I can think of at least one phoney 19th century detective who'll be pleased. ;)

Posted by Fetsur on 2008-04-10 18:51:38
Wow.
i can't believe you even bothered to respond to that first "question". o_0

feel better!

Posted by artiepants on 2008-04-10 19:51:11
Thanks for answering my question, Tom. Get well soon. You're not the only one under the weather, btw. I, too, am miserably ill at present.

Posted by friskydingo on 2008-04-10 21:33:14
See but considering the pathetic state that this specific industry is in, I personally find it quite audacious for Editorial staff of comic companies to hold that stance towards hiring new aspiring writers. I mean, the COMICS INTDUSTRY should be the place where crap amateurs mostly begin in order to flourish and have work to show in order to get better paying higher profile gigs in television and film. Not the other way around. I'm sorry--I know that's very rude and harsh of me to speak that way, but it's true. The writers who do come DOWN from those higher profile better paying fields are doing it just have fun being a part of playing around with their childhood nostalgia and getting a bonus secondary income from it without considering the fact that they're bullying aspiring newcomers out of the playground sandbox. That's like having company exectuives fill in vacancies for temp work as well and be being like "who cares about what graduates and the younger generation have to go through?" and do it just because they can handle the extra stress and work so long as it gets them more money. But the reality is that you don't see anyone doing that because that's just ridiculous.

In my field of Illustration our professors, many of whom are still freelancing, don't really count as our competition because they've earned a sertain merit that allows them to quote for much higher amounts, which places them in the higher league of only dealing with clients who can afford to shell out that kind of major cash, while the new freelancing illustrators getting into the business have wider passage into editorial and publishing projects that look for more lower or medium wage rates.

So I just think that although it's understandable smart on behalf of the comic companies to hire known writing talent, it's unprofessionally cruel of said known writing talent to be hogging the vacancies for aspiring new talent. Especially when it's harder to get work in television and extremely difficult to get film screenplays bought.

Posted by underscore on 2008-04-11 01:41:05
I really need to learn to proofread before I hit the GO>> button.

Posted by underscore on 2008-04-11 01:47:34
And what was Marvelb0y "complaining" about doing? Yep, photocopying pages for collections.

Posted by CylverSaber on 2008-04-11 05:44:30
Wow...
friskydingo: It's been a long time since I can say this - I can't disagree with you more.

It's as if you're willingly admitting that writing comics is less important and of a lesser status than other forms of entertainment. This completely goes against what people who work for and love this medium are striving for.

"the COMICS INTDUSTRY should be the place where crap amateurs mostly begin in order to flourish and have work to show in order to get better paying higher profile gigs in television and film."

No. Wrong. I want talented, accomplished, and professional writers working on my favorite and loved characters.

If people want to hone their skills on writing comics LET THEM CREATE THEIR OWN and not work for companies like Marvel and DC.

Posted by pmpknface on 2008-04-11 09:03:17
Did anyone else find that Stahl's question was *so* long and contained so many statements rather than questions, that it actually looked like Tom was answering from "I'm not sure anyone at Marvel has considered this..."

Posted by deworde on 2008-04-11 09:10:03
I think you are confusing friskydingo and underscore's posts.

Posted by Joshaw on 2008-04-11 09:12:34
It actually reads quite well that way, although I got confused when "Tom" brought up Annihilation as an example of Marvel's ridiculous levels of unthinkingness. Then I read Stephen R. Stahl, and realised that the world's most articulate whiner was back in the game.
The actual questions he asked were:
>Just how would a Skrull go about impersonating the Vision (I) convincingly? (Sensible-ish)
Is it too late to cancel SECRET INVASION? (TROLL)
Doesn’t anyone at Marvel Editorial know that [Mantis has] never been a pyrokinetic, Giffen’s claim in STARLORD #1 notwithstanding? (Bwuh?)

Why didn't we veto this again?

Posted by deworde on 2008-04-11 09:18:02
deworde, it was probably too late in the day...!

Posted by Fetsur on 2008-04-11 10:22:23
I have to agree with pmpknface, a weel-known name is more bankable,plus if Brubaker or Ellis or Fraction or Bendis are Brubaker, Ellis,Fraction,and Bendis that's because they had the attention of the majors by the quality of their previous works and working.
But they're few exceptions : it's amazing that Marvel publish Farel Dalrhymple, it would have been out of mind five years ago.



Posted by notapotatoe on 2008-04-11 11:31:49
uh...Tom,
can we consider what you said about Squirrel Girl and Jack of Heart as a preview ?

