KOSMIC COMICS

ALPHA KOSMIC

ENTERTAINMENT TRANSPORTING YOU BEYOND THE LIMITS OF IMAGINATION

FAQ

Welcome to the Frequently Asked Questions (FAQ page). Here, we have tried to answer the most common questions that are frequently raised by our fans and customers as well as those any visitors to this Web site may have. We hope you find it useful.
If there are any questions you have about Kosmic Comics/Alpha Kosmic that are not answered in this FAQ, please get in touch with us so we can include them in future revisions. Please email us info@kosmiccomics.com 

Kosmic Comics Submissions Guidelines can also be found on this page - Go Here. However it is advised that you not skip the Frequently Asked Questions, or that you return to read it later as important information regarding with the overall submission and job process for Kosmic can be found therein.
FAQ History
Created: 10/03/2005
Last Revised:
Contents:

This FAQ answers the following questions:

GENERAL
Who is Kosmic Comics?
What is Kosmic Comics?
Where is Kosmic Comics/Alpha Kosmic located?
How do I get a job at Kosmic Comics/Alpha Kosmic?
How do I become an intern at Kosmic Comics/Alpha Kosmic?

SUBSCRIPTIONS
Does Kosmic Comics/Alpha Kosmic have subscriptions?

SUBMISSIONS
Where do I send my submissions?
What should be included in my submission?
Do you have any hints or tips for submitting my work to Kosmic Comics/Alpha Kosmic?
Does Kosmic Comics/Alpha Kosmic accept writing submissions and/or story ideas?
What is the likelihood of my getting work at Kosmic Comics/Alpha Kosmic?

OFFICIAL FAN CLUB
Is there a Kosmic Comics/Alpha Kosmic fan club?
Can I send Kosmic Comics/Alpha Kosmic a comic book, trading card, poster, etc. to sign?

ONLINE
Are there any Kosmic Comics/Alpha Kosmic fan clubs online?
 

 


