[EDITOR'S NOTE: Because the word is right there in my job description, I decided to edit down the title to this week's column from "Everything I Always Wanted to Know About the San Diego Comic-Con, and Wasn't Afraid to Ask!" to the only marginally shorter "Everything I Always Wanted to Know About the San Diego Comic-Con..." The editage might also have had something to do with certain pesky alignment issues that crop up when Elton gives his columns titles longer than Infinite Jest. And now your column...]


I'll be attending the San Diego Comic-Con (SDCC) this summer. It'll be my first-ever con, so I feel completely clueless as to what to expect and how to make sure I get the most out of it.

So, to remedy that situation, I asked a handful of comic book writers and editors for their insights and observations on the whole SDCC experience, from the standpoint of an aspiring writer such as myself.

Caleb Monroe is a fellow Scryptic Studios columnist and comic book writer. He has written comics for Across The Pond Studios, Blurred Books, among other publishers, and is currently working on his creator-owned series Redchapel with art by 2006 Harvey Award nominee Noel Tuazon.

Drew Melbourne is a fellow Scryptic Studios columnist and comic book writer (what are the odds?). His first comic book, ArchEnemies, was released in trade paperback format at the end of January. It's the story of a superhero and supervillain who don't realize they're roommates in their secret identities.

Joshua Hale Fialkov is the creator of the cult hit horror anthology Western Tales of Terror, and writer of the Harvey Award nominated graphic novel Elk’s Run, to be published in March by Random House Publishing’s Villard imprint. His latest work includes the underground sensation Punks: The Comic and Vampirella Quarterly (in Previews now!).

Jason Rodriguez is the editor of Postcards, a 160-page anthology coming July 2007, where stories are inspired by actual postcards that were mailed in the early 1900s. The book features the work of Harvey Pekar, Phil Hester, Tom Beland, Stuart Moore, Michael Gaydos and Josh Fialkov, to name but a few.

Kristen Simon is the Editor for Shadowline Comics, Jim Valentino's imprint at Image Comics. She also freelance edits a number of independent titles, and in fact edited my first-ever (soon-to-be) published comic book work.

TEFKAT (The Editor Formerly Known As Tefkat) is an editor for a major comic book publisher. Like the mysterious, nocturnal Teph Cat for which he is named, he thrives on anonymity and random acts of literary genius.

Okay, that's it for the introductions, so away we go:

Let's start this interview off with what may seem like a stupid question, since I'm obviously already planning on going to this summer's San Diego Comic-Con: why should I, as an aspiring writer, spend several days away from my family, and a boatload of money, on SDCC?

Caleb Monroe: Networking. Discovering new artists. Finally being able to put faces to the myriad of names you're used to seeing on message boards. Editors. In person!

Drew Melbourne: Let me be frank here: Your first time at SDCC may be a total waste of your time. Heck, your seventh time at SDCC may be a total waste of time. It's really hard to predict. But it's the best place to meet and network with editors and your fellow creators - especially if you live outside of New York City. It's an opportunity to find new collaborators and new potential employers.

Also, it's fun.

Joshua Hale Fialkov: Well, as much as sending out cold e-mails is a big part of meeting people and networking, getting some face time with people, and really letting them see who you are is absolutely key to being successful in any industry so plainly based on trust.

Jason Rodriguez: If you don’t, you’ll be asking the same question next year.

Kristen Simon: It's a personal choice. No one forces you to go to any convention. You have to weigh the pros against the cons. What are your goals for the con?  Are they to network? To try and get work? To see friends from across the country?  To party like it's 1999?  If it's worth it to you, you go. If not, you don't.

TEFKAT: Cons are a grind out but still the fastest way to meet and greet fellow professionals and editor types. And if yer a comicbook fan you have to see it once. It’s like being an Elvis fan and never visiting Graceland.

What should I plan on doing while I'm there, to make the most of the experience?

Monroe: I usually go to the Comic-Con website a week or so before actually heading to San Diego to look at the programming schedule and see what panels, if any, I definitely want to see without fail, (and the one's I'd LIKE to see if time allows). I take note of these on a sheet of paper* which I then take with me to the con. When I get to the con on Wednesday afternoon, I sit down and highlight these panels on the timetable located in the back of the program. I use this as a loose skeleton of sorts to plan each day by.

