AudioShocker

I’ve been doing a shitty job of breaking into the comic book industry for nearly ten years now. I’ve probably botched better career building opportunities in the past decade than some professionals have had in a lifetime. This column is the first installment of a new series wherein I will relate my experiences (no matter how painful) to show you what NOT to do if you want to work in comics.

My first truly formative experience took place (I think) in 2002. I caught wind of a gallery opening in New York City honoring the artists who worked on Heroes (Marvel’s charity book benefitting the September 11th cleanup efforts). Not only was this a great historical moment in comics, but it was a terrific venue to meet professionals outside of the convention circuit.

The event was put on by the New York City Comic Book Museum (NYCCBM), an effort run by David Gabriel (before he was Marvel’s Director of Sales). It was a terrific show, with tons of great original art from the Heroes book and even greater comic book legends in attendance. Early on, I approached a table of distinguished elderly gentlemen (who had to be silver age comic book greats). Ignorantly, I asked them if Jim Steranko was at the show. They shrugged their shoulders and looked at me like I was nuts.

And I was nuts. There’s no better proof than when I ran into Gene Colan later on. In one of my more embarrassing moments, I shoved my Essential Captain America vol. 2 in front of his face and asked him to sign it. Was I out of my freaking mind? Have Gene Colan sign a black and white reprint book made of newsprint?

I was out of my mind and extremely excited to meet the artist who helped create the Falcon. To my surprise, Gene didn’t recall being the first artist to draw the Falcon. In fact, I don’t think he remembered the character at all. I had to kindly explain to him that yes, he was the first artist to ever draw Sam Wilson. And then I had him sign the crappy copy of the cover of the Falcon’s first issue in my newsprint reprint book.

After a couple hours, my sister was sufficiently tipsy from the cash bar and she was determined to help me network. She struck up with Bill Jemas, then President (a.k.a. Publisher) of Marvel Comics. Bill imparted an excellent piece of advice that I now pass along to you: if you want to work in comics, get in on the business end. Even if your end goal is creative, work your way up through comic book sales, production, or admin. Bill used himself as an example, noting how he was an executive with Fleer and worked his way into one of the top spots at Marvel publishing.

I haven’t taken Bill’s advice. Don’t get me wrong – I’ve tried, numerous times. I just never got my foot in the door and kept it there (those are, of course, the subjects of future columns). Point is, I went to one of the world’s greatest comic book networking opportunities and all I left with was a confused signature and advice I didn’t follow.

And that’s just another reason why I’m going to have to sneak into the comic book industry if I ever want to make it in.