GENERAL
[Q] - Who is Kosmic Comics?
[A] – Kosmic Comics is publisher mastermind Kirk Jones, and a pool of extremely talented individuals, all committed to producing the highest quality, exciting and dynamic comic books/graphic novels and related products on the market for you, our audience.
You can learn more about the company in the Kosmic Comics’ "About Us" section of this web site.
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[Q] - What is Kosmic Comics?
[A] – Kosmic Comics, is the main publishing arm of the pop entertainment production company Kosmic Comic Productions. Founded by Kirk Jones, Kosmic Comics published the 32 page black and white format comic title “Ravager”, during the 1990s. Complete with a new art team and in full color, “Ravager” is slated for upcoming re-release to the market. Kosmic Comics is now publishing new line of comics and graphic novel titles through its imprint arm, Alpha Kosmic.
You can learn more about the company in the Kosmic Comics’ "Kosmic" page of this web site.
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[Q] - Where is Kosmic Comics/Alpha Kosmic located?
[A] – Kosmic Comics/Alpha Kosmic is located in Ontario Canada. 
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[Q] - How do I get a job at Kosmic Comics/Alpha Kosmic?
[A] – Kosmic Comics/Alpha Kosmic will post a "now hiring" notice on this web site whenever a position opens up.
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[Q] - How do I become an intern at Kosmic Comics/Alpha Kosmic?
[A] – Kosmic Comics/Alpha Kosmic will post an "internship available" notice on this web site whenever a position opens up. If you live close to the Whitby or Toronto, you can mail or fax a resume to the company.
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Subscriptions
[Q] - Does Kosmic Comics/Alpha Kosmic offer subscriptions?
[A] - Not currently, but we do plan to offer you this service very soon. Once we are set up to do so, you will be able to subscribe to our books from this web site. We will keep you posted to the latest developments.
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SUBMISSIONS
[Q] - Where do I send my submissions?
[A] – For Submissions Guidelines Please click here!!
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[Q] - What should be included in my submission?
[A] – For Submissions Guidelines Please click here!!
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[Q] - Do you have any hints or tips for submitting my work to Kosmic Comics/Alpha Kosmic?
[A] – Of course. For Submissions Guidelines Please click here!!
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[Q] - Does Kosmic Comics/Alpha Kosmic accept writing submissions and/or story ideas?
[A] – Not currently, though it is difficult to get work as a writer for Kosmic Comics/Alpha Kosmic, when we are seeking writing contributions from writers for a new or existing property, we will post a call for writers in the “Submissions” section of this web site.
No unsolicited materials regarding existing or new properties are accepted.
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[Q] - What is the likelihood of my getting work at Kosmic Comics/Alpha Kosmic?
[A] – Hmmmm!!! Hhmmmm… the likelihood… What does that mean again? Oh yeah… Well there’s no easy answer really. We don’t want to crush your hopes or mislead you so here’s where we stand on this. Here at Kosmic Comics/Alpha Kosmic talent is everything! We have very exacting standards and if you can’t meet those standards then your chances of getting work at Kosmic Comics/Alpha Kosmic decreases exponentially to the point of non existent.
But don’t despair; the first thing you should do is compare your art to that found in a Kosmic Comics/Alpha Kosmic comic book. Does it honestly look like it will be a good fit with our books? If the answer is yes – well what are you waiting for? Run, fly or teleport that splendiferous sample of stupendous art over to our studio as fast as you can! We want to bask in the glorious radiance of your illustrative masterpiece! If the answer is no however - do not get discouraged, simply practice, practice, practice and then practice some more! Take art classes, and draw every day until you are drawing in your sleep. Someday, if the desire is great, the skills nourished and cultivated and the talent is there, then you will transformed into one of the "super-talented" and be Kosmic bound.  Oh… I just have to sneak this in here when the bosses aren’t looking… this applies to you writers as well: write every day and keep sharpening that talent because eventually you too can be… well Kosmic bound!
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OFFICIAL FAN CLUB
[Q] - Is there a Kosmic Comic/Alpha Kosmic fan club?
[A] – Nope, there is no official Kosmic Comics/Alpha Kosmic fan club at this time.
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[Q] - Can I send Kosmic Comics/Alpha Kosmic a comic book, trading card, poster, etc. to sign?
[A] – Absolutely not! Sorry. The creators and artists do not have the time while in the studio, it’s just not feasible. And “The One Above All” knows we would hate to be responsible for your pristine copy of “Lung-mei: the dragon current” #1 or to any copy of the other sweet titles coming your way from us to get damaged in the mail! The only way to get something signed is to meet our creators or artists at a convention, a book signing, or to order a pre-signed book. Thank you for understanding.
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ONLINE
[Q] - Are there any Kosmic Comics/Alpha Kosmic fan clubs online?
[A] – Ah, now that is the million dollar question. We don’t know but there is sure to be some sooner or later. But have no fear, there is a place where all the fans waiting to chat and exchange messages can meet and its right here on Kosmic Comics Online. Just be sure to check out our awe-inspiring chat room, and message boards (coming soon)!
For any of our fans who have formed their own clubs, we would love to hear from you. In the meantime you, you can join a Kosmic Comics/Alpha Kosmic mailing list by sending email to: info@kosmiccomics.com.  
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Submissions Guidelines
Welcome to the Kosmic Comics Submissions Guidelines. This page will explain what you must include when submitting your materials to Kosmic Comics.
Return to FAQ page

Kosmic Comics Submissions Policy

Kosmic Comics will not request submitters to include SASEs [a self-addressed, stamped envelope] with their submissions so that the submission, along with a response form, could be returned to the author. Kosmic will not send written responses for unsolicited submissions. Creators should only expect to hear from a Kosmic Comics editor regarding their submission if an editor wishes to hire them for work. Submissions will not be returned to the sender.

Kosmic welcomes your submissions, and all submissions will be reviewed.  Submissions can not be mailed back to the sender. The reason for this policy has primarily to do with the high number of submissions; Kosmic Comics simply does not have the resources necessary to respond individually to each submission. Submitted samples are often kept on file for future reference, but only those creators for whom Kosmic has immediate work will be contacted.

View guidelines for writers
View guidelines for artist
View guidelines for inkers
View guidelines for colorists
View guidelines for letterers

View Submissions Agreement
View Portfolio Presentation Tutorial
(if you're going to attend a convention and want to get feedback on your artwork)
Return to FAQ page

 


