Year: 2011 Page 4 of 23

I first met Steve Ditko sometime in 1977. For the life of me, I can’t remember where.It might have been at Continuity, Neal Adams’ studio. Continuity was the crossroads of the comics industry. Besides the people who actually worked there, a lot of artists would show up looking for freelance advertising or storyboard jobs, which paid way better than comics. Some comics creators—Cary Bates, Jack Abel and Howard Chaykin come to mind—sublet studio or office space from Neal. Continuity was a Mecca for young artists. New kids trying to break into the business like Frank Miller and Bill Sienkiewicz would turn up hoping that Neal would look at their samples and give them advice. Other comics people, like me, for instance, would show up once in a while to see someone who worked there, talk business with Neal or just hang around the crossroads for a while and catch up on the industry gossip.

As far as I know, Steve Ditko never worked there, but, like I said, almost everybody stopped by at some point for one reason or another.

Anyway, I met Steve, probably there. What an honor. I loved his work. When I was a kid I tried to emulate his style.

Drawing by Jim Shooter when he had just turned age 13

By the way, Neal was at his crusading best in those days, leading the fight to get Siegel and Shuster recognition and compensation for creating and establishing Superman—and winning. He also was one of the prime movers of the Comic Book Creators Guild. A story about the Guild which includes an anecdote involving Steve Ditko can be found here.

After I became Editor in Chief of Marvel in 1978 and therefore had the power to offer him work, I told Steve that if he ever wished to work for Marvel he was welcome. Anytime. He was a Founding Father. I couldn’t rectify all the past injustices (though I was trying), but I could and would keep our door always open to him.

Thanksgiving in Newark

By Jim Shooter

On November 6, 2011

In 09 Reminiscences and Tributes, Uncategorized

David Michelinie’s check didn’t come. It was the Wednesday before Thanksgiving, 1978, I think.Marvel Comics was still sorting out its payment procedures, which went through several changes during the first year I was Editor in Chief. You can read about it here and here.

The deal was supposed to be if your voucher was received by the cutoff day one week, your check would be mailed Monday of the next week. By Wednesday, surely, you’d have your check.

But, no.

Dave lived in Newark, Delaware. He called me at the office that Wednesday to…umm…gently express his…umm…disappointment? What’s the politest way to say murderous rage?

Most of us lived hand to mouth in those days. The business was struggling. Most of us were struggling. Dave was more responsible than most. A solid citizen. He owned a home. He managed pretty well, compared to some of us.

But he needed that check. It was the day before Thanksgiving. He had no cash and hadn’t been to the grocery store lately. What was he supposed to do, eat cat food for Turkey Day?

I looked into it. Somehow his voucher hadn’t made it into last week’s batch. Bookkeeping had put it aside because of some question about it.

Great.

I went upstairs and calmly, rationally, at the top of my lungs convinced the money tweezers to cut that check. Right now would be lovely.

A Question About Writing for Television and Movies

By Jim Shooter

On November 5, 2011

In 10 Questions / Answers

QUESTION:

Dear Jim,

I hope this isn’t a silly question, but what differences do you see between comics writing and writing for TV or movies? Would you say that comic book story structure is less rigid and formulaic?

Pete Marco

ANSWER:

Writing for television means adhering to many strictures and limitations — things like building in a hook before each commercial break, obligations to performing talent, sticking strictly to the bible and staying within strict conceptual parameters. And more. The money is bigger, the stakes are higher. Therefore: There is very little tolerance for inflated egos and self-indulgent prima donnas. The supervision is rigorous and exacting. The people who write TV, almost without exception, know their craft and are skilled professionals. For most shows that accept pitches you have to be qualified and approved before you’re even allowed to pitch.

How to Do Continued Stories and Next or Future Issue Teases – Part 3

By Jim Shooter

On November 4, 2011

In 04 Storytelling Lecture

The Great Cover After the Best Cliffhanger Ever

At the request of Lincoln G, here’s the cover of the Amazing Spider-Man #33. Not surprisingly, the best cliffhanger also made for a terrific cliffhanger cover.

Long Term Teases, or This Better Be Good….

The best long term tease, the best tease of any kind is consistently great entertainment. Publishing compelling issue after compelling issue is the best way to keep people interested in what comes next. Build up enough momentum, enough reputation and even if the stories are not as good as usual for a multi-issue stretch, the audience will stick with a series for a while. It’s like a ride in a hot air balloon. You stay aloft for a while even after the burner is turned off.

Mark Twain’s Rules of Literary Art

By JayJay Jackson

On November 3, 2011

In 04 Storytelling Lecture, 13 Guest Posts

Excerpted from “Fenimore Cooper’s Literary Offenses” by Mark Twain.

JayJay here. Over the years Jim has had a few classic sources of advice on writing that he would refer writers to. Here is one of them. Good things to keep in mind.And I recommend reading the essay that these guidelines are taken from even if you have never read any Fenimore Cooper. It’s very funny. Over the years Jim has had many people ROTFL when he performed dramatic readings of it. Makes my sides hurt to even remember.