There are 2-3 booths in the retail section each year that sell trades at 50% off and I usually try to hit these early Wednesday if I'm trying to fill in any gaps on my shelves at home. The price won't get better than 50% as the con progresses, but the selection will get considerably worse. Plus, since a lot of people aren't there yet on Wednesday I normally use it as a day to scout the lay of the land, learn where which booths are, etc. And you won't be walking around with an armload of books (read "fan") later in the con while you're trying to sell yourself as a creator.

Also be sure to check out who's doing portfolio reviews. Only one or two, if any, will be looking at writers, but sometimes it can be worth it. Last year it gave me a chance to put Redchapel in Disney's hands.

Make sure you get cell phone #s* ahead of time from all your friends, collaborators and Internet homies so you can find them in the massive crowd. This can be some of the best networking you do, being introduced to new people by old friends and vice versa.

Carry a bag* with your samples*, con survival kit* and spare business cards*. A backpack distributes the weight better and can make crowd navigation a little easier, but an over-the-shoulder satchel-type bag means you don't have to take it off or anything to get into it. You can just slide materials right in and out. I'm going with the latter this year for the first time. For myself, at least, I find that my tendency is to focus on not forgetting everything and then I overpack the bag. Remember to leave plenty of space in there...you will be collecting samples, cards and other materials all day long and you want to have somewhere to put them.

I always go as a pro, but I don't pre-register by mail. I simply take my samples and get the badge* there. The line for pre-registered creators picking up their badges is usually considerably longer than the line of creators registering on-site.

Melbourne: Meet people. As many people as possible. Talk to editors and other creators at the booths. Hit the bars. Try to sneak into some special events, if you can. Enjoy the spectacle.

Fialkov: I generally try to just have a tight schedule for where I need to be, and then squeeze in as much floor walking and sight seeing as possible. Luckily, I'm only an hour and a half from San Diego, so I can go whenever I want.

Rodriguez: Hopefully you won’t be walking around aimlessly. Set some time to see the show but, beyond that, schedule meetings. As many as you can. Get pitches together, send them out ahead of time, and then ask for 15 minutes of some editor’s time. Otherwise you’re wasting money.

Simon: Again, it's a question of goal-setting. Ask yourself these two questions: What do I want? What's the best way to accomplish what I want? Then go about completing those tasks.

TEFKAT: Drink a lot…seriously. All the deals get made at 2AM (at least all mine) when everyone is a little loosened up. I don’t want to give away all my haunts – cus I like to be a little off the radar. But it’s where you can meet other pros, make friends, get laid, whatever. Where all the memories are made – at least for me. I mean how many times can you sit through the costume ball?

Otherwise, just soak in the hall and all its nerd glory. Hit some panels, get yer picture taken with a porn star, do some Magic card playing. Whatever yer thing is…

What should I make damn sure I don't do while I'm there?

Monroe: Don't bother with anything plainly typed, other than a business card. If you want to pitch comics or leave leave-behinds, make sure there is some art to go with it. And your contact info on every page.

Melbourne: Be careful not to OVER-network. Don't be pushy. Don't bug people while they're busy. Don't stalk anyone.  Others will tell you not to get caught up in the fan events - the panels and the screenings and all that - but honestly I like to devote a certain portion of each day to just being a geek.

Fialkov: Drink so much you fall down, shit your pants, hit on your prospective editor, wind up wrapped in toilet paper quietly crying the name of the girl who left you in 1994.

And, no, I'm not kidding.

Rodriguez: Worse thing you can do is go by yourself without any plans. Comic-Con works if you’re meeting folks who’ll introduce you to other folks, especially at night. Try to get into as many lunches and dinners as you can. And read people – a lot of times folks don’t want you around. Read that. Move on. Plenty of people at the Con worth talking to and getting food with. Do it.

Breakfast is solid, too. No one makes breakfast plans; try and get that going. Have a place close to the con picked out.