Posted by notapotatoe on 2008-04-11 11:37:30
What?
Underscore, that's the most bizarre post I've ever seen. You're actually asking someone to lower his standards and start hiring worse employees than he is capable of getting. You're actually suggesting that they should turn away good writers and give the jobs to 'crap amateurs' instead. The idea that you would actually suggest that makes my brain hurt a bit.

Posted by Jason M Bryant on 2008-04-11 11:51:46
what what ?
to Jason M Bryant :
I'd be really curious to know if it hurts you seeing one of your pitch ( send as 'crap amateur writer ') a little bit modified by Housed authors, after it had been told you to come back when you will be pro enough. What do you think about this kind of philosophia ?
Low cost philosophia. Why giving a chance to get better to somebody that nobody know when it could be done 'the way we want it '? Why hiring someone new, when someone here can do the same?

Posted by bulgarianyogurt on 2008-04-11 12:49:40
Not much.
No, that wouldn't hurt at all. Specifically, it *didn't* hurt when I tried it. I have actually talked to a professional author and showed him my work. He pointed out the problems politely and gave me some advice for how to improve.

What he did *not* do is fire someone who is better than me to give me a job that I don't deserve.

By the way, "crap amateur" was underscore's phrase, not mine.

Posted by Jason M Bryant on 2008-04-11 13:52:32
a 'breaking thru' question :
what do you mean by :'a job I don't deserve' ?

Posted by bulgarianyogurt on 2008-04-11 13:59:44
It's not that vague
It's fairly self explanatory. The topic is whether or not Marvel should hire people with no experience instead of people with lots of experience who have repeatedly turned in good work.

Marvel is not a school. It's not their job to teach aspiring writers how to write. Marvel's job is to make the best comics they can. That means they not only have a right to hire experienced people who know whay they're doing, Marvel has a responsibility to their readers to hire the best people.

You want to write for Marvel? Do what Tom says and work your way up through other means first. Nobody starts at the top.

Posted by Jason M Bryant on 2008-04-11 14:10:21
I didn't say that.
Learning to write ?
How many time is it allowed to a new title to outcome ?
how many time between a change of creative-staff ?
If your idea is not so bad, why can't we see what we can do about it ?
Of course some artists come with a complete story with nothing to change in it ?



Posted by bulgarianyogurt on 2008-04-11 14:21:41
Can I be your assistant editor?
Mr. Brevoort,

I have a MA in English, a solid work history, and I have a ton of publishing experience as an editorial assistant, intern, and writer. Can I be an assistant editor for you?

Deepest regards,
Joe Momma

Posted by joemomma on 2008-04-11 14:22:44
Duh
"If your idea is not so bad, why can't we see what we can do about it ? "

Because all the proven writers have good ideas too. Believe it or not, the guy who has been writing for years and has been published many times actually has ideas that are just as good as the ideas from the guy who has never published anything.

Underscore suggested that Marvel should hire, in his words, "crap amateurs." If you don't understand why that is a bad idea, then I am not capable of explaining it to you.

Posted by Jason M Bryant on 2008-04-11 14:29:58
And no, I want to write for DC.

Posted by bulgarianyogurt on 2008-04-11 14:46:22
'Because all the proven writers have good ideas too. Believe it or not, the guy who has been writing for years and has been published many times actually has ideas that are just as good as the ideas from the guy who has never published anything.'

sure, and someone who had published anything provide necessarily ABSOLUTE COMPLETE CRAP ?

Posted by bulgarianyogurt on 2008-04-11 14:51:21
We're not talking ideas especially neither, but the way to put them together also.
Are we still talking about the same thing ?

Posted by bulgarianyogurt on 2008-04-11 14:55:01
sorry ,have to leave before being caught by the police.

Posted by bulgarianyogurt on 2008-04-11 14:56:56
"You want to write for Marvel? Do what Tom says and work your way UP through OTHER MEANS first. Nobody starts AT THE TOP."

