This is dedicated to the people who made working conditions so unbearable that I had to quit or have a brain aneurysm, then had the gall to offer me $36 a page for the eleven pages I had previously done, as a 'kill fee' (read: sop for their conscience.)
Really, now, what did you think I would say?
7 comments:
That is seriously messed up.
Steve
Only one of many delightful tales! And I wasn't even there for a year!
Ah well, DC has been great so far.
Best,
Brett
It's because it's your destiny to draw super heroes. First DC then someday Marvel and Spider-man! Then I can die happy.
Steve
Steve,
I had always planned on eventually going back to the superheros, just not so soon. I'm not going to stop working on the other stuff all together, I'm not sure how everything will play out at DC so I'm keeping my options open right not. There are some books I still want to adapt:)
Best,
Brett
wow, signal to smack a bitch! LOL Bret, I have been a fan for a LONG time, as long as you're working I am happy. :D
Clever response, that's pretty down right detestable though that such a company would respond to you by offering a pretty crappy page response.
You've been in the industry for quite a while, and would earn the title of "professional". So if that is how you are being treated, I wonder how the up and coming entrants to the industry are being treated, and if they are getting offering a mere few cents for their work.
It is SOP for many small companies to treat the talent like crap. There is always more talent, young people who will put up with anything to get published.
Pencillers and writers are the stars in the comics industry. Nobody buys a book because of the editor. Nobody. This can make for an adversarial relationship between editorial and talent, especially if the editor is a wannabe writer or penciller.
A good editor will play to the strengths of the talent, and let an experienced penciller or writer simply do what they do best. A good editor can shape a book and offer suggestions in a way that is not insulting or adversarial and maintains a good relationship with the talent.
A good editor does not tell an artist with almost twenty years in the industry that he has no choice but to accept art direction from people who have never drawn a comic book before.
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