GUIDELINES FOR WRITERS
Kosmic Comics is not accepting submissions from writers at this time. Thank you.
Please note that Kosmic Comics does not review unsolicited scripts, story ideas, or proposals pertaining to properties currently published by Kosmic Comics, its manga/ graphic novels division, Alpha Kosmic or any property owned by the submitter. Such material will be destroyed without review.
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GUIDELINES FOR ARTISTS
SEQUENTIAL ART
Consider carefully what you are sending, try to be as professional as possible, after all you are submitting to gain work in a professional capacity. An editor wants to see that you can draw sequential art, not pinups. Five or six consecutive story pages are usually adequate. You should include “quiet scenes” as well as action, utilize a wide variety of faces, figures (male, female, normal people as well as "super" characters, etc.), and well-realized settings. Ask yourself the following questions: Does the angle you've chosen take full advantage of the dramatic potential in a scene? What about perspective? Do the backgrounds establish where the characters are in relationship to their surroundings and to each other? Is the scaling between characters and/or objects representative of their correct proportions? Is there a well-defined foreground, middle ground, and background? Remember storytelling is king! Is there a clear, readable story even without word balloons or captions? Have you left adequate room for the dialogue and captions? If you have addressed these things then you are ready to submit.

COVER ART/PIN-UPS
Please submit only up to five covers/pin-ups. Be forewarned that it is extremely rare that we would hire someone solely for cover work or pin-ups. Also, you must include a signed copy of the Submissions Agreement if you are submitting any artwork featuring a character of your own creation.

Notes:

# Never send original art. Send photocopies only. Make sure the photocopies you send are clean and sharp and easy to "read." Be sure that each page has your name, address, and phone number clearly written somewhere on it.
# Please send submissions to:
Submissions
c/o Kosmic Comics
PO Box 363 STN Main
Whitby,ON
L1N 5S4
Canada
 
# We do not publish page rates. If an editor is interested in working with you, you will work out a financial deal at that time.
# Do not send samples/proposals via facsimile (fax) or email. All such submissions will be destroyed without review.
# Do not make telephone follow-ups to check on the status of your submission. It is Kosmic’s policy to respond to submissions only if an editor wishes to hire the creator.
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GUIDELINES FOR INKERS
SEQUENTIAL ART
Consider carefully what you are sending, try to be as professional as possible, after all you are submitting to gain work in a professional capacity. An editor wants to see that you can ink sequential art, not pinups. Five or six consecutive story pages is usually adequate. Include “quiet scenes” as well as action, utilize a wide variety of faces, figures (male, female, normal people as well as "super" characters, etc.), and well-realized settings.

Notes:

# If you would like sample pages to ink, please download a sample page from our website www.kosmiccomics.com
# Please send submissions to:
Submissions
c/o Kosmic Comics
PO Box 363 STN Main
Whitby,ON
L1N 5S4
Canada
 
# We do not publish page rates. If an editor is interested in working with you, you will work out a financial deal at that time.
# Do not send samples/proposals via facsimile (fax) or email. All such submissions will be destroyed without review.
# Do not make telephone follow-ups to check on the status of your submission. It is Kosmic’s policy to respond to submissions only if an editor wishes to hire the creator.
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GUIDELINES FOR COLORISTS
SEQUENTIAL ART
Please submit at least 5 pages of sequential art. We would also be interested to see how you handle different types of storytelling. For instance, how you would color 5 pages of Lung-mei, ‘The Dragon current’, as opposed to 5 pages of Ravager. Editors are looking for colorists who can work in many different styles and moods and accurately aid in telling a story through the use of color.

FORMAT
We can accept files in any standard format such as JPG, EPS, TIFF, etc. However we would prefer JPG, all files MUST be CMYK. Files can be either 72 dpi or 300 dpi and it's recommended that file dimensions are no smaller that 7" x 10". Files may be supplied on CD. Please include a resume of past work history (if applicable) and a cover letter.

Notes:

# Feel free to scan any black and white comics if you are in need of pages to use if you are in need of sample pages, or download some from our website, www.kosmiccomics.com
# Please send all coloring submissions to:
Submissions
c/o Kosmic Comics
PO Box 363 STN Main
Whitby,ON
L1N 5S4
Canada
 
# We do not publish page rates. If an editor is interested in working with you, you will work out a financial deal at that time.
# Do not send samples/proposals via facsimile (fax) or email. All such submissions will be destroyed without review.
# Do not make telephone follow-ups to check on the status of your submission. It is Kosmic’s policy to respond to submissions only if an editor wishes to hire the creator.
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GUIDELINES FOR LETTERERS
SEQUENTIAL ART
Please submit at least 5 pages of story to show diversity of balloons and sound effects, as well as font choice. In addition, please show examples of italicized and bold text.

