Create the next CLiNT icon!
You’ve roamed the dirty New York streets with Kick-Ass. You’ve slain and lain with vampires with Susie Randall. You’ve killed God with Rex Royd. They’re all CLiNT icons.
Now it’s your turn!
We’ve opened up the CLiNT slushpile and are taking submissions for the next big thing from artist and writer teams everywhere!
The editorial team will review every submission package. We’re looking for the very best, but we’re also looking for talent we can help develop and give a push up to the A-list.
We’re looking for something fresh and different. It doesn’t have to be superheroes. It does have to be big, bold, colourful – the kind of thing you’d want to crack open our covers and read.
But why send your package to CLiNT? What makes us different? Lots of things!
THE TOTAL CLiNT PACKAGE
- If you’ve got what we’re looking for, we can offer the whole publishing package!
- If chosen, your character will appear in CLiNT, alongside first-run exclusive pages of Kick-Ass 2 and new comics from other top-flight creators!
- If we think you’re ready for the big-time, we’ll help you maximise the potential of your strip! With decades of experience in the comics industry, we’ll give you all the advice you need to make your story the best it can be.
- You’ll get hefty promotion across the web and the world from Mark Millar, CLiNT and Titan!
HOW TO SUBMIT
We’re looking for work from combined writer and artist teams, or skilled creators who do both. You can send us your artwork if you don’t have a writer on board, but we’re afraid we can’t read unsolicited scripts that don’t have an artist attached. Too much reading, sorry!
Please send us an email or paper package with your synopsis, cover letter, signed submission agreement, and no more than six pages of art, preferably coloured and lettered – though we can put you in touch with colourists and letterers if we think your work is strong enough.
Art-wise, if you send enormous files via email... we will track you down and kill you! 800 pixel wide jpegs are quite big enough. A low-res PDF package is even better!
As for your concept, keep it descriptive, but brief. Show us you’ve got a plan for the complete first story. Keep that short, too: you’re probably not going to get an 100-issue saga straight off the bat.
Show us that you know what happens in the middle and end of the story. SPOIL THE WHOLE THING! We want to see if your story is ready to print. A great set-up is cool, but a great set-up with a great pay-off is one in a million. That’s what we’re looking for!
Click here to download your submission agreement
Email your pitch to firstname.lastname@example.org
Alternatively, send your pitch by regular mail to: CLiNT Submissions, Titan House, 144 Southwark Street, London SE1 0UP, United Kingdom
- 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.
- We are only looking for writer / artist teams at this point in time, so your pitch MUST include both a story proposal and sample sequential pages – not pin-ups – drawn by the artist you, as the writer, intend to work with on the project.
- We accept proposals for both limited series as well as ongoing series.
- Do not send samples/proposals via facsimile (fax). All such submissions will be destroyed without review.
- Do not make telephone follow-ups to check on the status of your submission. It is now Titan’s policy to respond to submissions only if an editor wishes to hire the creator.
- Do not send original art. Send scans, digital originals, PDFs or photocopies / print-outs only. Be sure that any physical or digital file you send has your name, address, email and telephone contact details on it.
CREATOR RIGHTS / SUBMISSION AGREEMENT
SIGNED SUBMISSION AGREEMENT: CLiNT and Titan have the highest regard for creators and for the ownership of original properties, and this agreement should in no way be misconstrued as license for CLiNT/Titan to appropriate your creations. This agreement protects CLiNT/Titan from any liabilities involving coincidental similarities to works-in-progress or other submissions. It is only required for original stories, scripts, series proposals, and characters. Story proposals or samples arriving without a signed agreement will be destroyed without review. Obtain a copy of the agreement here. A new agreement must be submitted with each new idea, proposal, excerpt, etc. and must be signed by all involved creators and copyright holders. Please note that CLiNT/Titan does not review unsolicited story ideas, or proposals pertaining to properties currently published by Titan or any property not owned by the submitter. Such material will be destroyed without review.
