[Socar MYLES]

I'm looking around for a publisher for a horror (well, very subtle horror, anyway) comic-book project I'd like to do--the style and content seems like something Vertigo might be interested in, but they don't seem to be taking submissions. Does anyone know how/when they do hire new artists and writers? Or, alternatively, are there any other companies who print the same kind of thing? The comic is a limited series of eight creepy 30-page stories about rats, similar in style to my contribution to Fleshrot (http://www.fleshrot.com/stories.html - mine is the one at the bottom).
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[gezstar]

I think you have to either have contacts with DC, or - and this is probably the best option - go to a convention. I know you're Swedish, so I guess going to San Diego's a bit far, but there's a convention here in England, in Bristol, which the Vertigo people'll be at. They should be doing portfolio sessions... It's probably worth it if you're confident they'll like your stuff. It's called the Bristol Comic Festival, and it's on May 24-25:

http://www.comicfestival.co.uk/

Maybe there's conventions in Europe? Dunno though...

edit: it might be worth trying 2000AD for your comic, since they publish some horror stuff.

[Socar MYLES]

That's the thing that sucks--conventions are pretty much out for me at the moment (health problems prevent me from traveling much). I will be moving back to Canada (Toronto) later this year, but I don't think there's much of that sort of thing in Ontario.

Never heard of 2000 AD--I'll look them up.

Oh, side-question--is Wildstorm part of DC? And is there much crossover between the different parts of DC?

EDIT - Just checked--Wildstorm is part of DC. Second question still stands, though.
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Dignity isn't important. It's everything.

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[ceenda]

[MadSamoan]

Socar,
You need to jot down the names of editors that are on the types of comics that you think your story would fit in and submit samples to them specifically. You would also need to hound them by calling or e-mailing to keep your name fresh in their mind. It's a shame you can't travel, conventions are the real way to go as far as getting work is concerned. Don't limit yourself to just Vertigo, look at who else is doing stuff. Projects like you have in mind can take a long, long time to get made. Very much like pulling teeth. Even established pros have a hard time getting their original stories made, even when it can be worked into the publisher's established universe. If you can manage to get as much work already completed before submission, that increases the chances that they'll pick up the project, because they have less to worry about concerning if the artist will follow through on time.

[Socar MYLES]

Thank you for the advice, Mad Samoan. I looked through the submissions guidelines for a bunch of comic companies yesterday, so I will forget about Vertigo for now. They were just the first ones that leapt to mind. Although I love comics, I don't know all that much about the business, and who publishes what. Clearly, more research is in order!

I have all the writing done, but none of the art, since I have time to do paying work only most of the time...but I do have a couple of references within the industry who can confirm I can paint a page a day, and that I meet deadlines.

Maybe I should do something a bit more...obviously commercial first. It sounds like an uphill battle trying to sell a non-mainstream comic to the larger houses.
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Dignity isn't important. It's everything.

www.gorblimey.com - art

[Tom Luth]

A note about comicons: while they do have portfolio reviews, they rarely lead to work. They are generally handled by assistant editors that are not in a position to hire, and all too often, are not qualified to give critiques. Most will have one waiting an hour or two to be reviewed, at which time you will receive comments such as "I would like to see more impetus, and focus on stress points. Thank you, next?" Well then, I'll go home and work on that!

Sorry for the downer, but that reflects my own experience, and that of many others. I got my initial work by visiting the publishers offices, a long, long time ago, and later (they did not send work out of NYC back then) at the recommendation of professionals I knew. Being introduced to an editor by a respected professional carries far more weight than any portfolio review will do. From that, editors would assign me additional work.

The big Con is San Diego, but it is a freakin' zoo! The tens of thousands of fans would lead one to believe that comics are thriving, but that is because the conventions have become Media Cons, more than comics. Having guests like Ben Afleck, James Cameron, Arnold, etc. brings in a lot of people, not to mention the wrestlers, Playmates and Porn stars (don't ask).

Fortunately, most pros are very nice, and willing to look at your work and give advice.Socar's work is better than that of most the industry, so I believe the right timing will pay off.

Actually, smaller Cons, Like Chicago, etc. may offer a better chance to meet and greet than San Diego. Also closer to Toronto.
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[Socar MYLES]

Thanks for the info, Tom Luth! Maybe I will see if I can get one of the very few "names" I know in the industry to introduce my work to an editor, then. I hadn't thought of that angle. Unfortunately, however, most of that handful of people do very genre-oriented stuff...superhero especially...so they may not know anyone who would be interested in stories that don't fit any one genre particularly well.

Although I won't be at ComicCon myself this year, the "Fleshrot" people will be there...maybe my cover and my story will turn some heads (yah, I should be so lucky, eh?--as if I could compete with Arnold...or even a porn star!)
_________________
Dignity isn't important. It's everything.

www.gorblimey.com - art