Silverline Books returns to their Blue Forest Series in the second installment, TIFFANY’S EPIPHANY!

This September Silverline Books, the children’s book imprint from Image Comics, expands on the world made popular in BRUCE THE LITTLE BLUE SPRUCE with a story about all of the downsides of being a bully in TIFFANY’S EPIPHANY by writer Kristen Koerner Simon and illustrator Jim Valentino.

“TIFFANY’S EPIPHANY presents an important moral in a humorous and lighthearted fashion that is still fun for kids to read in the Blue Forest Series tradition,” Illustrator and Silverline Publisher Jim Valentino said. “While I’ve been worked on just about every type of comic book or graphic novel you can imagine, working on children’s books such as TIFFANY’S EPIPHANY has proven to be very fun. Kristen and I look forward to continuing to visit the friends of the Blue Forest series for a long time to come.”

TIFFANY’S EPIPHANY features the return of fan-favorite characters The Four Lovable Field Mice and Jack the Rabbit, but newcomer Tiffany the Skunk is bullying all of the other critters in the forest. It is up to Jack the Rabbit to confront her and show her how lonely being a bully really is in a story that will definitely entertain and educate children of any age.

TIFFANY’S EPIPHANY (JUL090357), a 32-page full color children's book for $12.99, will be in stores September 16, 2009.

PRESS RELEASE - VALENTINO, SIMON AND SILVERLINE SPROUT BRUCE: THE LITTLE BLUE SPRUCE!
Image Comics' Silverline, Kristen Koerner Simon and Jim Valentino tell the tale of a blue spruce searching for a home!

13 August 2008 (Berkeley, CA) - This holiday season Silverline Books, the all-ages book division of Image Comics' Shadowline, presents Kristen Koerner Simon and Jim Valentino's all-ages story of a little blue tree without a home, but not without hope; BRUCE: THE LITTLE BLUE SPRUCE.

"One of my unattained career goals was to do a children's book and when Kris brought BRUCE: THE LITTLE BLUE SPRUCE to me, I instantly knew this would be it," said Valentino. "Not only did I love the gentle message of accepting the differences in ourselves and others but the challenge of drawing a story where the principal character was a tree was too much to pass up!"

Just in time for the Holidays comes BRUCE: THE LITTLE BLUE SPRUCE,  a heartwarming tale of Bruce, a blue spruce who wants nothing more than to be chosen by a special family as their Christmas tree. Engagingly written by Kristen Koerner Simon, illustrated by Image Comics co-founder and award-winning artist Jim Valentino and featuring painted color by THE SURREAL ADVENTURES OF EDGAR ALLAN POO's Avery Butterworth, BRUCE: THE LITTLE BLUE SPRUCE will charm even the most cynical of Scrooge's all year long.

BRUCE: THE LITTLE BLUE SPRUCE (ISBN: 978-1-60706-008-6), a 32-page square-sized hardcover for $9.99, will be in stores November 5, 2008.

This is a sensitive, but important topic. One that can adversely affect your career and one I can tend to get emotional about due to personal experience.

Whether you are still trying to break in, or are already working, you should realize that this industry is VERY small, and editors/publishers do talk to each other.  I liken it to a small room, where everyone is milling around.  Eventually groups overlap, mingling takes place and there is always gossip, and quite often commiserating (Jim and I have had several enlightening conversations with editors from Dark Horse, DC and even Marvel).  On a professional level, you don't want your name mentioned negatively.  It's true, while there are some people who are so talented that they can weather any attacks, do not put yourself in this category.  Put that ego back in your pocket and realize that you cannot afford to piss off people in high places, not until your books are selling in the tens of thousands at the very least—and even then, I wouldn't recommend it.  What do I mean when I say this?  I'll give you some examples of things NOT to do.  First, let's tackle if you're trying to break in:

1. Bugging an editor with e-mails, over MySpace or in person about your proposal/samples.  The reality of the situation is this: If an editor likes what they see, they will usually respond quickly.  Sending a message a day or a week later and asking "did you get my e-mail?" or "did you have a chance to look at it yet?" is not a good idea.  Editors are busy with actual work (Deadlines, yelling at those missing their deadlines, reading commissioned scripts, looking over proofs, dealing with the business side of things, contracts, payments, etc…).  They will look at things when they have time, not because you're nagging at them.  If you don't get a response…that's usually a response in itself.  Send in something else after a couple months have gone by.  "Follow up" works in every other business except comics! 

