#find an editor

[davidmariottecomics]

The Perfect (Editorial or Agent) Match

Hey there, Yogi Bear! 

To start out today's blog, I wanna talk about a kinda fun recent thing. Steve Lieber, who I've mentioned before for having his 12 point portfolio review critique without even looking, asked about the writing review equivalent. Jim Zub took a stab at it and his list is pretty good. And Chip Zdarsky's were also recommendations! And all of these are from Bluesky, so hope you can read 'em all! But, while I liked the other lists, I also had some thoughts. So my 12 critiques are here, which I consider pretty supplemental to Jim's! 

And now that you've taken all this advice and are feeling really comfortable with your script, writer-type, what're you gonna do with it?! 

What Does an Agent do? 

Before I get too far, let me make explicitly clear--I do not have an agent. I've worked with a number of agents. I know lots of creators who have them. But I don't have one myself, so I can only provide so much guidance. Okay, that disclaimer out of the way, what is a literary agent and what do they do? 

It's a lot like other forms of agents you might've heard of. Your agent is a person who supports you and represents your interests in business. They are an advocate on your behalf. This means everything from reading your manuscripts to help refine/sell them to reviewing paperwork for you to making sure you're getting paid what you're worth and more. In the book market, there are certain publishers that will almost exclusively review agented submissions--you need to have someone who has been trained to know what the publisher might want and who has access to contacts there to advocate for your work. The reason for this is often to cut down on submissions that otherwise just have to go unanswered and to preserve some level of privacy for editors. Having an agent might not work for everyone, but if you can find someone who you like working with and can afford, they're going to be a lot of help. Agents can get your work to more potential buyers, help identify where your work will best fit in the marketplace, and, again, generally advocate for you.

But just like publishers and editors, not every agent is looking for every type of story. Specific agents, and even whole agencies, can have niches that they are interested in working in and representing. This is really important when we're talking comics. There are some agents that don't really represent cartoonists because they don't do art representation. There are some agents who only do art representation and might not be the right fit if you also wanna write. There are agents who primarily focus on books for middle grade or young adult readers. There are agents who just plain don't do comics. So how do you find an agent who might be a good fit?

Manuscript Wishlist

Manuscript Wishlist (or MS Wishlist) is *an* option for finding your agent, but it's one that I think can be really helpful. The basic idea of MSWL is that the website version has vetted agents and editors who have submitted profiles explaining what they are looking for in submissions. It's built off of a Twitter system where agents and editors tag posts #MSWL to flag the sort of work they're looking for from writers. One of the things I really like about the site is that in addition to details on what the agents and editors are looking for, and how to go about querying them, a lot of folks also take advantage of the sidebars that include things like lists of "what I like" so you can get an even clearer idea of if your work will mesh well with their interests and if your personalities will mesh well while looking to work together. 

There are a ton of other resources out there for how to write good queries and each agency/agent/publisher/editor is going to have their own submission guidelines that you'll have to look up and follow--so I won't get into those--but this is a way to start seeing who might be interested in building a relationship with you. 

Also, keep an eye on Publishers Marketplace. This is a primary source for what publishing deals are happening. Maybe you want to submit a query to an agent about a talking dog. Might be good to check publishers marketplace to make sure that agent didn't just sell a book about a talking dog. 

MSWL Editors

MSWL also includes editors and for similar reasons. Editors have things they're interested in working on and it helps clarify to agents and to unagented folks what sort of titles they might be interested in acquiring. I *do not* currently have a MSWL set up on my own because I am not currently seeking submissions (sorry), but next time I think I might be, I'm going to be looking into it because I know what sort of stories I like to tell and what I would like to see from other folks. 

Obviously, if you don't have an agent, double-check that the editor you're submitting to accepts unagented submissions. That's hugely important. But especially in comics, only taking agented submissions is uncommon. And if an editor is making clear what they'd like to acquire, you wanna get it in front of them because that is the most direct pipeline to traditional comics publishing. But it's also worthwhile to remember that because of how agents and editors work together, there's a lot of outreach between the two where editors are searching for talent, but only want to reach out, not be reached out to--especially if you're looking to do work on an existing property, rather than an original. 

