Obligatory Note Excusing Absence

The past week has been a wee bit brutal - fighting off a major cold, being rejected after a great interview for a potential work gig, and....well, you it gets absurd when a recruiter asks you if you would be willing to buy a car so they can fill a position the far suburbs.

Yes, my life is stressful and hectic. Yes, I'm continuing the job search. If you know of a great position in the Chicago area, please let me know via Linked In.

But enough personal drama - I'm really proud that this week, I (along with Brant, Ron, and John) had the opportunity to interview Dirk Manning about his new book Write or Wrong for the Zone 4 podcast. I'm especially proud of the job I've done in interviewing him (and yes, I did take the lead, having thoroughly read the book from cover to cover).

So I'll try to keep you guys updated on all the cool stuff I'm doing, but please understand - I'm not turning this blog into a whine fest about working. I'm sure that someone will take me on, and I'm hoping to hear about some freelance work soon.

But my Linked In profile's there if you're interested.

Dirk Manning Gives You The WRITE OR WRONG Guide to Creating Comics

(DISCLOSURE: A complimentary copy of Write Or Wrong was provided for purposes of review. My opinions are my own).

Trying to find a well-written, articulate guide to writing comics is a difficult task - most how-to books focus on art. Some, like Denny O'Neill's DC Comics Guide to Writing Comics, focus primarily on information normally provided in English classes; others may focus on vague yet affirming you-can-do-it motivational speeches.

Dirk Manning's Write or Wrong does what many such books should do - provide not just a strong theoretical background in writing comics, but also some practical, concrete guidance on everything from finding collaborators to marketing, from finding your writing "voice" to how to make artists happy.

In short, Write or Wrong is a must-read for anyone interested in comics and graphic literature - whether you're looking to write your own work, or just interested as a casual fan. It also makes a great companion piece to Scott McCloud's Understanding Comics in discussing the art of writing and creating comics.

Manning (writer of Nightmare World, which I strongly suggest you check out) writes in a very down-to-earth yet engaging tone. The book has a ton of information, and doesn't spare details (or feelings) when it comes to the challenges of writing and publishing comics. Thankfully, Manning also provides as much technical detail (for example, discussing the exact requirements for resolution of digital art files when it comes to publishing books versus sending samples), but all of this is done in a great, conversational style, and is thankfully practical for the reader.

(Note - although initially distributed via Diamond, it is no longer available via that service, but is easily available via Amazon.com )

As someone who has started on the road towards writing comics, I found this book extremely helpful, if only to assist me in knowing the landscape more thoroughly. (For example, I now understand what a comics "studio" actually does, and will now annoy my Chicago colleagues to help me locate a studio). Ultimately, Dirk Manning has provided an easy-to-understand, practical, no-nonsense guide to writing comics with Write or Wrong.

It's a definite must-read, and deserves a permanent place in your comics library.

Help A Comic Get Published

As everyone knows, I've been expanding my writing parameters and have been working on a short, seven page story for the collected Zone 4 webcomic, to be published (hopefully) in the late summer/early fall. However, given that several of my pals are very highly connected, I'm hoping that I can receive some guidance and insight from you, the readers of this fine blog.

I need to put together an art team for this story, which is kind of like Firefly as written and performed by the Marx Brothers.This would be a full-color comic which would be available for purchase online (and could be purchased at cost by participants for signings, portfolio, etc).

Bad news - this is not a paid gig. The only concrete rewards I can offer is that this book will be made available via IndyPlanet. However, I believe in paying it forward, and would love to see what I can put together. (I've submitted a post via Digital Webbing, and have gotten some nibbles, but nothing major).

So what am I looking for? Here goes:

• Penciller/Artist - someone who can draw in a cartoon/slightly anime style (this is a comedy - with some science fiction and Western elements. Let that be your guide). I can provide samples of character design to make it easier.
• Inker - someone with a deft touch who can bring out the best in any artist
• Letterer - my Zone 4 cohort Brant Fowler will be handling the lettering. He does really good work.
• Colorist - yes, this is going to be a full color book, but I would love to work with someone who can bring nuance to colors, and has a strong vibrant approach

So if you can, I'm asking if you know anyone who can perform any of the above tasks, who has talent and is looking for an opportunity for exposure and publication, please have them drop me a line. The only thing I will promise is to give them a fair shake. (Trust me, this script is a pretty fun piece of work. You'll laugh out loud.)

Thanks, and looking forward to all your assistance.

NOT An April Fool's Joke....Honest!

Coming soon.....details to follow....

Various Comic Creator Brouhaha

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Spent a good chunk of last night recording the latest episode of Zone 4 (and if you haven't heard our current episode, please do so - Ron, Brant and I had a great conversation about Before Watchmen with the mighty Mike Luoma). But last night, I have to admit....I got to rant a little.

Because some of the creator-based news of the past week....well, has my blood boiling. I don't know what surprises me more - the negative unprofessional behavior of some of the parties involved, or the fact that some comic fans - much like people who enjoy The Big Bang Theory - are simply taking the wrong side of the issue.

(And I've already taken flack for not liking BBT on Facebook, but to summarize - yes, it's a popular show. But it's more of a network executive's idea of nerd/geek culture than it is an honest representation of nerd/geek culture. And people who claim that "if I don't like it I don't get it"....might I suggest The IT Crowd? But I digress...)

Let's look at the items of interest....shall we?