TITLES
Please include examples of titles in your submissions. By titles, we mean story/story arc titles not logos.

FORMAT
We can accept files in any standard format such as JPG, EPS, TIFF, etc. Files can be either 72 dpi or 300 dpi and it's recommended that file dimensions are no smaller that 7" x 10". Files may be supplied on CD. Please include a resume of past work history (if applicable) and a cover letter.

Notes:
# We prefer black and white or grayscale submissions rather than color. It is easier to determine your skill if we aren't distracted by coloring.
# Please send all lettering submissions to:
Submissions
c/o Kosmic Comics
PO Box 363 STN Main
Whitby,ON
L1N 5S4
Canada
 
# We do not publish page rates. If an editor is interested in working with you, you will work out a financial deal at that time.
# Do not send samples/proposals via facsimile (fax) or email. All such submissions will be destroyed without review.
# Do not make telephone follow-ups to check on the status of your submission. It is Kosmic’s policy to respond to submissions only if an editor wishes to hire the creator.
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Submissions Agreement

Kosmic Comics PO Box 363 STN Main Whitby, ON L1N 5S4 Canada
I am submitting to you the following materials ("the Material"):
__________________________________________________________ __ ____
(list title and description here)
in accordance with the following agreement:
I represent and warrant to you, your successors, and assigns that the Material is original with me and that no other persons other than those who have signed this agreement have collaborated with me in creating and developing the Material.
Your consideration of the Material and any negotiations between us regarding the Material shall not be deemed an admission of the novelty or originality of the Material.
You may retain a copy of the Material and I release you from any liability for loss or damage thereto.
I hereby grant you the right to use the Material provided that you shall first conclude an agreement with me for such use or you shall determine that you have an independent legal right to use the Material or any portion thereof which is not derived from me either because the Material is not new, novel, or original or has not been reduced to concrete form or because other persons (which may include your employees and other persons presenting materials to you) have submitted similar or identical suggestions, features, and material which you have the right to use.
This Agreement shall be construed solely under Ontario substantive law (except where the Supremacy Clause of the Constitution of Canada requires federal law to apply). The parties having chosen the substantive law to apply, no other choice of law (including Ontario's) applies. Any dispute shall be settled in the province of Ontario; if dispute resolution is required, it shall be conducted in Ontario. A party may enforce any settlement or arbitration in any other forum only in accord with applicable law. Any dispute between us which cannot be settled by the parties in a reasonable time shall be submitted to arbitration in Toronto, Ontario, in accordance with the rules and regulations of the Canadian Arbitration Association. I agree that any claim against you, your employees, officers, directors, or shareholders based on the Material must be brought within one year after the date of your first publication or other relevant use of the Material.
In the event of any dispute that requires dispute resolution, the prevailing party shall be entitled to receive reimbursement from the non-prevailing party for all mediation, arbitration, and other legal costs, expenses, and fees, in addition to any other recovery or award.
This agreement constitutes our entire understanding and my signature and the signature of any person who has collaborated with me in the creation or development of the Material shall constitute agreement to the terms and conditions set forth herein. This agreement may be changed only by a written instrument signed by you and me. This agreement also applies to any other material which I may submit to you unless it is agreed by us in writing to the contrary. The invalidity of any provision of this agreement shall not affect the remainder, which shall continue in full force and effect.
__________________________________________________________ ______________
Signature
__________________________________________________________ _____________
Street Address
__________________________________________________________ _____________
Name, Please Print Clearly
__________________________________________________________ _____________
City, Province/State, Postal/Zip Code
__________________________________________________________ _____________
Date
__________________________________________________________ _____________
Telephone Number
NOTE: In case of collaboration, each collaborator should sign and provide the above information.
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PORTFOLIO PRESENTATION TUTORIAL
Attention aspiring artists!
If you're planning to show us your portfolio during a convention, PLEASE read through our Portfolio Presentation tutorial. It's full of information on what our editors’ look for during portfolio reviews and it's recommended that you follow these guidelines!