Now I'm gonna go batten down the hatches and prepare to ride out the rest of the coming storm! 

See ya next time! 

What I enjoyed this week: Blank Check (Podcast), Dungeons & Daddies (Podcast), Craig of the Creek (Cartoon), Honkai Star Rail (Video game), My Adventures with Superman (Cartoon), The Broken Room by Peter Clines (Book), Crime Scene Kitchen (TV show), Dumbing of Age (Webcomic), Shortpacked (Webcomic--though some of these pop culture strips sure are dated and/or in poor taste!), Solve This Murder (Podcast), Praise Petey (Cartoon), the acoustic Sonic Symphony performance at the Speed Cafe (see below), at time of posting having power and not a lot of rain/hurricane weather, owning (but not having watched yet) the Venture Bros finale movie, getting 3 5-star (the best possible) character pulls in a row in Honkai (but not the character I really wanted, who I only have like 9 days to get now if I can...). 

New Releases this week (8/16/2023): Brynmore #2 (Editor) Godzilla: The War for Humanity #1 (Editor) Sonic the Hedgehog #63 (Editor)

Final Order Cut-Off next week (8/21/2023--last day to get your preorders in): Brynmore #3 (Editor) Godzilla: The War for Humanity #2 (Editor) Sonic the Hedgehog: Amy's 30th Anniversary Special (Editor)

New Releases next week (8/23/2023): Godzilla Monsters & Protectors: All Hail the King TPB (Editor--on the latter half)

Announcements: Becca is at Cartoon-a Palooza in Temecula on 9/15 & 9/16. It's a cool free all-ages little con, so come on out and see them! 

Wanna support me? Consider joining my Patreon! This week, in addition to this blog (but without the Patreon plugs!) and one of my legacy blogs, I shared for the $10 and up members the script (and some extras) for my Beast Wars 2022 Annual story, "Rhinox's A-Maze-ing Adventure". You can only see it there! And I'll have more scripts, pitches, comics, etc going up in the weeks and months to come! Also coming soon, just coordinating with Becca, we'll be releasing a tease of a new comic we're working on together. It'll be on both our Patreons, but if you like art and adult art in particular, definitely don't miss Becca's either! 

Or, you can buy something from my webstore! A lot of what is there is no longer in print and won't be going back to print anytime soon to my knowledge. The stock I have up is pretty much the stock I have. And you can get it signed and personalized and sent to you for a pretty reasonable price which includes shipping.  Alternatively, I still have a few things up on eBay and I'm going to be adding a few more! 

Sorry to be hyping ways to send me money so much recently, but between rising rent and utility and gas costs, not so rising work hours/pay for Becca and I, and us also trying to plan a wedding for a year from now, money's been tight a lot! I know that's the case all around, and if you have been supporting me in any way, it has not gone unnoticed at all! This week, Becca and I checked out a venue that we really like for the ceremony and reception. So, hoping we can make that happen! 

Pic of the Week: I referenced it earlier, but the Sonic Speed Cafe pop-up here in San Diego did a special mini acoustic performance of the Sonic Symphony that's about to be touring the whole world! So we had three musicians in the restaurant playing some Sonic hits! It was a lot of fun! 

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[shigayokagayama]

happy one year anniversary to the most insane week in internet history

[kyrup]

all of the glitched name cards from this week’s game changer for your convenience.

(transcripts and timestamps in the alt text)

[oldkamelle]

Do you ever get stuck in a routine of the past?

[whitestnoise]

I think it's really interesting how a lot of historical adaptations or historical dramatizations say as much about the time in which they were made as the time in which they were set.

