Следново е извадок од неколку поста на Ц.Б. Сибалски (или како и да се изговара C.B. Cebulski
) за тоа што се бара во Марвел и кој е најдобриот пристап за презентирање на вашата работа.
Today's Tips: Advice for Writers, part 1New writers, sending pitch ideas of any kind to editors cold is a definite mistake.
If you want to write for Marvel, get published elsewhere first. Marvel editors only review previously published work to judge your chops.
All writers need to snail mail the editors directly.
Yes, self-published work, mini-comics, webcomics, editorial cartoons, newspaper strips, novels... all count as published work for writers.
Yes, Marvel accepts PUBLISHED WORK ONLY from new writers. No pitches. No submissions. No original ideas. Nothing Marvel related.
Self-publishing, mini-comics, anthologies, web comics... they all "count", yes.
Today's Tips: Advice for Writers, part 2
Published work means creative writing that has been printed and where you are clearly given credit by name for your contribution.
No, no PDFs. Nothing digital. Nothing electronic. In this case, published means PRINTED. Sorry, but those are the rules.
DO NOT send anything to me, writers. Organize your ideas, do your research and send to the editor(s) of the character(s) you want to write.
Once the editors review your work, if they like what they read, they will then contact you and ask you to pitch. That's how it works.
If you want to pitch Marvel anything, you need to send the editors you want to work with your previously published work for review.
You get asked to submit by getting published elsewhere, or self-publishing, making a name for yourself and sending us your PUBLISHED work.
You can't submit to Marvel unless you're asked to submit.
Simply put, all Marvel editors handle their own writer recruitment on their titles & you need to get your PUBLISHED work into their hands.
Today's Tips: Advice for Artists, part 1Too many new artists still sending over only designs & sketches for us to look at. We NEED to see sequential pages you're wasting our time.
ALWAYS include a 3 to 4 page sequential sequence in your portfolio. Minimally! We're most concerned with storytelling.
Put some time and research into who you are submitting to and tailor your samples and the text of your e-mail to that editor.
Sometimes overdrawing your backgrounds, adding in too much detail, can be just as distracting. You can lose the characters in the panels.
Backgrounds are not just window dressing. They help give characters, and thereby the reader, a sense of place in the scene and on the page.
Widescreen panels are a very cool tool for pencilers to have in their artistic arsenal... when used properly.
Embrace any and every characters' design, costume & powers. Use their given visual attributes to better tell your story in interesting ways!
Don't crop out a character's defining visual traits: Wolverine's claws, Daredevil's horns/billy club, Spidey's hands/webs, Cap's shield..
You need to find a balance by separating the foreground & background elements to place your characters clearly and naturally in each panel.
Editors and readers alike are not stupid. We can all notice the difference between "artistic choices" and "cheating". Please don't be lazy.
The only thing any artist should be comparing is the page they just finished to the one they penciled before it.
Today's Tips: Advice for Artists, part 2Inking, coloring & lettering are all arts and should be treated as such. It's a shame more editors & publishers don't feel the same way.
Three reminders I gave many new artists yesterday: Stick to the grid. Always include panel borders/gutters. Don't break those panel borders.
I will, however, encourage artistic experimentation. More personal creativity & boundary-pushing lead to growth and growth is good in comics.
I'll never encourage an artist to work in a particular way or style. It's all about however they're comfortable and can get the job done.
The biggest factor working against new artists is time. We usually hire based on impressive sample pages, not knowing how long they took.
When doing a cover don't get overly-complicated or designy. Don't overthink your cover. Don't get too cerebral. Simply give readers a taste of what's inside.
These are simple, basic cover "rules", I know, but I'm always surprised how often they're forgotten. Especially by the bigger publishers.
Covers need a simple, bold, striking piece that should immediately standout & distinguish your book from the rest of the comics surrounding it.
A cover is the most important piece of art you'll create for your comic. It's what will sell the book. Especially in today's direct market.
Looked at three covers this week where I think the artists purposely left blank space in order to add their signatures as big as can be.
It totally distracted the eye from the actual cover art. Let your art and talent speak for itself sometimes.
I have no problem with and fully support cover artists signing their work, but please do it tastefully and tactfully.
На страната за повеќе.
