Distractions Can Kill...Your Productivity

No, I'm not talking about texting and driving.  Although, that's not very safe.  I'm talking about how distractions can kill your writing.  This may seem like common sense and it is, but that doesn't stop us from getting distracted now, does it?  I mean, you are here reading this right now, aren't you?

Often being aware of the problem and the main culprits can go a long way to curbing the habit of not-writing:

Television - Obvious, right?  I know some who say they like the background noise, but that would only apply if what's on television is a truly awful show that was not in the least bit engaging.  If that's the case, why have it on in the first place?

Music - I like listening to music while I work, especially when it can help set the mood for whatever project I am working on.  Digging into the darker aspects of humanity with MINDFIELD, movie scores like Black Swan and Donnie Darko are perfect.  Exploring the limitless powers of Captain Atom, how about 2001: A Space Odyssey?  But for me, no matter what, it's got to be instrumental.  Once you throw lyrics in, that's a problem.  

Eating - Sure, we all need a snack break from time to time in order to recharge the batteries, but the constant flow from chair to fridge and back again keeps you from writing.  Even if you are "thinking" or "mulling things over."  Not writing is not writing. I'm not saying don't eat - just don't fool yourself into thinking that staring at your computer screen for twenty minutes while you down a bag of cheetos is writing. 

Checking Email - I know we all need to stay in contact with the outside world, but do you really need to check your email more than once every couple of hours?  If something is so vital, they'll call.  Or text. 

"Research" - I don't put the term in quotes to suggest that research is not a vital part of writing, it is.  But, it's not putting words on the page.  If you are in the middle of something, don't break the flow to research something online or in a book.  Go back and figure it out later.  If I'm in the middle of writing a comic script, breaking story down, working on dialogue, laying out the scene, the last thing I should do is spend fifteen minutes finding a reference image of the Vatican, which will only lead me to a movie trailer, funny or die video, twitter update, and checking my email.  What starts out as a one-minute search has a way of becoming a lost half-hour if not more.

Internet - Okay, so maybe I will just make it plain.  The Internet is like crack.  Once you start surfing and clicking, the possibilities are endless.  And, I mean endless. Not to mention often pointless.

Life itself - To the best of your ability, try to find a place to work free from the rest of your life.  Working in the kitchen, maybe you'll notice the dirty dishes piling up in the sink.  In your bedroom, what about all that laundry to do?  Do you have a desk?  Great.  You can pay the bills sitting in the top drawer, and balance your checkbook while you are at it.  SO, if these chores of life gnaw at you, try to get away from them altogether.  I've found libraries can be great for this, although their free wi-fi can sneak up and bite you in the ass. 

Remember, sometimes the hardest part of writing is simply locking yourself in the chair and punching those keys. 

Good luck. 

Captain Atom and Superman - Present and Beyond

If you read Captain Atom, you can obviously notice the connection to Doctor Manhattan in the character.  Not so much in the personality, but rather the powers he possesses.  And then of course, there are the little nods - the glass desert in Issue #3, the image of the giant Captain Atom in Issue #5.  

But, in developing the book, I found myself thinking about Superman quite a bit in determining how Captain Atom would be in this incarnation.  Guess you could say it was all priming me for Superman Beyond.  It all boiled down to making Captain Atom a polar opposite to Superman.  Nathaniel was an Air Force pilot, a human being dedicating his life to fighting for his nation.  In becoming Captain Atom though, his place in the world becomes much more alienated.  He's considered a threat - and his incredible powers are classified more as dangerous than wonderful.  Contrast that with Superman, who is an actual alien living among us humans on Earth.  We embrace Superman because he looks like one of us. His powers are seen as wondrous and appealing, and we come to see the best of ourselves in him - not only in terms of physical potential, but also moral fiber.  But isn't Captain Atom just as honorable?  Just as heroic?  Yes, he is.  Unfortunately, his powers only serve to isolate him more and more from humanity.  In the people's mind, he is the alien - An opinion that affects Captain Atom as he begins to see himself as being other than human.  It comes down to each character's place in the world.

This brings me to Superman Beyond, where that notion of having a place in the world is a central theme.  In our timeline, Superman is firmly grounded on Earth.  It is his home.  He has family and friends and loved ones.  His existence as Clark Kent keeps him connected to humanity.  But can the same be said twenty years down the road?  When those personal connections are dead and gone, what will keep Superman in touch with humanity?  Where does he fit in, if anywhere?  Look at the costume he wears, which highlights his Kryptonian heritage.  