Simon: Don't make an ass out of yourself--either through excessive drink or because you're socially inept. Good manners and good hygiene are always appropriate. If you're an aspiring creator, treat the con exactly as you would a job interview...that lasts for four or five days.  And don’t pitch anyone after-hours at a bar.  Networking does not mean selling your work, it means you get to know people and make connections.  Leave the portfolio behind (but make sure you have your business cards)!  Do not stand there and stare at someone.  Don't ask if the person remembers you--they don't.  If you’re bringing books to be signed, bring ONE per guest whose signature you want--not every single book they've ever done.  Know when a conversation has ended, and move on; people are working at conventions!  Monopolizing someone’s time is not the way to make a good impression!

TEFKAT: Don’t talk to me at 2AM when I’m drunk…haha. I know that’s a catch 22 but I won’t remember anyway. I would say don’t be “on” all the time. Yer there to network, make contacts, etc but yer also there to have fun. When you see me leave the Hyatt bar to take a piss, I’d prefer you didn’t pitch me yer sci-fi fantasy epic while I’m standing at the urinal. It’s just creepy.

Where should I stay, to get the most out of the after-hours socializing/networking scene? (The word on Digital Webbing so far seems to be the Hyatt...)

Monroe: Anywhere within walking distance. I'd say 10 blocks away or less. You don't have to stay at the Hyatt to go there and network after hours, but you won't want to face a super-long walk afterward. Last year I stayed 9 blocks from the convention center and still hung at the Hyatt every night. The walk was only about 10 minutes.

Melbourne: They are correct. That's where most of the after hours action goes down. You don't need to stay at the Hyatt itself, but it certainly helps in terms of proximity. There are cheaper places on the outskirts of town, but they pretty much require you to rent a car or cab it, either of which costs. In addition to the Hyatt, there's also the Omni, which is also super nice and super close to the convention center. I think there are a few other hotels clustered in that area as well.

Theoretically, you can crash the Hyatt bar no matter where you're staying, but it certainly simplifies things if you're close. The only thing is: hotel reservations open up at 12 pm EST on February 6th and they go FAST. If you want a good room, you must be prepared.

Fialkov: Generally, the Hyatt's where everyone ends up, but there's lots of smaller parties, as well as just getting dinner with people you know or want to know. Don't worry, if you don't want to be in your room sleeping by 8pm there's no reason to be.

Rodriguez: Go where the people are. That’s it, really. Everyone ends up at the Hyatt but they usually get there by way of a dinner party. Try to get to the dinner party. Everyone’s mingling at the Hyatt but I can’t remember the name of anyone I ever met there because I was drunk by the time I showed up. Business cards I receive at the Hyatt tend to be used as scrap paper if I don’t throw them out when I get back to the hotel. 

As far as where to sleep, within to miles of the con is safe. Anywhere you can comfortably take a taxi to.

Simon: There is no "one place" in San Diego. All of the Gaslamp District is party central.

TEFKAT: Yeah…that’s solid. There is like 3 bars and usually outside space. Omni bar is a nice place to take a meeting. The Field is the only thing that’s even close to a REAL bar in SD. The rest are just tourist trap/frat boy pick up joints. The bar at the W is pretty swank but only if yer taking a chick there…not many comicbook types to be found. Mostly Hollywood wannabes. There are some bars further afield but I never make it to the hinterlands.

I haven't had a roommate (besides my wife) in untold years. Should I consider rooming with someone at the con, other than from the obvious financial angle?

Monroe: It can be nice to have a con buddy or two. I have a couple guys who aren't necessarily trying to break into comics like I am, but who go with me to San Diego every year. We split a room, hold places for each other in lines or seats at panels, and just generally have a good time.

Melbourne: If you can afford a single, it's probably worth it. SDCC is very claustrophobic, and I imagine it would help to have somewhere to decompress. The only real argument for splitting a room is finances. It can help to have a buddy and/or a posse in SDCC, but you don't need to split a room for that.

Fialkov: Well, it's nice to have an excuse to leave wherever you are, I reckon. It depends, I've had some incredible times there with friends, and I've had some miserable ones. At the end of the day, as long as you can go your seperate ways and handle your business, without roomy nosing along, then more power to you.

Rodriguez: If you need it, financially, sure. If you don’t, fuck it. I like having my home base I could come back to at night. Take a bath. Get romantic with my lady (who accompanies me to Comic-Con every year). I don’t see the point of rooming with someone in the same position as you if you don’t have to do it and, for the most part, the people who aren’t in the same position as you have their own rooms or are rooming with someone else.