*SIGH*

This arrogant mentality of meritocracy is exactly what I'm talking about. "Crap Amateur Writers" is just a figure of speech. Obviously no one's going to hire someone who is crap, but no matter how good they are, they would still have to struggle with their work being viewed as "crap", "rubbish", or "pulp" in the eyes of editors and producers of more successful industries. They're COMIC BOOKS. I love them, you guys love them, and Tom loves them, but THEY--OUT THERE--don't get it. This is why I find the above comment laughable. The comic book industry IS the bottom. THEN it's the colouring book industry, and THEN it's the book publishing industry. I said that is IS understandably smart for Marvel and DC to hire published talent, but what I also said is that I personally consider it to be unprofessionally cruel for EACH published well-known talent coming down from other industries to hog the field by writing like 3-5 different book/one-shots/miniseries--EACH of them, leaving very few chances and vacancies for other aspiring writers. I think Bendis and Brubaker's stuff is CRAP (and pedestrian, and paint-by-numbers, and TV fair, and whatever else you want to call it)--So FIGURATIVELY, what I'm saying is instead of giving 90% of he vacancies to CRAP Pro writers, try hiring dome CRAP amateur writers to see what other hidden major talents are out there and nourish them and receive good work in return.

Guys like Spielberg, Skorsese, Nicholson, and John Williams will not be around forever, so it's imperitive for the film industry to constantly scout out for new up and coming directors, actors, and composers. If they didn't, it would hurt the industry in the long term. Have I made myself more clear now? Is this simple logic of smart business practice not getting through to anyone?

I say HIRE the Bendis's and the Loebs!--but don't let them hog up all the good stuff.

Posted by underscore on 2008-04-12 02:53:21
"Guys like Spielberg, Skorsese, Nicholson, and John Williams will not be around forever, so it's imperitive for the film industry to constantly scout out for new up and coming directors, actors, and composers. If they didn't, it would hurt the industry in the long term. Have I made myself more clear now? Is this simple logic of smart business practice not getting through to anyone?"


No up and coming directors are going to get handed 200 million dollars to make a movie, you have to prove yourself first, it is the same with comics, Marvel and DC are not the whole comics industry just the top of it, if i really wanted to work as a writer for Marvel here is what i would do :

Write every day about everything you can think of, simply get good at writing.
Find an aspiring comicbook artist, make a deal where you write the script and he draws it, then find a printing shop, this will teach you both a lot about working with comics and have something to show of your work.
Based on your comic try pitching an idea to one of the indie publishers.
Keep Trying.
Once you have done several successful indie comics you can try to pitch something to Marvel.

Posted by Rain on 2008-04-12 03:34:55
Chester Brown did that , before being noticed by 'Drawn and Quaterly'.

Posted by bulgarianyogurt on 2008-04-12 04:22:55
and it's the way to make it, but it0s not because you 'come from the indie' that you're good .
what Marvel want is some one who had already published something, they think they know to whom they have to deal with.That's why I like Daniel Way.

Posted by bulgarianyogurt on 2008-04-12 06:26:26
But up-and-coming directors DO get handed 200 million dollar movies. Ofcourse you still have to do some lower level/low budget projects first, as with any industry, but why start from indy stuff (especially when indy comics are no valid indication of professional capability in good comic book or superhero storytelling) when even 50% of Marvel and DC's titles and mini-series are ALSO lower end/lower budget projects that aspiring writers can work at for five or more years before any of them get to work on higher level material that would involve the more popular franchise characters, etc.?

You are still missing the point: It is comic books. None of it is in the same league as 200 million dollar movies, or prime time TV shows, or Best selling novels. That doesn't mean writers or artists from those fields aren't welcome, but when you're the lowest common denominator of the entertainment industry, if you have those kinds of standards and narrow your freelance clientel down to only like 12 professional somebodies, is it healthy or harmful? Anything that involves "narrowing" cannot be a good thing. Sometimes lowering your standards helps you find some true well hidden gems. Obviously you're still going to hire people who have published SOMETHING, but that something might just be a few articles in their college campus newspaper/magazine, or an online independant newspaper/blog/fanfiction type thingy. And even if you HAVE done more substantial things like a published book or two teen fiction novels... No editor is going to have time to read any of that anyways, so how would THEY know if the stuff is good or rubbish? You just hire someone based on the fact they've been published? DOES that really mean something?

Posted by underscore on 2008-04-12 10:30:08
"The comic book industry IS the bottom."
Actually, in terms of writing quality and respect for *writers*, I'm pretty sure Hollywood is at the bottom.

And conflating writing and directing is simply foolish. Comic book characters have no egos, you don't have to explain what you want them to do and keep them on your side. If you want a particular shot, you just have it drawn, you don't have to think about possible angles and costs. There really is no comparison.
There are entire skillsets that simply are not required in writing that directors need. Similarly, it is possible to be a fine director without having a great grasp of English grammar or how to write engaging dialogue.

"I think Bendis and Brubaker's stuff is CRAP (and pedestrian, and paint-by-numbers, and TV fair, and whatever else you want to call it)"
And right there, is why Marvel wouldn't hire you. How could they have someone work in their office that doesn't respect the people they will work with?

