From: [s--ru--y] at [cbnewsk.cb.att.com] (sylvia.a.rudy)
Newsgroups: rec.arts.comics.misc
Subject: Submissions Guidelines: DC  [7 of 12]
Date: 24 Aug 93 19:16:15 GMT


Company:   DC Comics

Address:   1325 Avenue of the America's
           New York, NY 10019

Phone:     ?
Fax:       ?

Text of letter:

		DC COMICS
		WRITER'S
		SUBMISSIONS
		GUIDELINES	

	HOW TO
	SUBMIT
	STORIES TO
	DC COMICS
Please send COPIES of your work (never send originals) along
with a self-addressed, stamped envelope for a reply, to: (see
above).  If you don't include an SASE, there's no guarantee 
you'll recieve a reply.  DC COmics is not responsible for the
safety or return of any original material sent to us.
    You'll recieve an answer as soon as we can evaluate your
work.  This may take several weeks.  Don't phone to discuss
your submission.  We recieve dozens, often *hundreds* of
submissions a week and it's impossible for us to follow up
on them over the phone.
    You may send samples to a DC editor with whom you'd like
to work.  Some editors will look at work from new writers, but 
there's no guarantee you'll recieve an answer from an editor 
whose main concern is getting out his or her books.
    If you're planning to bring writing samples to a comic's
convention, keep in mind that it's difficult for an editor to
give writing the attention it deserves in a hectic, crowded con
environment.  It's best to leave photocopies of your work
for later review.
    Breaking into comics as a writer is extraordinarily 
difficult.  The big difference between submitting art and writing
to DC Comics is this: We givre new artists work based on the
skills shown in their samples.  We don;t hire writers.  We buy
stories.  It doesn't matter how skilled you are as a writer if
you can't sell us a story idea.
    Competition is fierce.  DC published a limited number of
titles and there are many people who want to write for them.  
SOme regular writers are not writing up to capacity, and there
are many would-be scripters waiting for their chance.  Don't be
discouraged.  It's tough, but the best can find work at DC.

	CONTENTS
	OF YOUR
	SUBMISSION	
If you can't convince us that your story idea is something
we have to publish, there's no point in going any further.
No one has time to read a script to see if there;s something 
of merit there.  With this in mind, you should submit a
story SPRINGBOARD -  a one-page, double spaced typed story
concept.  Despite what some novice writers thing, literally
*any* story we would be interested in can be described in 
this format.  We will not review written submissions in any
other form.
    Never submit a full plot or script.  Many prospective 
writers spend hours on full scripts.  While we appreciate
the enthusiasm, we don't have time to read complete scripts.
Start simply and work your way up.
    When constructing a springboard, think of the back-cover
copy of a paperback novel.  If it's well-written, the customer
is eager to buy the book and read what's inside.  Your goal 
is to make the editor ask for *more* from you.
    Thee are five elements you absolutely must include in any
springboard.  They are:
	1. A BEGINNING.
	2. A MIDDLE.
	3. AN END.
Do not underestimate the importance of these three things.  
This is the foundation upon which your story is built, and if
any one of these is missing or lacking, your tale will not not
hold up.  Here is where you introduce the characters and
situations, develop conflicts, and indicate their resolution.
    Conflict need not be hero versus villain.  Man against
himself, or nature, or a problem that must be solved, are all
valid conflicts.  Your opening should be compelling enough to
grab our interest in the first sentence.
	4. A HOOK
	   (also called the High Concept or theme)
This is the essence of what makes your story unique and nifty.
When you boil your story down to one sentence, if that sentence
is compelling, that is the *hook*.
	5. READER IDENTIFICATION
The events that you describe must affect a character that we 
care about in some way.  (This doesn't necessarily have to be
the hero).  If no one in the story cares about what happens,
why should the reaser?  We all share common emotions and
experiences.  Tap into these feelings and use them in your
stories.
    Continuity is very important in today's comic-book market.
A comics writer has to be familiar with a character's history
before trying to write that character.  Make sure you've read
enough to fully understand any series' current continuity -
and the personalities of the cast.

	STORY
	FORMATS
Full length stories in DC regular monthly titles range from 22
to 25 pages, depending on format.  But we strongly recommend
that you think in terms of our new anthology title, SHOWCASE.
We buy 10 page stories using virtually all of our characters.  
This is the best place for a writer not currently working at 
DC to make a sale.
    Our *Superman*, *Batman*, *Star Trek*, and *Sandman*
editors do not review unsolicited material, so don't send us
anything using those characters or their mythologies.
    Be aware that no novice writer will be allowed to make
major changes in continuity.  Don't rely on new powers, death
of an existing character or personality changes to make your
story compelling.
    If you are writing a springbnoard for a new character
you've created, you should also include a biref paaragraph
describing who the character is and what he's about.  If you're
creating a new world, what's the most interesting thing about 
it.  Remember, like the rest of the springboard, you should 
keep this *brief*.
    If your idea interests an editor, he or she will work with
you on developing the idea further, either to plot or full 
script. 

	STYLISTIC
	REQUIREMENTS
Professional work *looks* professional.  Bad spelling, 
punctuation, and grammar are signs of the amateur.  The editor
will not be interested in proposals filled with errors.
    All writing submissions must be TYPED double-speced on
one side of the paper.  Hand-written submissions will not be
considered.
    Comic-book writing is about telling a story in pictures,
with words supplementing the visual storytelling.  No matter 
what story genre you want to work in, comic books convey,
through pictures and words, action, movememnt, and urgency; a
sense of drama and grandeur and "larger than life" excitement.
    You should learn comic-book techniques and terminology and
use them.  "Comics and Sequential Art," by Will Eisner is an
excellent "bible" for conventions of the medium.

GOOD LUCK!

(the following appears in the margin)

	IMPORTANT
	REMINDERS	
    1. Always send photocopies - never send originals!
    2. Include your name, address, and phone number on
       each page of your submission.
    3. Always include a self-addressed, stamped envelope
       with your submission, with enough postage for the
       return of your copies (if you want them back).
    4. Please handle all submissions-related correspondance
       with DC though the mail.  Don't call.


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