2. In relation to the above, sending editors unsolicited manuscripts to "check out," review or critique over e-mail or over MySpace. That is not what MySpace is for; it's for networking, both socially and professionally.  Professional networking means getting to know folks in the industry and making connections so that later on they will remember your name when you send something in.  Or so that they will recommend you to someone they know.  Editors barely have enough time in the day for their workload, and strangers demanding that they are "owed" a critique are not appreciated in the least.  Simply put: if you need a critique of your work, take a class. Editors do not have the time to teach you your craft.

3. Not following the submission guidelines.  Pretty harsh to think you could be burning a bridge by not doing that, right?  Nope.  Following directions is very basic.  Editors like working with people who can follow directions.  It shows they are easy to work with, and that they listen.  A good example is a book we recently accepted here at Shadowline.  Both Jim and I were on the fence about it.  Normally, when we're on the fence, we reject it.  However, the person submitting followed the guidelines perfectly, no more no less.  And when I asked him some additional questions, it turns out he was familiar with Shadowline, had researched the line of books, and really done his homework on what we were looking for.  That swayed Jim and I into accepting the project.  Consistently ignoring the guidelines will only ensure that your stuff will never get looked at, no matter how good it may be.  And fair warning is given, right at the end of the guidelines. 

4. Dressing up at cons.  If you honestly expect me to have a serious conversation with you about your work while you're dressed up as The Hulk or Spider-Man, you are mistaken.  I would hope most aspiring professionals would know this, but I figured I would put it out there anyway. You're interviewing for a job, so try to look decent.  If your goal is to stand out so you'll be remembered, you'll accomplish that goal, but definitely not in a good way.

For those who have already made it past the above, and are working in the biz…boy, do I have a list for you.  Sometimes, I cannot believe the things "professionals" have tried to pull.  Let's see if I can cover them all sufficiently:

1. Once you have signed the contract, you have made a commitment and you need to follow through.  People like to blame Image for late books, but in reality, all Image can do is baby-sit and pretty much nag at creators to get their books done. As I have frequently stated, managing creative teams is like herding cats.  When you get one that turns in fantastic pages on time, you want to hold onto them for dear life, but typically they are much in demand and disappear on to bigger and better things very quickly (wouldn't you rather be THAT guy??). 

2. Equally bad is quitting the book/series halfway through finishing it. Whether you didn't anticipate all the hard work that goes into a book, don't get along with the other members of the team (or even the editor or publisher), feel the book isn't a priority because it's back-end pay, or need to take on other work to make ends meet…not to be harsh, but that is not the publisher's or editor's concern.  Although to be fair, we ARE sympathetic quite often; we're not complete raging assholes, and part of my job is smooth things out.  To us, the book IS a priority--and yes, we get paid on the back-end too!  This is what we do, this is OUR income, and more than that, it is the retailer's income.  They have to pay ahead of time to get their books.  Their money is tied up, unavailable to them and yes, they don't really care why a book is late…only that it is and they can't recoup their expenses. Not to mention the fans that get all excited for the book to come out, just to wait for months on end for it to continue.  When the book doesn't come out, who gets the blame?  The publisher (smell that bridge burning?)!  If you cannot commit to finishing the project that YOU wanted to do, or have any doubts at all about being able to handle the workload, then don't submit it for publication. Yes, there are real life situations that come up suddenly that make a commitment impossible—the death of a family member, or a severe illness for example. No one is heartless.  Although there is joke about a well-known creator's grandmother who died several times over one year.  But only that creator could pull that one off, so don't even think about it!  ;-)

3. This goes hand-in-hand with the above.  Getting angry at the editor and publisher for doing their job.  One thing that amazes me is when I send an e-mail asking where the late pages are, and I get an angry response! You should not be mad at an editor for asking where your late pages are.  Or for trying to pry pages or quotes out of you so your book can be promoted.  Or for editing (pacing, script, spelling, grammar, etc…) to make your book shine.  The problem I have with this is that this kind of behavior is not tolerated at Marvel or DC.  You'd be fired and replaced.  Just because you are on your own creator-owned book, that does not make that kind of behavior acceptable.  As Jim and I have had to state repeatedly, just because this is Image Comics and your book is creator-owned, it does NOT mean "anything goes" or that mouthing off to the editor or publisher is perfectly fine.  Would you do that at a regular office job?  Walk into your boss's office and rudely tell him that you will get things done when you get a chance and he will just have to wait until you're ready to turn it in?  Not if you intend to keep that job. And, again, this is a JOB.