"But up-and-coming directors DO get handed 200 million dollar movies."
Who? WHO gets that? Who comes to the Paramount office with *nothing* to show that they stand out from the millions of other writer/directors and gets that kind of money?

"Anything that involves "narrowing" cannot be a good thing."
Not true. You assume that printing a comic book costs nothing. It's better for Marvel to stick mostly to proven sellers, and occasionally splash out on avant-garde, rather than constantly pushing the boundaries and never getting any payback.
By contrast, for Indie publishers, it's better to be doing something different to get the attention they need, because they don't have the same proven sellers to focus on.

Posted by deworde on 2008-04-12 18:00:57
"and pedestrian, and paint-by-numbers, and TV fair, and whatever else you want to call it"
Just to check, why do you say TV fare is of lower quality? I mean, if comics are crap, and TV is crap, surely, *surely*, you can't look at the film industry for good *Writing*.
Also, if you're going to talk about the qualities of writers at length, please learn to spell.

Posted by deworde on 2008-04-12 18:09:26
Writer/Artist talent pool
This has become an interesting debate on where comic creater talent does or should come from. In three decades of reading and collecting comics, I've never considered this issue. For myself, as a comic consumer, I just want to experience the best possible stories from the best possible creators that are true to the characters. I do not care if Marvel recruits their creators from Hollywood, promotes from the mail room or keeps a supply of Bendis and Brubaker clones in some "Raiders of the Lost Ark" style warehouse. The best always find a way of rising to the top, and so much the better if those creators achieve in a variety of media. A variet of media is a good thing for exposure and cross-marketing. I had never even heard of Tim Sale until "Heroes" on TV.

And as far as comics at the "bottom?" This is completely subjective. I read more monthly comics than I watch television shows. I spend more on comics a month than I do at the theater. Comics is it's own medium. I do not think they are intrinsically better or worse than other visual medium. They transcend art and literature. But I will say this: your Will Eisners, Frank Millers, Alan Moores, Chris Claremonts, Neil Gaimans, Brian Bendises, Mark Millars and Ed Brubakers will be a part of the American cultural lexicon much longer than your Michael Bays...

To say that comics are not in the same league as novels?: Really? How does one explain the multiple occasions when comic writers win literature awards? Do their abilities as writers suddenly deflate when they switch from writing a narrative to a comic script? Or how about that time when Gaiman's "Sandman" comic won the World Fantasy Award for Best Short Fiction and then they changed to rules about comics?

Posted by TheCRZA on 2008-04-13 00:21:28
MY take on Marvel
My comments from left field.
Secret Invasion came out and I liked it. So I searched the internet to see what was being said about. Thus landing me here. I have in the past really blasted Marvel for hating it's readers, which I believe is true on a certain level but not a 100% on any level. In concern to Marvel, it characters and superheroes, I believe they are vastly superior then DC. I would rather read about Howard the Duck then Superman, Batman, Green Lanterns or any other DC character.

In concern to what appears Marvel current lack of continuity as the fault of their editors. I think there are several answers. NUMBER ONE: A few years ago at the Baltimore Comicon and at San Diego JOE QUESADA EDITOR-IN-CHIEF OF MARVEL COMICS made statement implying that continuity with in the Marvel U is not important. Since Joe Quesda as Editor in Chief is the boss as in the guy in charge at Marvel and IF he does not believe that continuity is important. Then those of us who find continuity important will be disappointed. Number two: Marvel publishes so many books, that math alone suggestion there will be mistakes or at least appearance of mistakes in continuity within the Marvel U. I believe the 3rd problem lies in what Marvel calls "Marvel Time". This what I believe is the biggest problem causing it readers to believe that continuity does not exist with in the Marvel U.

I started reading comics in the 1970s and I have always like the fact that Marvel went the extra mile to make continuity a major point in the Marvel U. It is my hope that MARVEL will once again make continuity a major point with its books and its business.

In concern to looking into the possibility of working for Marvel Comics. It is my belief that as a writer it will be the most difficult. I do not know how many writers Marvel has on staff or call or on the books or whatever the term is used. BUT I bet the number is less then 100. The math suggestion it very unlikely. AND though marvel will not like this, just to get that list it is a combination of dumb LUCK and talent. Because no matter how talent you are IF there are no opening, THEN there is no need. And secondly what one person call a good to a great writer is an hack to another. BUT there is good news, it has never been easier to publish your own comic. You can go to any convention and see the hundred of small press publishers out there. AND in the past a some convention Marvel has had portfolio reviews and has allowed writers to submit scripts or pitches.

