One more video shot at New York Comic Con last fall has surfaced, with me talking about what’s going on in the Witchblade and Magdalena monthlies. Enjoy!
Cheers,
Ron

Video link has been fixed!
I haven’t been keeping up with the mail, but as my schedule settles down a little bit, this should be more of a regular feature. Thanks for writing, and thanks for your patience.
One note before we dig into this batch of letters. I’ve received a number of e-mail or Twitter requests to look at artwork, or read story submissions. I have to decline them all, unfortunately. I don’t have the time to look at every submission, and it’s not fair to look at some and not others. Thanks for your understanding on this.
I picked up vol.1 after Vince B. from EOC recommended them, and I took the first one back to my shop and had him replace it, but I don’t want to put him out again.
Sincerely,
Chris Miranda
Ron says:
I’ve had fans complain to me about “inferior Chinese printing,” which I frankly find a little bit racist. Most publishers utilize Chinese and Korean printers for certain trades and hardcovers, and the quality is usually superior. The binding problem was an isolated incident, but it impacted a number of volumes because they were all gang printed. I definitely appreciate you picking up the books, Chris, and I hope you enjoyed them despite the binding issue.
I am a writer who would love to work in comics, but every time I try to submit samples or published, I get told, “We won’t even look at it!”
What is the deal on submitting scripts, or story ideas, to comic companies?
Any help you could give would be appreciated.
Thanks,
Jason Phillips
Ron says:
The best way to have a publisher see your work is to have published work to show them. Editors are much more receptive to a comic than a submission pitch. I know, “How do I show a published work if I can’t get a publisher to look at my work?” You have to start small, working your way up from self-published work, to small press, to larger publishers. It’s a long process, almost like a baseball player trying to work his way up through the minors to the majors. Most don’t succeed. The ones with the most talent, and the best work ethic, have the best chance.
Find an artist to work with and make your comic. Find a GOOD artist, because fair or not, your story will in large part be judge upon the art. Get your work on the web, so it can be seen. Network at conventions, where you can get face time with editors; always be polite and never demanding. They’re doing you a favor even talking to you, so be appreciative of their time. It’s a long, hard process, and you have to really want it. I’ve been giving some advice on my Twitter feed, so hope you’ve been following. Good luck.
Signed,
Matt Moore
Ron says:
Artifacts #5 hit stores the end of January, and here’s ourusual review scorecard. The issues marks Whilce Portacio’s debut as artist, taking over on the second arc after Michael Broussard’s start turn on the first arc. I’m pretty biased, but this is some of my favorite Whilce work ever. Wait ’til you see the epic fight that takes place in issue #6.
I also want to direct you toward a new podcast called “Doughnuts and Top Cow,” which is currently examining each issue of Artifacts. The episodes can be found here.
Comic Geek Speak’s episode 1009 also takes on Artifacts #5. Give a listen.