- Fashion Curator Reviews Historic Costumes In Famous Movies

[samwinjester]

the #merthur channels

insp: 1 2

[poirott]

A Haunting in Venice + rain

"The rain obviously was very atmospheric and for my taste I would have had thunderclaps all over the place! But Ken [Branagh] was keen not to overdo those tropes. And hopefully we found the sweet spot of having some fun but without overdoing it. But again, it all leads into this: the house has been there longer than the humans that are currently inhabiting it. The weather itself is subsuming the house and the house is sinking. It's rotting, it's leaking, it's groaning. The electrics are dodgy. You have the feeling that anything you touch might be the last thing you ever do. Just to give it that jagged, dangerous feeling of hum, of atmosphere, of the danger that they're cut off from the outside world and reason." - Lucy Donaldson, the editor of A Hauting in Venice (Art of the Cut interview, September 21 2023)

[beastlymessofmine]

height comparisons

[muffinlance]

Wait, what’s going on with Embers???? That fic has been on my read later list since 2021, what’s happened with it???

Brief overview, then I'm likely never touching this topic again, because this is not a Drama Blog:

Context: Embers is a super old AtLA fic that was written during the early fandom days, read widely at the time, and was the origin of the widely-used fanon name of "Wani" for Zuko's ship (kind of by default that it was one of the first popular fics to give his ship a name, I think?), even though most fic writers don't seem to realize it's from there anymore.

"What's Going On": I used to include a link in all my stories to it, because I believe in crediting other writers for borrowed elements, and I was using "Wani" in all my fics. But BOY did I not want to be sending readers that way anymore, so I've adopted a new name for Zuko's ship, and removed all Embers links.

None of the criticisms about Embers itself are new; I'm assuming they date back to when the fic was being written, because this isn't an "it aged badly" thing, this is an "actually yeah this gets worse the longer you think about it and I shouldn't have ignored my bad feelings just because some of the worldbuilding was interesting" thing.

An Incomplete List of Why I Made the Change:

I don't actually like the story that much anymore, and don't want to rec it

I tried to re-read it recently to see if some things were as bad as I remembered and it turns out they were So Much Worse Oh Yikes. More specifically, the treatment of Katara and Aang and their respective cultures has... rather a lot going on. One example: The Fire Nation and Air Nomads are both given multiple backstory elements in an attempt to make the average Fire Nation soldier's participation in the genocide/war in large part the fault of the Avatar and the Air Nomads themselves, and also fully justified from the Fire Nation perspective. And I do mean fully. One of its core tenants is "People from the Fire Nation (and only people from the Fire Nation) who don't follow orders Literally Die, therefore murdering pacifists and babies and continuing the war (and their regularly scheduled war crimes) is the only thing it is physically possible for them to do". I cannot emphasize enough how literal that is.

Also the name "Wani" means "Alligator" and is... objectively a pretty lame name for Zuko's ship? Where's the personality, where's the deeper meaning, where's the resonance with Zuko's themes? @tuktukpodfics initially thought I was calling the ship "Wanyi", and that's what I've switched to, because it is Objectively So Much Better. In their words: “Wànyī (萬一): Literally ‘one in ten thousand,’ ‘perchance.’ Used grammatically in Chinese to mean ‘what if’ or ‘just in case.’ I think a ship called ‘The Perchance’ is perfect for a boy clinging to false hope.”

TL:DR; I don't rec Embers anymore, because I don't actually like the story anymore, and there are things about it that get worse the more I think on them. I've removed links to it and renamed Zuko's ship to "Wanyi" ("The Perchance") because our boy deserves a ship name that reflects his character arc.

[winchestergifs]

STACKEDNATURAL ⇉ 145.5/327

14.9 The Spear Written by Bob Berens Directed by Amyn Kaderali Original Air Date: December 13, 2018

[samijey]

this clip will be playing on loop at my funeral

[love-3-crimes]

the last time i drew the three of them like this was exactly a year ago, so i thought it would be fun to redraw them!

(ignoring that i already posted this so some of you already saw it lol)

anyways some fun facts below! i got way too into it

[teatitty]

This is how I envision all those "KakaIru annoy eachother daily just by breathing" fics

[solradguy]

When you go to edit the wiki and need to verify something so you fall down a research rabbit hole and discover that the entire community's perception of lore for a certain character has been wrong for *checks watch*

21 years