 Is this the beginning of Kal-El pulling away from Earth altogether?

LairCast Podcast

Hey everyone!

Here's a link to a podcast interview I did with the great folks at LairCast!  We talked about a lot of great stuff, including Captain Atom and Soulfire.  And, it was my first chance to talk about Superman Beyond and GI Combat!  Check it out:

LairCast featuring JT Krul

Superman Beyond!

Hey Everyone.  So at long last I can finally announce that I will be writing Superman Beyond, starting in April.  Working with Howard Porter and Livesay.  It's my first time writing the Man of Steel and couldn't be more excited for it.  Here's a peak at the cover for #1!

What's an Artist to Do?

 

Last time around, I talked about breaking into comic writing and got a lot of responses from artists about the same topic.  So, let me say just a few words about breaking into comics as an artist.  Now, the disclaimer should be obvious.  I am a writer, not an artist.  That being said, over the years I have seen thousands of aspiring artists brave the convention floors across the country, looking to crack into the industry.  I've also witnessed countless portfolio reviews and encounters with editors on the subject. 

Here are a few nuggets to consider:

Forget the pinups.  There are so many artists who present portfolios of only pinups and splashes, and the first response is ALWAYS the same.  "Where is the sequential art?"  Editors want to see your storytelling.  Anyone can draw a pinup piece (granted some a hell of a lot better than others), but it's still a pinup.  To get work in this business, you need to have sequential samples to show.  Your first job…maybe your first twenty jobs will be interior work.

Put your best foot forward.  When organizing your portfolio, put the newest (and hopefully) the best stuff up front.  You only get one chance at that first impression - so make it count.

Now, that's not to say that a rejection initially is the end of the road.  It's not.  It's the beginning.  When an editor gives you criticism.  Accept it without offense - do not get defensive about it.  Remember, they are not trying to crush your dreams or dash your hopes.  They are giving you useful feedback on things to work on.  Listen and take it all in - and apply it in your future work.  Editors want to work with people who listen to notes and can adjust and adapt accordingly.  Many (if not most) artists were rejected time and again as they honed their craft and developed to the point of being ready for professional work.  It's not a sprint.  It's a marathon.  You've got to practice and work at it.

Work on what you hate.  If there is something that you feel you don't draw well or don't enjoy, take some time and focus on that specific area.  If cityscapes are not your thing and you show a portfolio with no cityscapes, guess what?  They'll ask for cityscapes.  Editors need to know you are versatile. Backgrounds, cities, animals, vehicles, anatomy, faces, hands and feet.  You need to work on it all.  There are no shortcuts.  I remember an exercise the very talented Micah Gunnell told me about from his days at the Kubert School.  It was all about hands.  He positioned his free hand in different poses again and again and simply sketched them out. Think of it as a challenge - confront yourself with your biggest obstacle and overcome it.

Let's talk about conventions and interacting with editors.  Be professional and confident, but not obnoxious.  I've seen way too many artists present themselves in a sheepish manner that works against them.  Now, we are all introverts to a certain extent, so the notion of putting ourselves out there in a boastful fashion goes against our very being.  But, you have to be positive.  You can be humble and gracious, without being dismissive of yourself or your talent.  I've actually seen artists present their portfolio with the opening words -"I know this isn't very good, but would you mind taking a look."  It's so counter-productive.  Now, there's also a danger on the other side - cocky attitudes can be even more damaging.  Don't be a diva.

One of the more tricky areas of networking is finding that fine line between persistent and annoying.  You want to stay in regular contact with the people you meet, but do not want to become a pest.  That's where new samples work great.  It's the perfect excuse to reach out to people, show them something new, and stay fresh in their mind.  

I want to stress again about being professional.  Don't dress like a slob.  A suit isn't necessary, but be presentable.  The same goes for your portfolio.  Have your work in a nice folder and if possible bring photocopies of your samples to leave behind with your contact information on it.  Sketches drawn on blue-lined paper, colored with crayons, and ripped from a spiral notebook are not the way to go.  It makes it seem like you scribbled something down at the bar the night before as a dare - rather than a serious professional endeavor.  Have contact info that uses your real name.  Save the email address of BigBalls69@gmail.com for your personal life. 

One more tidbit - have an idea of how long a page of art takes you.  Deadlines are a part of this business.  They want to see the best work you can produce in a matter of days, not months.  You could present an unbelievable double spread that blows them away, but if it took 300 hours to complete, it's kind of pointless.

Again, these are just a few of my notes on the matter because I was asked.  Talk to artists.  They know a lot more than me. 

