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!

G.I. Combat

Okay, finally something I can talk about - a little.  Starting in May, I'll be working with Ariel Olivetti on The War That Time Forgot in the pages of G.I. Combat as part of DC's Second Wave:

DC's Second Wave

And, if you aren't familiar with the title, this image should tease just enough:

Yep.  After spending years writing dragons in the pages of Soulfire, I'm taking a crack at dinosaurs!  It's going to be a crazy fun!  Can't wait for you to see it!

jt

COMIC WRITING - PLOT STYLE

Yesterday, I talked about the full-script format.  Today, let's look at the other main method.  Plot Style. 

When writing in plot style, you don't include panel breakdowns.  Instead, you simply provide an overall description for the page, setting the scene in a more general sense.  This method really does boil down to being a letter to the artist.  Sometimes, it's almost a prose style, a few sentences or a paragraph or two effectively "telling the story" of the scene.  Some people who use this method only describe the scene and wait until the art is finished before writing the dialogue, but I actually include the dialogue in the original script.  For me, it helps with my storytelling and pacing, and let's me make sure that the artist is aware of any vital moments on the page - be it action, an expression, or a line of dialogue.

Here is an example from Captain Atom #3.  You'll see again that I use the word "maybe" as I convey a specific visual idea for the page:

PAGE 8

Back to the desert battle.  Thus commences a verbal standoff.  The FLASH is not thrilled about seeing CAPTAIN ATOM.  They are still in super speed mode as they talk. 

If you can, let's try to show the briefest of movement of the SOLDIERS in battle.  CAPTAIN ATOM and FLASH are moving at great speeds indeed, but time isn't stopping, only slowing down considerably.  They seem to be interacting with the world almost stopped around them. 

Maybe we use a machine gun as the point of reference, seeing the chamber click open and kick out the shell casing, followed by the actual bullet slowly emerging from the end of the barrel.  We'll see this is successive panels either with our heroes as they talk, or off to the side…like a counter of imagery.  I think a visual cue will add to the effect. 

While not outright attacking him, the FLASH is uneasy about CAPTAIN ATOM. CAPTAIN ATOM tries to diffuse the situation, with limited success.

Captain Atom:                        Where exactly should I be?

Flash:            On lockdown or something.  Safely tucked away. 

Captain Atom:                        Am I a threat?

Flash:            Ask New York.  What was that volcano all about?

Captain Atom:                        I didn't cause the volcano.  I went to stop it.

Flash:            You sure about that?  The way the League talks, they're not so sure.  You're unstable.

Captain Atom:            Unstable.

Captain Atom:            Interesting choice of words coming from somebody whose molecules are vibrating at the speed of sound.  Who are you?

Flash:            They call me the Flash.

Flash:            Stumbled upon this little dispute and thought I'd take the toys away from the kids.

Captain Atom:            Contrary to popular opinion.  I'm no threat.  I came here to help as well.

Flash:            I'd feel a lot better if you had a Geiger counter around your neck.  No offense. 

Captain Atom:            I'm not leaking radiation.  If I was, I'd go into containment voluntarily.  I'm no stranger to laboratories.

From Captain Atom #3, art by Freddie Williams and Jose Villarrubia

Here's another example from Captain Atom #3 - the scene of the Flash reacting to the nuclear explosion.  Again, the description is rather brief, allowing for Freddie to have a wide-open field with regard to the layout and breakdown: 

PAGE 12

BOOM!  The nuclear warhead begins to explode.  It's the first few seconds of the explosion.  Brilliant, blinding light. Then, just starting to drift into the sky - a mushroom cloud in the making.  (Check out this video: http://www.maniacworld.com/Tsar-Nuclear-Explosion.html ) .

Reactions by the FLASH, his face illuminated by the brilliance of the blast.

Captain Atom (caption):          In that microsecond, the situation goes supercritical. 

Captain Atom (caption):          I'm too late.

Flash:  My god.

Flash:  What did he do?

From Captain Atom #3.  Art by Freddie Williams and Jose Villarrubia

 

Pretty awesome stuff, huh?  I absolutely love this issue of Captain Atom.  Freddie's art has never been better, and the way Jose Villarrubia uses the colors to play the heroes off one another is great - the vibrant blues and purples of Captain Atom and the bright and bold reds and yellows of the Flash.  Brilliant. 

You'll notice that I even included references for the nuclear explosion.  Never underestimate the power of references or visual aids.  Whether it's an image, a scene from a movie, or whatnot - if it will help you convey the effect of the scene to the artist, go for it.  Now, that's not to say that you should do this for every page or every panel, but if you are doing the research for something already, don't make your artist waste time hunting online.  Give them all the tools they'll need.

Part of what makes the plot style work for Captain Atom is my close working relationship with Freddie.  We regularly discuss the book, the story, and the scope and theme of the book.  In fact, for issue #1, we essentially talked through the entire issue page by page, and then I went and simply typed up what we said as if it was a transcript of sorts.

I very much prefer the full script method overall, and I wouldn't hesitate to use it on Captain Atom if I felt the need to, but so far it's been working well on that particular project. 

At the end of the day, making comics is an extremely collaborative experience, working with a host of people (artists, colorists, letterers, editors, etc.) so communication is key.  Your script is the foundation of that communication.  Be clear.  Be concise.  And, avoid typos - they just get in the wry.

I meant, "way." 

See what I mean.