ARTIST'S PORTFOLIO REVIEW PREP CHECKLIST
Showing your work to an editor for the first time - especially in a convention setting - can be an exhausting, nerve-wracking event. It's likely you'll have to wait in line for several hours with other people who are vying for the same jobs as you, watching as, one by one; those in line ahead of you take their turn. By the time you reach the head of the line, you may be tired, hungry, or dying to use the restroom. You may be nervous, excited, or filled with dread - all natural reactions to being in a situation in which you're submitting your work to a stranger for judgment. It's not unusual to discover afterwards that you failed to voice all of the clever things you were going to say, or that all of the questions you had planned to ask were forgotten. (For this reason, you should write them down ahead of time and consult your list at the end of the review.)
Likewise, the editor may be tired as well. He or she has perhaps seen dozens of portfolios already that day and has repeated the same advice to probably ninety-nine percent of those who have come before you.
Put it all together and it's a recipe for miscommunication, conflicting expectations, and possibly dashed hopes. Below are some steps you can take to create the best possible experience for both yourself and the editor, and to ensure that the hours you've put into preparing your work and waiting in line are worth the effort.

BEFORE YOU GET IN LINE, ANSWER THESE QUESTIONS HONESTLY:
Have you shown your work to:
*your parents?
*your friends?
*your teachers?
*and especially to professional artists attending the convention?
Has the consensus been that your work is of professional quality?
If the answers to those questions is no, then we strongly advise you not to go through the process of showing your work.
Consider this: an editor's job is to find artists whose work is polished enough that they could start on a professional assignment today. An editor can look at your work and assess whether or not your samples demonstrate that you have what it takes to be a professional comics’ artist. If your work is not yet of professional caliber, most editors are not qualified to tell you specifically what you need to do to raise your skills to a professional level. They are project managers, not teachers.
Unless you have people honestly telling you that you're working at a professional level, instead of wasting your time waiting in line for an editor to tell you that you're not ready for professional work, avail yourself of the many professional artists that attend major conventions. Most will have their original work on display, and are often happy to discuss specific techniques, how they developed their skills, what kind of classes or schools they attended, etc.
Becoming a professional comics’ artist doesn't happen overnight. It requires a lot of dedication and hard work. Until you've studied the craft and learned the essentials, you have nothing to gain by showing your work to an editor.
For many aspiring artists, showing ones work to an editor seems to have become an end in and of itself. Unfortunately, those artists are usually disappointed by the experience because they have not thought through what their goals should be when showing their work.

WHAT YOUR GOAL SHOULD BE IN SHOWING YOUR WORK:
To get a job drawing comics.
If your work is not yet of professional quality, you're not ready for a job and should not be showing your work.
Treat the portfolio review experience like a job interview. Would you apply for a job as a brain surgeon if you weren't already a qualified brain surgeon? Of course not. Comics’ artist is a job, just like any other, with its own set of necessary skills and qualifications. Come to the interview prepared to show that you're qualified.
Now, if this is your first time showing your work, the odds are stacked against you walking away with an assignment, but you can still learn and benefit from the experience.

WHAT YOU SHOULD EXPECT:
Two to ten minutes of an editor's time. Period!
The editor will look at your samples and discuss them with you. He or she will tell you what they like about what you've done, as well as areas they think you could improve upon. They may invite you to send them more samples in the future. There is a very, very slim chance that the editor will like your work enough that he or she may offer you a job on the spot, but don't expect it. Look upon this as your first opportunity to develop a professional's "thick skin." Editors are often harried and tired at conventions, and they aren't always at their best. If you receive brusque treatment, don't take it personally. Keep in mind that the editor's primary job is to find creators who are accomplished enough to take on an assignment right now - not a year from now. Most will give you a fair assessment of your work, but if you're looking for advice on how to draw and/or a detailed critique, show your work to friends, family, teachers, and other artists, especially professional artists who are also attending the show.

WHAT TO BRING:

Pencillers:
Five or six consecutive story pages showing panel-to-panel continuity.
Pick a story or sequence that shows your range: a quiet scene followed by an action scene; scenes that demonstrate how you handle a wide variety of subject matter, including regular people, street scenes, cars, buildings, trees, animals, etc. The more range you can demonstrate, the more likely you are to land a job. You may bring more work to show, but don't count on the editor looking at every single page you've ever drawn. Show only what you feel to be your best work.
The script or plot from which you worked.
If you drew your story sequence from a written plot or script, bring it along. The editor may not ask for it, but if they want to compare what was asked for in the script with what you've drawn, you'll be able to show them.
If you also plan to show inked work, bring good, readable copies of the penciled pages.
If your inks aren't of professional quality, you're better off not showing them. Concentrate the review on what you do best. No editor expects you to be accomplished in every aspect of the field. Show only what you feel to be your best work.
If you wish to show pinups or other single-page illustrations, show them last - after your story pages.
While it's true that editors hire artists to produce covers and the occasional pinup, the vast majority of work available for artists is drawing story pages (the average comic book has 22 pages of story and one cover). An editor needs to know you can tell a story with pictures. Show only what you feel to be your best work.
An envelope containing copies of the work you're showing with your name and contact information on every single page.
The editor may or may not ask you to leave copies of your samples. If he or she does, you'll be prepared.