HINTS AND TIPS
- Get real
- Life's a pitch
- Originality is king
- Give it some flesh
- Play to your strengths
- Colouring is more than keeping inside the lines
- Think about the letters
Firstly, and perhaps most soul-crushingly… do you think your work is honestly ready for prime-time? Have you showed it to friends, family, the guys and girls in the local comic shop? Pro artists you’ve met in the pub, or at a convention or signing? Is the art of a professional quality? Is the writing more than just fan-fiction dressed up in a different pervert suit?
Given that you’ve spent the time to get down to this part of the webpage, we’re guessing you’ve got the dedication and self-awareness to recognise if you’re ready or not… But we’ve got to get the harsh realities out of the way! Comics is still a small industry where only a few succeed.
Your idea has to be a laser-tipped silver bullet of meaty goodness to get through to the wearied, commissioning brain that swings from atrophied ganglia in the skull of comics… but maybe we’ve already pushed that metaphor as far as it’ll go. It’s tough! But if your work has the chops, you’ll make it.
If you’re presenting a new idea, first impressions are still important. What’s the one-sentence pitch that will get anyone – not just us – interested in reading the whole story? And, more importantly, once you’ve grabbed our attention, can you summarise what happens in the WHOLE STORY as succinctly as possible? We reckon a single side of A4 should do it.
Superhero comics have been getting by on fantastic origin stories and eternal middle acts since 1938, but we need to know you can stick the landing, too. That means a third act and an ending – and a great one at that. If it’s a concept that can lend itself to an ongoing, or a series of self-contained stories, then all to the good – but we’re looking for strong narratives at this point, not just good starting points for storytelling engines.
Anything that looks like your favourite movie or comic with the serial numbers filed off is probably going to go straight into the bin. We’ll read it, just to make sure you haven’t subverted a well-loved franchise and created an entirely new genre in the process, but we see a lot of this kind of thing and it’s generally not very good. New ideas will be appreciated!
It’s always good to know that you’re more than just an ideas person, so some sample pages of your scripts to accompany the art are always worthwhile. However, if your finished pages look good and the letterer has spelt all the words correctly, we’re not going to mark you down if your script’s a bit all over the place.
Different comics teams work in different ways, and – while it helps immensely if you’re able to spell, punctuate and layout a document like a civilised human being – it’s the final product that’s most important.
When submitting art, choose pages that play to the strengths of both your story and your artwork – while also showing your range. If the first six pages of your comic are a slow zoom in from outer space on a man sipping a beer, then for a start throw those six pages out and start again. Boring!
But seriously, you should choose a sequence that shows you can do quiet, talking-heads panels as well as full-on action, with the emphasis on showing how versatile you are in drawing different kinds of people, places, clothing, props and situations. If you’re no good at drawing lions, but your story doesn’t involve giant wild cats of any kinds, then don’t feel you have to push yourself, but if all you can draw is someone who looks a bit like you in Spider-Man’s costume, then you’re probably not ready yet.
We’re looking for strong underlying anatomy and storytelling rather than whiz-bang angles and constant splash pages. Give us something to READ.
Colouring is an incredibly important – and often sadly overlooked – part of the comics process. Good colouring can hide weaknesses in art or just boost the overall calibre of a page… Bad colouring can make even the best artist look trashy.
Ideally, we’d like you to bring an art team to the table, and that means a good or up-and-coming colourist. But if you’re ‘just’ a writer and artist with an excellent idea, we should be able to work something out! Don’t rush or half-arse the colours if you’re not confident it will improve the work, that’s not helping anybody!
Lettering is something that’s relatively easy to tweak at an editorial level, so, again, we won’t mark you down if it’s mediocre. Those of us who are letterers might get a bit sniffy, mind!
It really is worth spending the relatively small amount of time it takes to get your lettering level up to scratch, especially if you’re one of the many writers who also does their own lettering. Find a font that is easy to read, not just one that looks cool. Look at your favourite comics to see how they shape balloons, tails and caption boxes – don’t just drop in something that looks like it came from clip-art. Most importantly, place your balloons in a way that respects the art and guides the reader’s eye across the page.
Category: Announcements | Posted on: 17 August 2011