AS a reader you should think it is great that there are hundred to thousand of individuals lining up to be artists and writers thus in theory raising the level of quality in comics. As a professional already working they have to know there are hundred to thousand of would be writers and artist ready and willing to take their place. So it really a two way street.

As you may have guessed I am one of those small press publishers. I like comics and think it a great way to tell a story. The numbers/sales in the comic industry across the board are down. Our economy on ever level is hurting. Every business is hurting except FUEL is hurting. It is my believe that marvel is making business decision that it believes are correct to increase sales in a trouble economy. They are doing whatever they feel will bring in new readers and it appears that some times are doing so at the expenses of it older readers.

AS to how would a Skrull impersonate the Vision. I think it would be fun to think about it could be done. But I have already wasted enough time as it is.



Noppie



Posted by Noppie on 2008-04-13 04:57:03
For myself, as a comic consumer, I just want to experience the best possible stories from the best possible creators that are true to the characters. I do not care if Marvel recruits their creators from Hollywood, promotes from the mail room or keeps a supply of Bendis and Brubaker clones in some "Raiders of the Lost Ark" style warehouse. The best always find a way of rising to the top, and so much the better if those creators achieve in a variety of media. A variet of media is a good thing for exposure and cross-marketing. I had never even heard of Tim Sale until "Heroes" on TV.

noproblem-maybe you'll get intersted when it 'll come from you

Posted by bulgarianyogurt on 2008-04-14 04:21:19
I'm sick of the all-experienced- persons-needed-crap,
even if you had made your own small-press, you'll find someone who don't have the time to read it, so what ? As a painter, everybody who just doesn't feel the need to treat me like an human being get a chance to have his b.lls blown and out by the nose, the question about how he's figuring this is not so important.


Posted by bulgarianyogurt on 2008-04-14 04:26:13
Underscore, you make no sense
You argue that the comics industry is in a "pathetic" state, and then advocate that the way out of this is to let any old "writer" (in their own minds maybe) in off the street and give them the keys to the company's biggest assets - it's characters? Ridiculous. "It is comics, not in the same league as movies etc" - so the field shouldn't aspire to have the best? It should exist in a ghetto of terrible writing? Get over yourself.

Posted by Moorish on 2008-04-14 07:34:59
Rain, Warner Bros plucked David Yates from BBC tv obscurity to helm Harry Potter 5--that's right, HARRY EFFING POTTER--Which had both the film industry and International film buff community scratching their heads.

Now, Moorish, do you think it's SANE or NORMAL for companies like the BBC, or NBC, or whoever to tell aspiring directors and graduates that they have to work their way to the top by FIRST having experience in directing a few 60 million dolar romantic comedies or at least one 100+ million epic movie in order to then be "QUALIFIED" to have a chance at being hired to direct some lame miniseries of yet ANOTHER Jane Austin book for the gazillionth time or for being hired to direct two or three episodes of Law in Order for its upcoming season? If you heard that those WERE their standards, would you not laugh?

Or let me ask you another question. Seeing as we all know that that's NOT the case, how DO you think Television network get by on not being able to have the luxury of ranking in movie directors due to the fact that they're second in ranking after the film industry? Perhaps they need thrive on aspiring film graduates and judge them based on their short film demo tapes from school? Hmm?

Can I ask you guys another question? Do any of you happen to be on crack? Just a thought.

Comic books have the lowest net income out of all other sectors of the entertainment industry. They are the BOTTOM. And their sales and income are still on a gradual DECLINE. There is nothing "Subjective" about that. The status and pathetic state of comics is not up for debate. It is a sad and frightening fact. One that I'm not proud of or happy with either.

No one should hire anyone who is awful. What I'm saying is that just because you have very little or no experience at something, that you lack talent, passion, and competence of being good at it. This is an issue that goes beyond the comic industry and is making life difficult for graduates and immigrants everywhere. Everyone aks for the 3 to 5 years experience without realizing that EVERYONE asks for the 3 to 5 years experience. Where are aspiring, work hungry graduates supposed to find a beginner's low paying job that will hire them so that they can attain the required 3 to 5 years experience in order to work their way up?

And don't nobody give me this mumbo jumbo nonsense about only caring that they have pros working on the books they love to read. Who's going to be able to offer better storytelling and a more creative passions for the comic characters you love? A guy working on co-producing and sript editing for a TV show and writing 3 or 4 comics a month, or a new talent with a fresher youthful outlook of the world who only has to center all of his or her focus on one book, if not two, per month?