Simon: Unless you're sleeping with them, what possible other angle could there be?

TEFKAT: Only if she’s 19 and doesn’t have a blog…

Seriously, it's not a bad idea. Everyone needs a wingman and it’s a pretty big event and can be kinda overwhelming for all of us. Nice to have someone to talk to when you hit the wall…and you will hit the wall. Guaranteed.

How many days should I attend – the whole Wednesday to Sunday affair, or are there certain key times that are the “must-be-theres”, and the rest is more or less gravy?

Monroe: You get out what you put in. Which is not to say you can't disappear for a couple of hours in the afternoon to get a nap, or that you HAVE to be there right when the con doors open, but SDCC only rolls around once a year and I believe in getting as much out of it as possible.

Melbourne: It's good to get there early, because you want to be there when the pros are there but the fan hordes are maybe not in full force yet. So definitely try to be there for Wednesday night. Sunday can go either way. It's much slower on Sundays. Lots of people leave early. If the people you want to talk to are still around, though, you might have an easier time getting to them and having a meaningful converation.

Fialkov: Wednesday tends to be my night to walk around, because there's no meetings, and everything is much cooler. I usually spend it confirming meetings and making sure everything for the rest of the week is in order. Saturday is pretty painful is you don't like being touched by people, because they just pack 'em in.

Rodriguez: Get it all in while you can. I love Preview Night, personally. I tend to leave Sunday afternoon. You’re going to be spending a ton of money at any rate, no point being frugal and skipping a day. It’s all a tax write-off at the end of the day, anyway.

Simon: Pre-show night is good because everyone is fresh and eager. Thursdays are good for sight-seeing if you've never been to San Diego. Fridays and Saturdays are jam-packed--do not plan on talking to anyone for more than a couple of minutes. Sunday is good for bargains. Let your budget decide.

TEFKAT: I think if yer in for a penny, yer in for a pound. You could prolly skip wed and or Sunday but in between it’s happening. And if yer there to meet editors, I would suggest trying to get to us early in the week…even weds nite. By sat and Sunday I’m mostly brain dead and the thought of listening to pitches is totally depressing. Plus you must see the masquerade…it’s all about Cosplay.

And here's a special guest interview appearance by Philip Simon, Dark Horse editor extraordinaire:

Philip Simon: I suggest scheduling your trip so you can at least make the Eisner Awards, which are traditionally held on Friday nights. This IS the highlight of the SDCC for me, but others have balked at it being way too long (and sometimes long winded). If you mill about right AFTER the Eisner Awards, though, you'll have a chance to talk to ecstatic, high-on-life winners and comic book legends. This has been a great meet-and-chat environment for me in past years.

What's the best way to make a good impression on people and come off as courteous, sincere, and professional? (I have a feeling the answer is something alone the lines of “be courteous, sincere, and professional,” but I also have a feeling there could be more to it than that.)

Monroe: I go casual-dressy. A button-up shirt, some jeans, a couple of battered old fedoras that I use as a "visual trademark" and which help people remember me from convention to convention. It's amazing the difference in impressions you leave by simply not dressing in a t-shirt like everyone else there. Plus a button-up shirt with a breast pocket on the front makes a wonderful quick-draw base for storing your business cards.

Also, refrain from the fanboy/creator tendency to bitch about what's wrong with the industry, what books you don't like, who's a horrible writer and ugly to boot, etc. Constructive criticism can be okay, but otherwise take Thumper's mother's advice to heart.

Not long ago, at the comic shop where I work a guy saw the person in line ahead of him picking up several copies of Wonder Woman and started going on and ON about how he didn't like the book. The guy in front of him who I was ringing up? Alan Heinberg, writer of Wonder Woman.

The opportunity for something like this to happen to you is exponentially increased at a convention, and this is a small industry. You don't want to be a story that gets passed around.

So, yeah. Be courteous, sincere and professional.