4. Posting proprietary information on message boards!  This tells potential clients (i.e. other Publishers) that you cannot be trusted.  Talking about the inner workings of a publisher, such as their fees, their contracts, posting sales numbers or anything of a proprietary nature is just not done. 

5. Airing your grievances on the internet!  There are other avenues to take besides "the court of public opinion".  It will ALWAYS backfire on the freelancer.  While there really is no such thing as being "blacklisted", potential employers WILL stay away from you.  Not from any sense of loyalty or because someone tells them to, just out of self-preservation and common sense.

6. If your book gets canceled, handle it with grace, please.  No publisher likes canceling books, no matter what anyone may think.  It costs us time, and it costs us money, especially if the book has already been solicited.  We don't cancel books willy-nilly; every book we put on the schedule we have every intention of publishing, and we put a lot of effort into each and every title.  No matter what the reason for the cancellation, respond with something appropriate ("I'm sorry this didn't work out" or "thank you for the opportunity") so that you can come back for another shot some time in the future.  No response at all is not only considered unprofessional, but rude.

Bottom line to ALL of this is that while comics are a fairly loose and fun business, it is still a business. While it is not corporate, people on this side of the fence expect those entering or in the business to act in a professional manner. NO ONE enjoys working with high-maintenance individuals. This doesn't mean you have to be a doormat, but what DOES it mean? Simple: Play well with others.  (or, earn the right to act like a dick before doing so!  )

Congrats to ALL the IMAGE guys nominated!!

Get as many of your people to VOTE IMAGE as you can!

We’re proud as Hell about SHADOWLINE’S nominations for England’s prestigious Eagle Awards!

THOMAS BOATWRIGHT gets a nod in BOTH the Favorite Penciler and Favorite Inker categories!

IMAGE gets a nod in the Favorite Publisher category!

THE SURREAL ADVENTURES OF EDGAR ALLAN POO in the Favorite OGN category!

KRIS SIMON as Favorite Editor!!!!!!!

We hope you vote for them and these other Image nominees--
Matt Fraction, Simon Spurrier, Mahmud A. Asrar, Warren Ellis, Richard Starkings, The Walking Dead, Phonogram, PvP and...

MIKE WIERINGO in the Roll of Honor category.

Click on the banner to vote!

Yes, here it is, what you have all been waiting for!   The San Diego con report will never make the light of day, it was like re-living exhaustion all over again when I tried to type it out. But there is an SDCC07 moment captured in Jim Valentino's new Drawing from Life issue, which hits stands at the end of December.  It's a moment when all 7 original Image founders bumped into each other at the bar.  I had just come from having dinner with Todd McFarlane and his wife Wanda, Marc Silvestri and his wife Bridget, and Erik Larsen, Eric Stephenson and Jim V.  After closing down the restaurant (yes, they had to ask us to leave), we bumped into Jim Lee and Rob Liefeld...and what happened next was pretty humorous.  Go get the book to find out!!  December 26th it hits the stands.  Plus, you get to see me drawn in something other than Editor Girl format.   woo hoo!

Anyway, plugging aside and without futher ado, here are the Top 8 Biggest Mistakes Artists Make!

1. Not knowing how to draw.  Seriously.  If you don't have a firm grasp on anatomy and perspective, or if you have no idea what a vanishing point is, you aren't ready to draw a comic.  Misshapen skulls, cars or trees tilted the wrong way on a street…these things matter.  Do yourself a favor and take a life drawing class to get your anatomy down, and to work on facial expressions (very important!).  See number 7 for more on facial expressions. 

2. The camera angle is fixated on mid-shots. The best thing about comics is that your "camera" can go anywhere...and a good storyteller takes advantage of that. Upshots, downshots, between the leg shots, etc.  Never ever set your camera on a tripod--let it fly! It makes the page more exciting even if it's just two people talking to one another. 

