I want names.

[Scatman]

I've been receiving some encouragement lately to submit my strips to the syndicates again. I'm working up the courage now. But one problem I've had is the uneasy feeling of sending my submissions to "Comics Editor" or the like. I know having the name of a decision maker doesn't mean much, and that a gatekeeper opens the submissions anyhow, but is there a better way? Any suggestions on how to get that 9" by 12" envelope to stand out?

I think I have current addresses for the largest syndicates, but any names I have may be a couple of years old. Anyone with any current or breaking info?

Also, in the matter of character sheets: Is a full body drawing with a couple of facial expressions from different angles sufficient for a main character?

I'm trying not to get my hopes too high, but it's hard not to. Wish me luck.

[Ronski46]

Good luck, man. No, I don't know anybody with the syndies. All my juice is in Vegas. I sent a package to Creators on the 15th, to the Editorial Review Board, or some such. 'Twas in a regular, old Priority Mail envelope.

I try to approach the submission process with much the same tongue-in-cheek attitude I have whilst buyingeth a lotto ticket.

[GregCartoonist]

Creators would be Rick Newcomb.
Glenda Winders at Copley.
Amy Lago at United
Lee Salem at Universal
Jay Kennedy at King
Suzanne Whelton at WashPost
Fred Schecker at Tribune.

Don't worry about making a 9X12 envelope stand out- nobody's gonna make you an offer because you got nice taste in stationary. Just make sure that your submission is all the absolute best you can create. If you can't create 36 absolute jewels given all the time in the world, the syndicate figures you'll never manage it on a schedule. All you want is for the editor who opens the envelope to say "Hey, I better show THIS around. I could get a raise for discovering this guy!"

[Scatman]

Thanks, Greg.

In the matter of character sheets, can I put two or three characters to a to a page or does that not showcase them enough?

By the way, I was hoping my "Hello Kitty" stationary would give me an edge, but I guess I was wrong.

<font size=-1>[ This Message was edited by: Scatman on 2002-02-26 05:57 ]</font>

[GregCartoonist]

I'd definitely go with the 'Hello Kitty' stationary. The 'Hello Kitty' boxerbriefs went over so well in Ohio last year.

As far as character sheets go (and remember that all my opinions should start with the phrase 'How the hell should I know?') Do whatever communicates the character and your familarity with him or her. As long as the page gives some idea of the character and his general attitude, you're set.

For example, let's say you've got a frenetic wild character. His character sheet should have lots of poses showing him from all sides. Maybe the character is shadow boxing or leaping around and over the body copy on the page, smashing a block of type at the bottom right corner.

Or you've got, say, a sour old bastard character. He might only have two poses on the page. One cranky face-on pose, and one pose where's he's walking away from the reader, head turned totally away and hand waving dismissively. The background might even be black and sullen with white type reversed out, or maybe in thought balloons.

I dunno. Does this sound sensible?

[Scatman]

I guess it does make sense. One thing I've learned is that busy usually isn't better. If I can convey a character's personality in 2 or 3 drawings, so much the better. I won't approach it like I have to fill an entire page with poses. This is a detail I probably shouldn't sweat, because the proof is in the actual toons.
Thanks for the input.