t get a business card).

3 Ask if there are any editors that this person would recommend you speak with. If you get more contact information, that’s a huge success. You won’t get any of those things if you don’t ask, so be sure to ask. You’ve got nothing to lose.