3. Bad page composition.  A comics page has two composition problems--one is in each individual panel, the other is the page itself and how the panels work together on it. Like a painting, you want to keep the reader's attention on the page and move them through it--you never want their eyes to veer off the page.  Comics are read left to right, then down. That's how you should always think of them when you're laying a page out.  Basically the page should be a Z.  Shift a face in panel 2 so the character is looking TOWARD panel 3--this moves the reader in that direction, rather than off the page.  In panel 3, place the character in their environment and have them looking DOWN toward panel 4--again, moving the reader's eye. In the last panel, flop the character again, looking OFF the page--again, a subtle signal to the reader. You can't ALWAYS make it work, but you should try. 

4. The shot is too close to the character.  Pull the camera back a bit and show us a bit of the house and the tree (for example)--this gives us a sense of place, tells us where the character is.  What you're looking for here is the ESTABLISHING SHOT--this tells us where in space the characters are--a room, a city street, etc.  Once we have their spatial relation established we can go into close ups, two shots, etc. 

5. Not knowing how to tell a story.  Start off with a 6 panel grid.  Once you grow accustomed to telling a story within those parameters, then branch out and try more dynamic layouts.

6. Not playing to your strengths.  If you suck at drawing buildings, avoid drawing a book that takes place in a downtown metropolitan area!  Your weaknesses are going to come shining through.  If you suck at drawing buildings, cars, etc there are two things that will help:  the first, of course, refers back to 1--learn how to draw from life, from observation—the second is to draw from reference books (or a morgue).  All artists have reference books--learning how to use them saves a lot of time and makes for a more convincing environment.  Here's a list of Shadowline's favorite recommendations:  THE COMPLETE GUIDE TO DRAWING FROM LIFE by George Bridgman--Bridgman taught Hogarth, Eisner and several other accredited masters of the form. His "blocking-and-wedging" theory is the simplest and most eloquent way to move a human body and draw it in perspective. His is, quite simply, the single best book on dynamic anatomy ever published. Everyone else stole from him.  UNDERSTANDING COMICS by Scott McCloud delves into the underlying philosophy of construction and de-construction of comics and furthers ones understanding of the unique language of the medium.  COMICS AND SEQUENTIAL ART by Will Eisner covers most of the storytelling philosophies explained above. The master explains both the how and the why of page and panel layout design and construction.  McCloud's new book, MAKING COMICS looks good as well, but we haven't had time to review it yet.

7. Lack of facial expressions.  Lots of artists have a mirror right on the front of their drawing board so that they can get the facial expressions down.  And actually, this is a good clue as to why a lot of artist's drawings tend to look like themselves.  You might look silly making faces at yourself in the mirror, but it's good practice.

8. Saying no to photo-references.  Using photo-refs is perfectly legal...but you don't want to trace.  Traced photos look stiff and unconvincing.

And there you have it.  Since I did one of these for writers, I figured it was only fair to do one for artists.  I tried to get to 10, but honestly…8 was all I could think of, even with help from Jim!  Hope it helps some peeps out there.  And I'm off to edit!

Sadly, I am far behind. With two conventions (San Diego and Chicago) behind me, I am now playing catch-up in the worst way. Every day feels like a Monday! (which is deadline day, so it's always hectic). In my off-time I am still typing up a San Diego con report. I've made it through Thursday. Halfway done! Anyway, I found an old interview to tide folks over until I can do another entry in the blog, which should be the con report next, then some Artist's Tips, much in the same vein as the Writer's tips that I gave. I have no idea who conducted this interview, or where it was posted. If anyone else recognizes it, chime in:

1) Comic Book Editor. What does that mean? What should it mean?
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

The comic book editor is the conduit between the creative staff and the audience. The editor's role is to guide the creators as an advocate for the audience. This goes beyond mere proof-reading to being a second pair of eyes. Writers and artists are usually too close to the work to actually see it. They make assumptions that the audiences' familiarity with the story and the characters is the same as their own. The editor is aware that every book is someone's first and must guide the project along that path.

2) Does that comic book public-at-large really gets what it is you do?
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Probably not, nor should they be required to. The audience will respond to an editor's track record, however, and that is indicative of the editor's taste. Certainly editors like Harvey Kurtzman, Julie Schwartz, Stan Lee and Karen Berger have made a mark based on the quality of their choices. Understanding the nuts and bolts of their job shouldn't be relevant to the fan on the street.