That is all for now.

Good luck.

jt

How to Break Into Comics? An Answer.

 

First off, let me stress that this is nothing more than answer, not necessarily the answer.  There is no perfect way to get into comic writing, to get that first job.  It's not like other careers where you can take certain courses, earn a degree, and head for a job fair or look in the classifieds.  Comic book companies are NEVER looking for new writers, but are ALWAYS looking for new writers.  This is without a doubt the question I get asked the most (maybe tied with "What was it like to work with Michael Turner?"  Short answer - Awesome!).

So, this is only my response.  My own personal opinion on how I would go about things if I were trying to break into comics today.  Let's start with the harsh truth.  Nobody is going to look at unpublished material.  Sorry, but that's a fact.  You got that epic 12-part Batman arc already scripted?  Too bad.  Got a great idea for Spider-Man?  Forget it.  Penned the first 25 issues of your legendary opus that has yet to be produced?  Save it.  While editors and companies are all too happy to thumb through sample portfolios for artists, the road is much narrower for writers.  All they want is published work.  No scripts. No samples.  Only finished, published work. 

So, that's what you need to do. Create an idea and see it through to fruition.  Most likely this means a printed comic.  Web comics have certainly jumped in profile and awareness and more people are willing to look at such endeavors, but most still want that printed, published work.  It's your calling card in the business, albeit a potentially expensive one, considering the time and effort and funds necessary to produce a comic book.  But, there it is.  That's your play here.  At least, that's what I would do. 

Now, there are exceptions to every rule.  For example, Kyle Higgins actually got noticed for a short film he wrote and directed that caught Marvel's eye.  It’s called THE LEAGUE, and is actually available on iTunes if you want to check it out.  But I digress. 

To catch an editor's eye, you need to be able to give them something and that means a comic book.  Create your own property and develop a comic book for it. Don't worry about having the entire 100 issue run mapped out.  Focus on the best idea you got swirling around in your head.  The idea that will work the best as a comic book and the one that will let you showcase your talents the most.  You will be pouring a lot…and I mean A LOT of blood, sweat, and tears (actual physical tears) into this thing, so make sure it's an idea you believe in.  Think it through.

Got it? Good. 

Now you can overcome the next hurdle.  An Artist.  If you have the funding, go nuts.  Find the best artists that money can buy - illustrators, colorists, letterers - the whole gang.  But if you are like most of us, life is the very definition of a "fixed income."  In that case, find an artist in the exact same boat as you.  Someone hungry to get noticed, to get into the business, but hasn’t been able to crack that nut.  You can find them in a host of areas.  Your local comic book shop.  Art departments in nearby colleges.  Artistic online communities like Deviant Art.  Regional and local comic conventions.  It's almost like putting together a garage band, only you're interested in making kickass comics instead of music. 

Basically, look for the best artist you can find, whose style matches your idea, and one that has the same drive and work ethic that you have.  Pay attention to that second one.  I have heard many a story of writers who partnered up with aspiring artists only to wait eight months for 2 pages of art.  Don't get me wrong - good art takes time and you'll most likely be working with someone who has a day job like you.  Someone with passion, but also bills to pay, because let's face it - you sure as hell can’t afford to pay anything for the pages.  Essentially, you go into the project 50/50.  You write it for free; they draw it for free.  And, you both hope to reap the benefits down the line. 

In a perfect world, under the best of circumstances, your project becomes the next little engine that could, defying the odds and making it into stores across the country and turning into the next Walking Dead.  And, I hope that is the case, especially if it's good book because I love nothing more than great comics to read.  At the very least, your effort will produce a viable, published comic that can get into the hands of editors and publishers in order to further your career.  Obviously, there is a lot that goes into publishing (and distributing) your comic book, but that would be a much longer discussion. 

The bottom line is that reaching this goal, publishing your own book will put you leaps and bounds ahead of so many people who "want to write," but don’t actually get around to doing any actual writing.  Not only will you have a physical manifestation of your work to share and sell to people, but the published work will show potential editors that you have the drive and determination to see things through.  The writing in your work reveals talent.  The finished book itself reveals tenacity.  Both of which are key to breaking into this business. 

Again, in my opinion. 

Good luck.

jt

Captain Atom #5 - Out This Week!

Just a friendly reminder that the latest Captain Atom...Issue #5 hits stores this Wednesday. 

The time has come for Captain Atom to cross paths with the strange creature that's been brewing and evolving in the shadows.  What is it?  Where did it come from?  And what possible connection could it have to Captain Atom himself?  The answers are coming!