Melbourne: Booze? Wait, no. First, be cognizant of when you're wasting people's time. There will be plenty of moments where you can schmooze with Editor X, but if he's manning a crowded booth all by himself or rushing to a panel, you have picked a bad time. If you're at the bar and you run into Creator Z, don't immediately jump him to look at your work. Start a conversation. A good topic is comics. Don't be pushy. Be cognizant of the "vibes." And, when all else fails, point over Stan Lee's shoulder, say "Look! A Sabretooth Tiger!" and run. 

Fialkov: Don't butt in to conversations, wait for the person to be done talking to whoevers before you, then step up, introduce yourself, and keep it brief. Also, don't stand in front of their table or booth, and step aside if a customer walks up. You'd be suprised how many people don't show such a basic courtesy. They're not here for you, they're here to promote their business and make some money. Remember that.

Rodriguez: Lie. Seriously. I know you said “sincere” but, at the end of the day, sincerity doesn’t get you a gig. I like to bring Robin with me to act as my scout. She goes to a table I’m interested in, finds out what I need to know, and I come in armed with knowledge. I know about the books, the creators, and what’s coming up. I go up to the table and I look like the biggest fan in the world.

At the bar – buy someone a drink and have several strong anecdotes ready to go. I hate talking about comics at cons. I’m looking for creative folks who can tell strong stories or illustrate their ass off. Preferably both.

Simon: Treat it like a job interview--dress nicely (suits are not required, but ill-fitting T-shirts and costumes don't play well).  If you're a writer, do NOT expect anyone to read a script or listen to a pitch. If you're an artist, expect to stand in endless portfolio review lines.  Be prepared to say more than "I like your work" to a professional.

TEFKAT: Desperation in any form is not sexy and no one is attracted to it in any aspect of life. Just be confident and polite. Listen to what the editor tells you and give them an out. They’ve prolly talked to 100 people that day (and in my case they are prolly horribly hung-over) and sometimes I could kiss the freelancer that just talks for a few minutes, makes a short case, and then says, “hey it was nice meeting you – thanx for your time!”

Recognize that we get tired too and if an editor is short with you, he/she may just be feeling the squeeze. Some of them are just assholes but mostly they are just like you.

But as you said, be professional. It may be comics but it’s still a job and a profession. Always better to be more professional than less.

Have things like copies of pitches, stuff you’ve published, business cards, etc.

And do your homework!!!!!! This I cannot stress enough. There’s no point in pitching a DCU editor a creator owned mature readers book. It’s a waste of time and tells me that you don’t really pay attention.

Further, if yer pitching creator owned stuff, there is no point in pitching an editor more of what they already have. By saying, “it’s just like that book you are already doing only BETTER”, yer not winning friends and influencing people.

Harkening back to question #1, what am I really doing here at the 2007 San Diego Comic-Con: am I selling myself, or my writing, or both (or perhaps even none of the above)?

Monroe: Both. Definitely both. Consider yourself as something to sell. See what I've said previously about dress and visual trademark. Create your brand.

Melbourne: Don't oversell your writing. Don't drop off pitches unless you've been specifically invited too. Spread your name. Pass out business cards. Be affable. If asked, be prepared to talk intelligibly about your latest, greatest comics pitch. But don't go in for the hard sell unless they're really asking for it. If you can, convince folks to take a look at your pitches in August or September, and then get in touch with them in August or September.

Fialkov: They don't hire your writing. They hire you because of your writing and your personality. They don't just want talented people. They want talented people who can deliver on a deadline, execute exactly what's discussed, and are generally good to work with. Picking up someone's book means a long time of interaction, and making sure the personalities work is a big part of that. There's a few companies I won't work for because the personalities clash too much to make it worth it, and once I figured that out, my life's been a LOT easier for it.

Rodriguez: Yourself. I give most of the comics I get for free up to free cycle after I’ve attempted to read them. I don’t know, I’m an editor, you know. There are few independently produced books that I’ve read and said, “Damn, this is a perfect book.” I’m more interested in finding people who have talent but need (and are willing to accept) direction. Half of Postcards is filled with said people.

Simon: Yourself. Large cons like San Diego are only good for networking. Smaller, more intimate cons are better for selling your work. But before you try to sell your work, do a little research on your potential client.  Know what type of material they publish and target for that audience. Do not try to sell a Spider-man story to DC or an underground to Marvel.