3) What does it take to be an editor? Is it experience, education, opportunity, what? >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

All of the above. Comics are a unique artform in that it requires all of the skills associated with both literature and art plus the ability to convey a sequential narrative. The best editors have experience and knowledge in all of these areas and understand the underlying language of the medium.

4) Are there certain qualifications you should have? >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Patience and the ability to multi-task.

5) Any advice you have for those wannabe editors out there? >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Get a real job, it pays better!

6) What makes you a good editor?
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

I don't know if I'm supposed to be listing my own accomplishments here or what, but I'm going to tactfully refrain from answering this question!

7) How did you get your start?
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A creator named Jason Rand was looking for an editor online, and I applied for the job! That book (Small Gods) was accepted into Image Central. Over the course of the year, the current publisher Jim Valentino became impressed with my skills, and when starting Shadowline later on, asked me to be a part of it.

8) Anyone who's been an influence on you?
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Absolutely. Without Jim Valentino's guidance and advice, I wouldn't know a quarter of what I know now. He is the greatest influence I've had, and I learn things from him daily.

9) What are some of the "tools of the trade" you would use as an editor? Once it might have been a red pen, but how about now?
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Microsoft Word for manuscripts and plots. I have private forums for each creative team so that plotlines and character descriptions can stay organized and accessible no matter where you are, problems can be addressed promptly and sketches/layouts can be approved.

10) What's your typical workday like?

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First I check my e-mail. Then I prioritize what needs to be taken care of, and I check in with all the creative teams to make sure they're on schedule. Jim (Valentino) checks in with me, and we discuss any issues that are going on, whether it's marketing, deadlines, submissions, solicitations or whatever. Then for the remainder of the day (which by then is only a couple of hours), I do edits on the scripts.

11) What do you wear when you edit? Or, in other words, what kind of atmosphere is best for you?

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I do my job from home so what I wear isn't relevant…and that's a forward question to ask anyway! What kind of a girl do you think I am?!

12) How do you decide on the creative teams of the book(s) you work on or even what books you do?
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We look at several aspects of the proposal. First and foremost is originality. If it's a genre book does it say something new or bring something new to the table? Is the story well written? Does the pacing of the plot work? Are the transitions smooth? Is the dialogue crisp? Is the art up to professional standards? Is there a perceived audience for the book? Often we get proposals that look great, but the execution of the actual series leaves a lot to be desired—so, that's a factor we have to consider.

13) How much of those decisions are yours to make and how much is handed to you by the publisher?
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Jim (Valentino) and I discuss everything. Ultimately it's his call whether we do a project or not. We have been known to disagree (!!), and he has allowed books I really liked that he wasn't too keen on. So, it's more collaborative than not, since it's just the two of us, but he has the final word.

14) Words or pictures, which are more important, in your opinion?
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It's comics—one does not work without the other—it is completely symbiotic.

15) How do you think your creators feel about you as an editor?
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

You would have to ask them.

17) Does it help or hurt if you're friends with your creative team? Or should you keep a certain amount of professional distance?
>>>>>>>>>>>>>>>>>

riendly, warm, but not overly familiar, just as you would in any work environment.

18) When it comes to dreaded deadlines, how do you deal with them? Has that ever been a problem for you? What would you do if it did?
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Deadlines are always a problem in a time-sensitive business. We have worked out a system where pages flow through on a weekly basis from writer to penciler to inker colorist and letterer. Each working on a different batch in turn. We also allow for some wiggle-room in there, some padding, just in case. Some creators nail every deadline, some watch them whiz by. Which creator does what becomes readily apparent almost immediately.

19) What makes a book a success? Where does it start and where does it end, with the individual(s), the company, the product or something else?
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Find the answer to that and you'll be worth your weight in gold to ANY publisher on this planet. Sometimes you'll find a book that you just love, everything is clicking and it just sits on the shelf. Other times you have a book that you're not all that thrilled with and it takes off. Regardless what anyone may say, regardless of all of the variables you align in your favor, or how much experience you have or research you've done, the simple truth is that no one really knows. You just take your best guess based on taste and experience.