Posted by underscore on 2008-04-14 15:20:58
A guy working on co-producing and sript editing for a TV show and writing 3 or 4 comics a month, or a new talent with a fresher youthful outlook of the world who only has to center all of his or her focus on one book, if not two, per month?

The first. Seriously, it tends to be the guys who are busy who get stuff done.

Posted by deworde on 2008-04-14 17:54:44
I wasn't asking who'd be better with their deadlines. I was asking who would "be able to offer better storytelling and a more creative passion for the comic characters you love?" Besides we're not talking about artists. Despite creative block, I'm sure all writers can eventually "get stuff done". Particularly when they're excited and ecstatic over finally having A JOB in order to keep a roof over their head and food in front of them and their parents proud.

Posted by underscore on 2008-04-15 01:13:50
Anyway, I stand on my main point: Just because you have very little or no experience at something, that DOESN'T mean you lack talent, passion, and competence of being able to do it--and do it well.

Posted by underscore on 2008-04-15 01:18:24
underscore
Wow, what an amazingly illogical argument. Dude, it's a business, granted a fun and cool one, but a business nonetheless. It's just as much one as any professional sport. Do you want the guy who's never played baseball to be your starting pitcher? Or the guy that's strapped on his cleats and earned his spot in the big leagues by striking out everyone that's remotely stepped up to his plate.

Me personally, I wouldn't pay the ticket price to a game of

Whether you admit it or not, in the comics industry Marvel is the big league, and they accept only proven talent. Want to prove your stuff? Write something. Write anything. If you're talented and know what you're doing, smaller publishers will pick it up. If they don't, publish it on the web. Put your money where your mouth is and write. Having the desire isn't good enough (nor lucrative enough, for you or your publisher.)

Posted by nealbo400 on 2008-04-16 13:06:16
whoops
Forgot I was adding a part. Basically, I think you get the point, but I wouldn't pay the ticket price to see a completely untested pitcher.

My advice, stop whining about things being unfair and start writing.

Posted by nealbo400 on 2008-04-16 13:09:07
Marvel is not the bottom of the comics industry. There's your starting point.

Posted by Fetsur on 2008-04-17 14:50:03
Aspiring writer question
I did enjoy your answer for aspiring writers, though I am disheartened to hear that for the most part professionals only have a chance. I liked the reasoning behind it. They are proven writers in their field and Marvel only wants the best so they can provide that consistent quality.

So the real problem is the established writers themselves elbowing more writers out. But not a problem per se... it's just the nature of competition. It sucks, but to change it you'd have to change human nature itself and that... is impossible.

But I have one question. Tom, if Marvel is the Major Leagues... then what are the Minors? Where's an aspiring writer going to submit to in order to build that portfolio so he can forcibly open the door to a more established medium such as comic books? In other words... where do we start.

Because I think I can write a decent story, with characters people can give a damn about and a plot that's coherent. I just don't know where to take my ideas to. That's all. And if Marvel is out of my league I want to find where my league is. I hope you can help. Where do guys like me start?

Posted by DRock1 on 2008-04-17 18:17:09
My question
I don't think Marvel is the bottom denominator of entertainment, contrary to what some believe.

But I always thought comics were an 'attainable' medium to break into.

Guess not. Oh well.

Then I guess I will ask my question. What happened to my post before? It is gone... but I will try again.

If Marvel is the Major Leagues, then where are the Minor League publishers that will accept up and coming writers? Who does an aspiring writer turn to get an established portfolio of work so one can enter the big leagues.

So in other words... where does a writer start?

Because the fact that nobody tells guys like me where to start is really vexing.

Posted by DRock1 on 2008-04-17 19:26:00
Movie Hulk looks like Ashton Kutcher on Roids
My god, guys, what were you thinking? CGI folks could have made it otherwise, but then maybe that's how you sell tickets to the girls, I don't know.

Posted by dbkeel1 on 2008-04-19 13:10:56
you guys looks really kind of self-confident with your pro-league status,
what do you really know about the editorial ways and means,
are you sure that someone didn't jump-out with his port-folio with a red Hulk within and the editorials find it cool
'look, a red-hulk, isn't it cool ?'
'yeah, but how are we getting to this ?'
'waitwaitwait'
if it's your base-ball, then you can count me in whenever you want.

Posted by bulgarianyogurt on 2008-04-24 15:14:49