Inkers:
At least six story pages showing panel-to-panel continuity.
Pick a story or sequence that shows your range; scenes that demonstrate how you handle a wide variety of subject matter, including regular people, street scenes, cars, buildings, trees, animals, etc. The more range you can demonstrate, the more likely you are to land a job. If possible, obtain pencils from a variety of artists of varying styles. Show only what you feel to be your best work.
Good, readable copies of the penciled pages from which you worked.
An editor will absolutely want to compare your work with the original pencils.
An envelope containing copies of the work you're showing (and copies of the pencils) with your name and contact information on every single page.
The editor may or may not ask you to leave copies of your samples. If he or she does, you'll be prepared.

WHAT TO DO:
Use the time you spend in line to prepare.
Hopefully, you will have prepared your portfolio before ever getting into line for Portfolio Review, but while you're waiting, take another look at it. Make sure that it is well organized and that the pages you wish to show are in the front of the portfolio and in the correct order. Talk to the people in line ahead of you and behind you. You're going to be there awhile, so you may as well take advantage of each other's knowledge and experience. Compare experiences, share tips, and critique one another's work. It's not altogether improbable that the person sitting next to you may one day be a fellow professional, a collaborator, or a helpful contact.
Treat the review session like a job interview.
You don't have to dress up, but be neat and clean. Speak clearly. Make eye contact. Let the editor know you're engaged in the process. Try to relax. If the editor didn't want to look at your work, he or she wouldn't be there.
Listen to what the editor has to say.
That's the reason you've been waiting in line. Take notes if you want. Don't be afraid to ask questions if you don't understand what point the editor is trying to make or the terminology he or she uses.
Let the review end when it's over.
Yes this is your big chance, but remember what we said about not setting your expectations too high. If the review session appears to be at an end and the editor has not offered you a job, it is permissible to ask him or her if they'd like to see more of your work (assuming you've brought more to show), or if you can send additional samples in the future. But don't overstay your welcome. Other people are in line waiting for their turn.

WHAT NOT TO DO:
Don't apologize for your work.
If your portfolio is unorganized, or you don't have any story pages to show, or the work is only half finished, then do apologize for wasting the editor's time. However, if you've done your prep work and you've waited in line, let your work speak for itself and allow the editor to get on with the review.
Don't defend your work.
Any comments the editor makes will be directed at specific aspects of your work, not you. Listen to the editor's comments and try to learn from them. If an editor makes critical comments about your work, don't try to "explain" them away. Those initial context-free reactions are valuable, because that is what a professional editor is honestly "seeing" when they're looking at your work, regardless of what you intended. If you disagree with the editor's assessment of your work, let it go. Find another editor to whom you can show your work. Arguing with an editor will not change their opinion of your capabilities, and it certainly won't get you any closer to a job. Sure, some editors are jerks (just as some artists are), but there also exists the possibility that he or she knows what they're talking about.
Don't try to force copies of your work on the editor.
If the editor doesn't ask you to leave copies of your work, take the hint. If you force the issue, the editor will most likely accept the copies, but they will end up in the garbage before the end of the convention.
Don't call the editor after the convention.
The only time it is acceptable to phone an editor after showing them your samples is if they told you they had a job for you. Other than that, restrict your contact to mailing new sets of samples (for God's sake, don't send editors the same pages they saw at the convention unless they've asked you to!).
The most important thing to remember when showing your work to an editor is that this is your first contact with a new aspect of the comics industry. If you've been a life long comics fan, this is your opportunity to see things from the side of the people who create comics for a living. Even if it's just for a few moments, you've been invited behind the scenes. Take advantage of the invitation, use the opportunity, and learn from the experience.

FOR WRITERS
We've saved writers for last because, unfortunately, conventions are not ideal places to present stories or scripts to editors. Art can be looked at and evaluated in a few seconds; reading a script takes time - more time than an editor has available at a con. Writer's guidelines can be found here.
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