20) Sales on a book are crucial, of course, and the decisions you make affect the outcome, so how much of an eye or ear do you keep toward marketing and sales influence the decisions you make, whether it's recruiting a Name Creator or an A-List character?
>>>>>>>>>>>>>>>>>>>>>>>>>>>>

It is one of the criteria you must consider. It goes to the question of whether or not there is a perceived audience for any given project. Sometimes that's easy; we received a proposal once for super-powered tennis players…probably not a big audience for that one. Just because it's different than anything else out there, doesn't mean it'll sell. That's an important distinction that some creators overlook.

21) How do you feel about recruiting new talent?
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

We work primarily with new talent. Few things are more gratifying than giving someone their first break and then watching them take off.

22) Do you do portfolio reviews at conventions, look at submitted samples, look at other books and think, hey, that person might be good over here?
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Yes to all of above. We also look online, our message board has proven to be a great recruitment source, and we get referrals from friends and colleagues. We're always on the lookout for new talent and new ideas.

23) Say that someone wants to pitch you an idea for a story or a comic series? What would you see or hear for in that proposal?
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

We want to see a synopsis of the overall story. That is, we want to know how the story ends. The more succinct the synopsis, the better. A good writer will be able to bring his story down to a paragraph, we allow a page. Anything over that is a red flag that the author doesn't have the experience or knowledge required to do comics. We want to see five finished pages of art—that is, colored and lettered on a color book, lettered and inked on a black and white. Then we usually ask for a paragraph on each issue—this tells us whether or not the writer can successfully break his story down—whether or not he understands pacing. Seeing a cover from the artist is also helpful as it gives us a lot of information about his understanding of the medium as well as his compositional skills.

25) Where do you go from here in this business?
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

To infinity and BEYOND!

This entry is for writers, so they can understand why great art and a great concept is the LEAST of what they need to worry about.  Over the past few months, it's come to my attention that a lot of the proposals I'm getting in are exhibiting the same writing flaws.  As someone dear to me once told me, great art draws the audience to the book, but great writing keeps them coming back.  As I mentioned in my last entry (5 biggest mistakes made when submitting), we expect submissions to be of professional caliber.  In an age where getting published has become easier and easier (print on demand, the internet), publishers need to maintain their standards.  If you are submitting to Shadowline (or Image Central, Marvel or DC), you are stating that your work is of professional caliber. I can't tell you how many times I have received a proposal and had to e-mail the writer back and ask them what the story was about.  They send a plot synopsis, but fail to tell the STORY (and, yes, there is a difference. If you don't know what that difference is, you're not ready for professional work).  A proposal that says "This minor character may end up helping the main character down the road" tells us that you have no idea where the story is going!  I'm going to list the flaws that are most common, both with proposals and with the scripts I see:

1. THE BASICS: Believe it or not, we see it all the time, "writers" who do not understand proper sentence structure, let alone basic plotting (and we won't even go into spelling or punctuation). Syntax, grammar and tense are as basic to a writer as perspective and composition are to an artist. Most professional writers we know keep a copy of Strunk and White on their desks for a reason. A lifetime of reading comics no more makes you a writer than an artist. If you don't understand the basics, you need more study. 

2. PACING: There are many ways to pace a story depending on the story you're trying to tell. Y the Last man would be paced differently than a Looney Toons story which would be different than an X-Men tale. One simple rule of thumb that applies to ALL stories; it is the first law of journalism: DON'T BURY YOUR LEAD! "I was born twice." Pull the reader in immediately, or lose them forever.  A very simple format for action stories (thus, most comics) is:  Action-break-action-break-cliffhanger/resolution.  Weave the sub-plot in and out.  You need to have the proper amount of drama and action to not only balance out the story, but to keep the readers reading. 

3. HYPE: The proposal is overflowing with hype.  Questions are posed, and answers aren't given.  Why is this a problem?  Because we are not the audience, we're the publisher/editor!  We need to know what the payoff is.  We need to know what happens, so we can judge if it's worth the read.  Tell us the ending.  Yes, we want to know that Bruce Willis is actually dead, even if the audience doesn't find out until the very end.

4. SUCCINCTNESS: The ability to summarize in a paragraph what the series is about.  I realize this is hard for writers, because they are naturally attuned to details.  But every concept has a basic core.  And it goes beyond "X-Files meets Barney with a dash of Star Trek thrown in".  Being able to tell someone (briefly) what your series is about is crucial!  Writing is a SKILL. We need to know what the story is.  The story is the dramatic impetus of the characters.  What makes them do what they do?  What motivates them?   Why should we care about what happens to them? What happens in the course of the story to change them? One of the things that always seems to amaze writers is when I can sum up their entire series in one sentence. 