First, is the he said/he said that both John Rozum and Scott McDaniel provided when it came to Rozum's departure from Static Shock. Reading both men's accounts (where they seem to lay the blame onto the other person somewhat), one theme does occur - that book's editor had a very vague and unclear way of communicating his expectations. Hiring a writer solely because of his involvement in a particular line, and asking him to not write to his strengths seems...misguided. Having an artist co-plot a book without encouraging any kind of collaboration seems....misguided. Quite honestly, I didn't read Static Shock (With a diminished income, I'm relying heavily on word-of-mouth for comics), but this just seems like corporate mismanagement than creative disintegration.

It's also a little shocking to hear that Walking Dead's former artist is now suing writer Robert Kirkman for back royalties. Since I'm not a Walking Dead fan, my comments should be taken as "full of hot air". I really can't take sides in this issue....but something tells me this may be less about agreements that both men may have had and....again, company mismanagement. Studios have been notorious for creative accounting, and with rumors around Frank Darabount's dismissal from the show....it's not looking good. Not at all.

Gary Friedrich via Flickr

But the issue that gets me the most riled....involves the gentleman pictured on the right. His name is Gary Friedrich, and he was a writer for Marvel Comics in the 1970s. He also lives in Missouri.

Recently, he lost a court case involving some work he did for the company - work for which he felt he was not compensated adequately. Thanks to this case, he cannot claim the title of "creator" for a character....and in addition, the company decided to remind him that he owes them a hefty sum...and for some comics fans, it's all his fault because he "should have had a lawyer", he 'should have negotiated a better contract"....to which I say....

Learn a little history, pal.

Comics companies of today are not run - and are completely different entitles - than comics companies back then. (And as always, read Men of Tomorrow by Gerard Jones for insight into how comics companies have functioned - or not functioned - in the past) They weren't owned by huge conglomerates (and had Marvel not been owned by Disney - notorious for aggressively punishing potential copyright threats, this might not be an issue), and freelancers were often working by the skin of their teeth. Yes, Marvel has a vested interest in protecting its copyrights and trademarks....

....but to sink to the level of punishing a guy financially - a guy who's struggling to get by - is simply low and unconscionable. 


This isn't about a guy trying to cash in - he's barely making a living. He wanted to get fairly compensated for his past work. And here's where I'm going to appeal to you, the reader of this blog, to make a difference.

If this story ticks you off enough to boycott any Marvel movies and/or comics, take that money and donate it to Gary - Steve Niles has set up a page where you can do so. Please feel free to join the "Support Gary Friedrich" Facebook page for news and updates. In fact, why not organize a fundraiser for Mr. Friedrich, or an organization like the Comic Book Legal Defense Fund?

Because as a great poet once remarked, "Let fury have the hour/anger can be power/do you know that you can use it?"

And for my Chicago comics pals - let's put on an event. Let's demonstrate that we have the coolest comic loving community on the planet, if for no other reason than it's the right thing to do.

Getting Schooled in Comics, Part Three

That, ladies and gentlemen, is how I spent part of last night.

Many of you may be aware that amongst my other activities, such as this blog, writing for Comic Related, running Facebook pages, and being the sweet as heck guy that I am, I also work on comic related events as part of the Chicago Nerd Social Club, and last night was a successful Comics in Academia session with Len Strazewski.

For many of you, the name may not seem familiar - after all, what does a professor of journalism have to do with comics? Which is, well, the point of the lecture series - to discuss how comics are perceived in the academic field. It also helps that Len wrote characters like The Flash (whom no one on the Internet has ever heard of) and the Justice Society of America (who are a bunch of characters from the 1940s that wouldn't work today).

[Let me have my obligatory moment of fannishness - I absolutely loved Len's Justice Society work - the first miniseries, which focused on the 1950s, as well as his ten issue mega-series, which was cruelly canceled before it had a chance to build an audience. This was one of those volunteer tasks that I absolutely had a blast working on. From a successful reunion to meeting a favorite character? I think I've somehow entered a parallel world, and expect Cybus Industries to come out with an upgrade]

But last night's event was extremely cool...and thought provoking. It was a small audience (granted, my idea to have Todd McFarlane and Mark Millar discuss Lives of the Twelve Caesars would have gotten the kids in...but I forgot to suggest it in time), but in a way, it was a great audience to have a lively discussion - what makes a graphic novel different from a comic? What is it about comics that gives them a heft beyond just mere entertainment?

But what was really informative was how Len talked about some of his fellow writers, both familiar (Steve Gerber and Steve Englehart) and not-so-familiar (like Mike W. Barr, whose Maze Agency I sorely miss). His discussion of Mike Parobeck's illness - and passing - and how it influenced his enthusiasm about comics. (And you can never have too much Mike Parobeck. Never). But all in all, two things that Len discussed really hit home for me.

The first was one of the themes that he stated he enjoyed writing about - that experience matters. That our lives and experiences actually mean something, and that we learn and grow as human beings. It seems cliche, but as I slowly cross over into dreaded middle age, I sometimes worry that I will end up dying old - not old with a young heart, much like Jack Knight wishes to do.

But more importantly...comics are often seeking the next big thing. Anyone, seemingly, can write comics, but it comes with a high risk - the risk of losing the craft of writing comics. It's easy in this time of mega-crossovers, reboots, and "event comics" that what really matters in the end - why we love comics in the first place - is not just the familiarity of old characters, but the thrill that comes with an extremely well written story.

And that, ultimately, is what we really need to remain schooled in comics.