TEFKAT: A little of both. For me the work has to be good but it’s also a certain amount of chemistry. Cuz we work so closely with writers -- you have to feel like you have things in common, can get along, etc etc.

Other than myself, business cards, and the pleasant demeanor of a Southern gentleman, what should I plan to bring with me?

Monroe: See everything I've already marked with an asterix (*) in my other responses. Deodorant, should a re-application be necessary. A bottle of water (with your pro-badge you can refill this for free in the pro lounge). A packed lunch, a snack or two (convention food is gross and grossly overpriced). Painkillers. Comfortable shoes with decent support. Two colors of sharpie, a couple pencils and a couple pens. Strong mints (I prefer these over gum so you don't smack your gum unawares and look like a rube - I recommend Listerine breath strips: potent and quick). Parsley pills (mints and gum are only so effective against onion and garlic breath because it originates in your stomach, not your mouth - parsley pills help neutralize it in your stomach). A travel pack of Kleenex or similar tissue. A lint roller (though this can generally stay in your room). Hand sanitizer. And did I mention comfortable shoes with good support?

Melbourne: Swanky clothes. Comfortable shoes. A camera, if only to record the strange costumed folk. If you have a "pitch package" or other goodies that you're currently passing around, you might want two or three on hand, just in case. 

Fialkov: Deodorant, hand sanitizer, a backpack or shoulder bag with good padding, water. You should definitely go shopping at the Ralph's around the corner from the convention center rather than buying your food at the show, or going out for every meal. It'll save both your stomach and your wallet.

Rodriguez: Money, breath mints, and a sense of humor.

But mainly breath mints. Seriously, I smell like a Certs factory at a con I suck on so many breath mints.

Simon: COMFORTABLE SHOES!!! The place is as big as three football fields and that's just inside! Plan to do a LOT of walking.  A backpack to carry water is always a good idea, but do not set it down anywhere at any time.  If you're planning on buying, bring a small luggage caddy.  Be smart, plan out what you need for a long day-trip.

TEFKAT: Vitamins. Tylenols. Breath mints/gum. Purell Hand sanitizer in a little bottle. Deodorant. Cell phone. Pens…always have a pen. Water…lots and lots of water. It’s a marathon not a sprint so be prepared.

I'm currently working on a self-promotional anthology of stories written by me and illustrated by four first-class artists (among them, Noel Tuazon of Elk's Run fame and Alan Quah Kai Ming of Devil's Due's upcoming Mercy Sparx book). Should I bring that with me to show people, or would it be more effective as something to send by way of following up post-con?

Monroe: Both. Bring it with you. Show it to people. Leave it with them if they want it, but also make sure to get their card or something so you can mail it to them again a couple weeks later. Assume the giant pile of stuff they accumulate after the con will get lost or not be gone through for months.

Melbourne: (answering this and the next question in one fell swoop) Sure. With both of these, the rule of thumb is "Have it, but don't overwhelm people with it." Pull it out when someone asks, or when it comes up naturally in the conversation. Don't try to drop one off with every editor at the con. Only GIVE them a copy if they ASK for a copy.

Fialkov: Bring envelopes with a packet about the book, but don't expect to give them all out. A lot of guys don't want to take stuff, and even if they do, they'll end up losing it before too long. It's always better to get a business card and mail the stuff afterwards, so that you can follow up on your conversation. But again, in case they DO want it, it's good to have hand out copies. Count the number of places you want to submit to, and then add 20 or 30%.

Rodriguez: It wouldn’t hurt to bring it with you. Just keep in mind that it might not necessarily help, either.

Simon: Do both, couldn't hurt to have them--but, remember, editors and publishers get handed a LOT of stuff--do not expect more than a cursory glance. Chances are extremely slim that someone will offer you a contract there on the spot.

TEFKAT: Definitely. The first thing I ever ask writers is “have you been published before?”…always helps.

My first publication will be a short story in Sequential Suicide, a new anthology from 803 Studios. Should I bring a few copies of that with me, by way of showing my work?

Monroe: Yes. See my previous answer for more details, but a published credit is a published credit. Also, use it as your sample published work to get a pro badge.

Melbourne: (see previous answer)

Fialkov: Well... it's near impossible for someone to evaluate your writing right there. Maybe include it in the packet you give out above.