5. OVERWRITING: Too much dialogue on the pages (the "I want to write like Bendis" syndrome).  You can't pass off bad writing as "style".  We can see right through it.  You can list all the examples you want, and believe me, I've heard them all (this is how Ennis writes, this is how Millar does it, etc. etc.)...the problem is that whoever is submitting this proposal is NOT who they are imitating.  Bendis isn't all about dialogue.  Ennis isn't all about weirdly formatted scripts.  They actually KNOW how to write!  A quote from Robert McKee's book STORY (a book all novice writers should read over and over again): "As for technique, what the novice writer mistakes for craft is simply his unconscious absorption of story elements from every novel, film or play he's ever encountered. As he writes, he matches his work by trial and error against a model built up from accumulated reading and watching. The unschooled writer calls this "instinct," but it is merely habit and it's rigidly limiting. He either imitates his mental prototype or imagines himself in the avant-garde and rebels against it. But the haphazard groping toward or revolt against the sum of unconsciously imagined repetitions is not, in any real sense, technique, and leads to screenplays clogged with clichés of either the commercial or art house variety." 

6. POOR TRANSITIONS.  As any writer knows, poor pacing can kill your book.  You need to start it of with a bang, and then stick with the highs and lows that keep the audience reading, and then end with a cliffhanger.  Transitions are what keep the audience from noticing that that's what is happening.  Transitions can be anything from a caption box ("Meanwhile, back at the ranch...") to dialogue.  Dialogue transition is when you end on half a sentence, and then finish it off in the next scene.  Two different conversations, same sentence ("Wait!  That's not a box, it's a...." "...bomb the enemy, we have no choice!").  Sub-plots are your friend, so introduce them properly.

7. INTRODUCING CHARACTERS.  Every issue is someone's first.  You NEED to re-introduce your characters in every issue.  Whether it's by another character using their name in conversation, or by a caption box.  It has to be done. This also applies to solicitation text. If we don't know who Danny IS, why should we care if he has a life-altering decision to make? Do not assume familiarity on the audience's part.

8. UNNECESSARY SPLASH PAGES.  Splash pages actually serve a purpose.  They are dramatic, and visually stimulating.  Use them when appropriate, do not use them because you haven't used one in a while, or because you need to spice up a low-key scene.  Splashes and bleeds should convey the most dramatic moments—you're going WIDE-Screen with them, make certain that they serve a purpose.

9. BOLDING.  You can pick out the experienced writers from the novices with this simple rule.  Novices often forget to bold, or they bold the wrong words.  Bolding establishes cadence in the reader's heads.  It gives the characters a voice without the reader even noticing.  When bolding, it often seems like too much.  But when you stop and examine how you talk in life, you realize that you place emphasis on certain words.  But when you stop and examine how you talk in life, you realize that you place emphasis on certain words.  But when you stop and examine how you talk in life, you realize that you place emphasis on certain words.  Speak your dialogue aloud or cast your script with famous actors. Note the inflection in their voice. Remember: your characters are your actors, the more distinct and natural you write them, the more believable they'll be to the reader.

10. OVER-WRITING PART TWO: Too much detail in the panel descriptions!  Do you trust the storytelling abilities of your artist or not?  You should, if he's up to snuff.  The only time you should consider putting a lot of detail in your panel descriptions is if there is something VERY specific that you are looking for, or if you have no idea who your artist is yet.  A good working relationship between artist and writer takes a bit to develop.  But you need to allow the artist freedom to do what he does best, which is illustrate the story you are telling.  A good artist should have a firm grasp on what perspective to draw from, which dynamic looks the best, and what would best be interpreted by the reader. (and none of you are Alan Moore, so please refrain from citing him as an example!  When you write a book as well-received as Watchmen, then you can do whatever the hell you want)
    

If you can manage to get past all these mistakes, then not only will you improve your chances of getting published, but you'll probably have the foundation of a solid writing career going for you.  Don't be cocky.  Don't think that the rules don't apply to you.  A good writer follows all of the above.  And believe me, we can tell when a writer knows how to write or not!