The rules governing literary art in the domain of romantic fiction require:

1. That a tale shall accomplish something and arrive somewhere.
2. They require that the episodes of a tale shall be necessary parts of the tale and shall help to develop it.
3. They require that the personages of a tale shall be alive, except in the case of corpses, and that always the reader shall be able to tell the corpses from the others.
4. They require that the personages in a tale, both dead and alive, shall exhibit sufficient excuse for being there.
5. They require that when personages of a tale deal in conversation, the talk shall sound like human talk, and be talk such as human beings would be likely to talk in the given circumstances, and have a discoverable meaning, also a discoverable purpose, and a show of relevancy, and remain in the neighborhood of the subject in hand, and be interesting to the reader, and help out the tale, and stop when people cannot think of anything more to say.
6. They require that when the author describes the character of a personage in his tale, the conduct and conversation of that personage shall justify said description.
7. They require that when a personage talks like an illustrated, gilt-edged, tree-calf, hand tooled, seven dollar Friendship’s Offering in the beginning of a paragraph, he shall not talk like a negro minstrel in the end of it.
8. They require that crass stupidities shall not be played upon the reader as “the craft of the woodsman, the delicate art of the forest” by either the author or the people in the tale.
9. They require that the personages of a tale shall confine themselves to possibilities and let miracles alone; or, if they venture a miracle, the author must so plausibly set it forth as to make it look possible and reasonable.
10. They require that the author shall make the reader feel a deep interest in the personages in his tale and in their fate; and that he shall make the reader love the good people in the tale and hate the bad ones.
11. They require that the characters in a tale shall be so clearly defined that the reader can tell beforehand what each will do in a given emergency.In addition to the large rules there are some little ones. These require that the author shall:

Say what he is proposing to say, not merely come near it.
Use the right word, not its second cousin.
Eschew surplusage.
Not omit necessary details.
Avoid slovenliness of form.
Use good grammar.
Employ a simple and straightforward style.

How to Do Continued Stories and Next or Future Issue Teases – Part 2

By Jim Shooter

On November 2, 2011

In 04 Storytelling Lecture

The Best Cliffhanger Ever

I remember buying this comic book at Churchill’s Pharmacy, corner of South Park Road and Brightwood Road, Bethel Park, Pennsylvania. It was October, 1965. I had just turned fourteen.

I read the book in the store, after paying for it. They were nice at Churchill’s but like everywhere else, if you read the books before buying them, they’d remind you “this isn’t a library.”

The issue contained the second chapter of a three-part story, fondly referred to around Marvel in my day as the “Master Planner Sequence.” This chapter, “Man on a Rampage,” features Spider-Man on a desperate quest to recover the only thing that can save his beloved Aunt May’s life, a serum called ISO-36, the only supply of which has been stolen by the Master Planner’s thugs.

How to Do Continued Stories and Next or Future Issue Teases – Part 1

By Jim Shooter

On November 1, 2011

In 04 Storytelling Lecture

Continued Stories

I was taught that if a story continues in the next issue, end with a climactic cliffhanger.

Well, duh….

And yet….

And, as I learned on my own, that “rule,” taught to me by Mort Weisinger, like pretty much all rules applied to creative work, is far from absolute. There are plenty of ways to go about continued stories. More on that later.

But first, the end-with-a-climax/cliffhanger way:

In the first issue, introduce the characters and establish their situation. Introduce the problem, threat, opportunity, whatever that generates the conflict. Develop the conflict to an intense climax/cliffhanger, and end there.

Second issue, elegantly, succinctly introduce the characters. Re-establish the climax/cliffhanger situation from the end of last issue. If possible, intensify the situation. Resolve the climax/cliffhanger—that is, brilliantly get Batman out of the death trap or whatever. Do it in such a way that A) the overall conflict is not resolved but is in fact increased, or B) a related-but-new, greater conflict arises to succeed the resolved conflict. Develop that new or increased conflict to an intense climax and bring the story to a resolution.

My Final and Eeriest October Tale

By Jim Shooter

On October 31, 2011

In 09 Reminiscences and Tributes

Dire Premonitions

Sometime in early February of 2001, in the middle of the night, I woke up from an intense dream. I dreamed that my father was gravely ill. Dying. Just a dream, I told myself.It became a recurring dream. It happened five more times before March 14th, my mother’s birthday.I hadn’t been keeping in touch the family back in Pittsburgh much, hadn’t been home to visit for a while. Long story there. But I called my mother on her birthday, of course.

Fateful Phone Conversation

While I was on the phone with my mother, in the background I heard my father grumbling to himself about stomach pains. “I hurt,” he said.

My father, Kenneth Shooter, was a man in the way you were supposed to be a man in his generation. I knew of many times when he’d been hurting. I’d never heard him admit it.

It was troubling enough so that I e-mailed my brother-in-law and my cousin, the two most responsible relatives I had who lived in the Pittsburgh area. I told them that they should get my father to a doctor, pronto.

The next morning, I got an e-mail from my brother-in-law saying that Ken was an old guy, old guys normally had aches and pains, and I was making a mountain out of a speed bump.

I replied that I was only eight hours away, if he didn’t get Ken to a doctor that day, I was coming there and whether or not Ken was sick would be the least of his problems.

My sister and brother-in law took Ken to a doctor.

He was diagnosed with pancreatic cancer.

The Anti Gravity Room with Broadway Comics

By JayJay Jackson

On October 28, 2011

In 13 Guest Posts, 15 Video

JayJay Here. Back when Jim and I were working on Broadway Comics a Canadian TV show called The Anti Gravity Room came to film a segment with us. The episode is about how comics are made. I found an old video tape of the show a while back and got it transferred to DVD. It has Rob Liefeld and Ty Templeton. Jim and I are in the middle part (Part 2) of the show. The last part has an interesting bit about how comics are printed.