Rodriguez: Again, it won’t hurt. I read, at least, the first page of everything I get at cons.

Simon: See previous question.

TEFKAT: Yeah fer sure. I’ll usually take stuff but not everyone will. But actually it’s better to offer it and if editor says no, then try and send it to them after the show. We get piles of stuff from people (new and established talent) and it’s hard to manage it all. I’d rather get an email like 2 weeks later saying, “we met at SDCC and you liked my verbal pitch so here’s the written one.”

If I have a great idea to pitch, and I have the opportunity, do I go for it right there at the con, or is that best done later (or does it just depend on the circumstance)?

Monroe: If the opportunity arises, feel free to go for it, but always follow up later by e-mail. Again, assume they've lost what you gave them or might not remember everything clearly. A lot of conversation goes on over those five days and a lot of projects get pitched.

Melbourne: It definitely depends on the circumstance. Try your best to read your audience. Be as brief as possible. Tell them you have a full pitch (or whatever you have), ask if you can send it to them, but never physically give them anything unless they ask for it. 

Fialkov: Depends on the circumstance, but, in general, you're better off erring on the polite side and seeing if the editor has time to meet with you later on to discuss it.

Rodriguez: I wouldn’t force it. The problem is, most people don’t know when they’re forcing it. Look at someone’s eyes, know what an “eye-roll” or “dead eye” looks like. If you get either of those, quickly drop your pitch or fake a heart attack, whatever’s most plausible given the circumstances.

Seriously – dead eye. Most people don’t get dead eye. If you’re pitching and somone’s looking down the aisle, hoping to be rescued, get the fuck out of there as soon as you can.

Simon: It depends on the circumstance and whom you're pitching to.  Neither Marvel nor DC will listen. They can't, due to legalities.  Again, consider the type of material the person you want to pitch to publishes, and whether or not your pitch is appropriate for them. You're far better off sending a pitch in and following submission guidelines.

TEFKAT: I’d at least have the short Hollywood version ready to go if an editor seems responsive or has five minutes. But don’t take longer than that. if possible get an email/phone # and follow up after the show. The editor will appreciate it. Be persistent but polite.

If you could tell me the one thing I needed to know to get the most out of the experience, what would that be?

Monroe: Rule #2: Conventions generally become more productive the longer you've been around and the more people you've met. So don't expect your first con to necessarily be the be-all and end-all of your career. But you will establish or expand on relationships that will help you for years to come.

Rule #3: Don't hesitate to ask people who have been to more cons for advice (Oh, right, that's what you're doing!).

Rule #1: Enjoy yourself!

Melbourne: Know when to hustle and know when to relax. If you're not having fun, you're doing something wrong.

Fialkov: Just remember that working in comics isn't the same as being a fan of comics. It's just like any other job interview. Be professional, be courteous, and be capable. That's what editors want.

Rodriguez: I can’t stress dead eye enough. Having a wing man or woman is nice, too. But, most importantly, fall into a crew. Your first year will be filled with introductions. You won’t know anybody and you’ll meet people through a friend within your crew. Your second year will have you building off of your first year contacts. You third year will have you being invited to parties and dinner. If not, well, you need to reassess whether the expense is worth it.

Simon: It all depends on what you're looking to get out of the experience. The harsh reality is that you will be just another anonymous face in a huge crowd. Go in with no expectations, and you'll have no disappointments.  Go to have fun and to enjoy yourself, and you will!

TEFKAT: Try to make it a good business trip but also enjoy the ride. Even if you don’t get a solid job out of it (and chances are you won’t) at least try to make some contact and look at it as a stepping stone. And have the guts to talk to us…we’re just people like you and we’re in your shoes not that long ago. Know the editor's work and compliment them if you like it and just strike up a conversation. There are a lot of asshole editors but most are just regular people with too much work and not enough time.

And Cosplay…nothing is more important. Ya dig?

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Thanks to everyone for taking the time to share their insight and experience with me!

Till next week,

Ecto Out

Elton Pruitt writes comic books in the bustling metropolis of Little Rock. His first published story will appear in Sequential Suicide, due in early 2007. He hasn't smoked a cigarette in some really big number of days! And if you visit him in EltonSpace, he'll be delighted – particularly if you subscribe to his blog!