Jim and I have been receiving a steady stream of submissions lately, which we consider a GOOD thing! There is nothing more pleasing than seeing the variety of projects that people are putting their heart and soul into, and hoping to bring to the masses. It's also a pleasure to know that these folks have chosen Shadowline to submit to! But whether your project is accepted or rejected, I think it's prudent to put out there what we see are the biggest mistakes being made when that submission comes in. These mistakes are a first impression that set the tone for your project before it's even looked at. I'm going to list the five biggest mistakes we see, and those few of you who are reading this and who want to eventually be published through Shadowline will have a leg up on the rest of the poor saps out there! ;)

1. Not following the posted guidelines.
Read the guidelines carefully. Do not think you are exempt from any of them! Don't send links or pdf's when it clearly says to send jpegs. Don't send a 2-page summary when only one paragraph is asked for. A biggie is not to have 2 issues of a 4 issue series completed. 5 pages is really all you need, having more done does NOT give a good impression (contrary to what one would think). Why? Because if your pacing is off, or we read it over and decide it would be a tighter story at 3 issues, you've just wasted your team's time. I'd say have 10 pages of issue 1 completed at MOST if you want to make a good impression and show your initiative. And above all, don't try and slide a proposal past us that was already rejected by Image Central. I find it crazy when someone submits and tells me they submitted to IC, but "haven't heard back yet". Uh, that COUNTS! When you submit to IC, you will eventually get one of two responses. A yes, or a no. If you get a yes, then you're commited to being published through IC and you've wasted our time. If you get a no, then the first guideline applies! It's really that simple.

2. Overthinking things.
The guidelines are straight-forward and include absolutely everything you need to know. I look at the crazy questions on the open thread at the IC forum and shake my head. The only thing you need to be worrying about is the cover, 5 pages and your synopsis. If we need anything more from you, we WILL ask (and often do). Don't ask about printing costs, fees, conventions, mature reading labels, or any of that. That's what we call putting the cart before the horse. Get accepted first, then you'll find all of your questions answered. Nothing is more of a turn-off then when I open a submission and the first sentence is "I didn't see this question addressed anywhere, but…" If you have a question about something, do a little research. Google is your friend. Check out what other books we have out. Buy a couple, look at the ads in the back, see how we do things.

3. Using a crazy e-mail address.
This is more a pet-peeve of Jim's than mine, but I do agree with the reasoning behind it. It looks very unprofessional to have a goofy e-mail address. In this day and age when you can snag a free yahoo, hotmail or gmail address, there is absolutely no need to submit something with an address like iheartbigbutts or comicfanboy4evr. Besides being unprofessional, those addresses add themselves into our e-mail address books and we can't identify who they belong to on first glance. And I'll be the first to say that my "editor-girl" e-mail address is strictly for submissions and for people I don't know. My personal address is my name. And when I submitted to Image the very first time about 5 years back, I created a new one that was also my name, specifically for the proposal. And this was way before I even knew Jim had a pet peeve about it! It's all about first impressions.

4. Asking for a reason WHY your proposal was rejected.
Most of the time, Jim and I will give a reason. And you need to be satisfied with that reason. Just because the book is different from anything that's out there, doesn't mean we'll automatically accept it. Sometimes we feel a book would be better off at a different publisher. It's a good book that will do better at Slave Labor, or Oni. We have a different audience, and while we're diverse, we also want what is best for the project. Why take on a book that will fail for us, but be successful for Oni? And sometimes, plain and simple, the book isn't up to snuff. At this point, it's not our job to critique it and tell you where the flaws are, or how to improve it. We expect submissions of professional caliber, and if they're not there, that's where our relationship ends. If you want to be critiqued, or given pointers, then we suggest you take the proposal to the nearest college and ask one of the teachers there to critique it (or go to a con and wait for a review). If we were to start providing this service, nothing would get done!

5. Taking the rejection personally.
While I realize that creators pour their hearts and soul into a project, you still must realize that it is not YOU we are rejecting. The door remains open for you to try again. A lot of creators get really discouraged after facing a rejection. They think they aren't good enough, they give up. They went through so much effort to put together the project, they couldn't possibly think about doing it again. That's nonsense. If you really want to make it happen, then don't give up. I had 5 proposals rejected by Jim before Small Gods came along. And lots more pro's went through the same thing. Get back on the horse, you'll be glad you did when that acceptance finally comes. If you stop trying, failure is guaranteed!