You might remember we spoke to Andy Schmidt, IDW senior editor, founder of Comics Experience, author of The Insider's Guide to Creating Comics and Graphic Novels, last year.
He's coming back, and we're giving you the chance to ask your questions.
You want to know about how comics get made at IDW? You want to know about the classes you can take at Comics Experience? You want to know any of the books Andy worked on at Marvel? Want to break into comics? Anything else you can think of?
This is your chance to talk to a guy who's been around the business and knows how things work, so tee up your questions, and I'll use the best ones on on upcoming Talksplode.
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What’s the best/funniest Tom Brevoort story you have?
What con would You say is best to actually to talk to editors of all the mahor companies? I would think San Diego is out of the question , because there is just so much going on. But are there smaller cons where a lot of editors are present.
Oh and whats the funnest con party you have been to and who got naked first ?
I’m a graphic designer. What is a graphic designer’s function in the comics biz?
How does IDW’s vision for comics and the industry differ from other publishing houses like Image, Oni, and Dark Horse?
From an editor’s point of view, how do you reward (and hopefully duplicate) the success of surprising books like G.I. Joe Cobra (other than making it an ongoing)?
I have enjoyed some of the recent Transformers issues and recently decided that I wanted to read IDW’s Transformers series from the beginning. I then discovered that it is told in a rather intimidating mix of series and spotlight issues in a somewhat messy non-chronological order. I’m still planning on trying to read the trades, but is there something that needs to be done at the editorial level to make the ongoing story somewhat better organized or do you feel it is fine to tell the story in this fashion?
Who wins in a fight. Optimus Prime or Snake Eyes?
How much of an impact did becoming a Premier Publisher at Diamond have at IDW? From either the bottom line business perspective, or a "status" point of view?
@ChrisNeseman – That is a damn good question (the Premier Publisher question, not the Snake Eyes one).
@stuclach – Yeah, we all know the answer is Snake Eyes…
With you being noted for the revival of the G.I. Joe franchise and the Transformers franchise, how do you balance the oppertunity to gain new franchises and allowing new independent ideas to flurish at IDW?
So for the past year I’ve been self-publishing a lot of different kinds of comics that I’ve written with friends who draw them. I really believe my team and I have put our best foot forward with all the comics we’ve created, and I’m considering collecting them all into one big graphic novel and sending them out to some publishers. Is this a good idea? Does it show the publishers that I have the initiative and drive needed to make comics? Thanks a lot Andy, you’re a great editor!
@ChrisNeseman – Obviously.
As an editor, what do you look for/respond to in your writers?
When looking at new writers or artists, what are some indicators of professionalism and diligence you look for? These can be more obvious and universal job interview pointers or they can be more subtle cues you’ve picked up over the years: the difference between a big talker that delivers and one that doesn’t, for example.
who would win in a fight spider-man or spider-ham
What is the best advice you can give to an aspiring artist like me? What do I have to do to get a job at SDCC?