EX MARVEL EDITOR OFFER COMICS CREATING COURSES, CAREER SERVICES

[MichaelDoran]

If you can't place the name Andy Schmidt at first, you may recall the fairly recently ex-Marvel editor convinced his bosses to spotlight a group of little-used characters of marginal popularity and turned it into last year’s popular Annihilation cosmic event.

Today, Annihilation continues without him, but Schmidt isn’t done trying to put his stamp on the comic book world. Starting soon he wants to help you (or maybe not you, but any would-be comic book writer and artist out there) improve their craft and/or launch their careers.

Comics Experience.com is Schmidt’s new full-service comic book creating school and career consulting service, which will be begin classes soon.

Newsarama caught up with Schmidt recently to talk about the services he’ll soon offer and let our readers decide if they are right for them.

Newsarama: So Andy, first of all, let’s remind readers who you are and your experience in the comic book industry? Use your prodigious editing skills and give us the most succinct bio you can?

Andy Schmidt: Okey-doke. I was hired in early 2002 to be Tom Brevoort’s assistant in the Marvel Heroes office at Marvel Comics. Since then, I was promoted twice, worked on every major Marvel character (except Daredevil, dammit!) and was involved in almost every major storyline in that time including (but never limited to) House of M, Civil War, World War Hulk, The Other (yeah, I know), and I was the guy behind Annihilation, which brought Marvel cosmic back.

How’s that for my resume?

NRAMA: Well, that will probably get reader’s attention, but you remember the “ABC” rule – Always Be Closing. Now remind folks when and why you left Marvel Comics. To a lot of folks reading this, that’s a dream job..?

AS: It’s totally a dream a job! And the only reason I would leave editing comics is to fulfill another dream. And that’s what’s happening now. My wife gave birth to our son Cale Richard Schmidt on July 1st this year and I decided to stay at home with him. We figured I could make some income on my own as a freelance writer and editor. That’s all been going well so far, but I realized how much I missed teaching and interacting with creative people. I was a college instructor before I was an editor at Marvel and I really enjoyed that too.

So now, because of Comics Experience, I can do it all - edit and write freelance, teach, work closely with creative people, and be with my son. I’m not positive, but I’m pretty sure I’m living the American dream. I can’t think about what could be better!

NRAMA: Congratulations on the birth of your son. So with none months advance notice for that, did you leave [Marvel] with plans to launch this business?

AS: I didn’t have Comics Experience specifically in mind when I left. I was taking a leap of faith at the time. When I came up with the idea, I knew I had to do it. It seemed like the perfect fit for my experience in the comics industry and my experience in the teaching field.

NRAMA: Now Comics Experience is new but you’ve been teaching comic book creating classes for some time now, correct? Give readers some background on how that started and how things evolved into this new program?

AS: I started teaching about comics in 2000. I created two classes about comics for Webster University in St. Louis. It turned out to be an immensely popular class - and why not, it’s about comics!

A year or so later, I was hired to work at Marvel Comics. I learned everything I could - working with senior editors on storytelling and how to do my job effectively. I talked with creators, sometimes at night or on weekends, about how they work and why they make certain storytelling choices. Everyone was extremely generous with their time.

Eventually, it dawned at me that I’d studied this stuff and practiced it more than most of the artists and writers who were trying to break in. I had, without realizing it, become an “expert.” (I hate using that word because I always want to be learning more about comics, I don’t think anyone is ever an expert) I was helping some of younger or newer guys working with me create better layouts or develop new rendering styles or determine who would be a good inker over them and why.

That realization was a great confidence boost. So, I started teaching a class called Breaking Into Comics at the Museum of Comic and Cartoon Art. That led to several guest speaking gigs and more teaching assignments. I just finished developing and teaching an on-line art class at The Minneapolis College of Art and Design. That was my first on-line class and it was really fun.

Now I’m taking all that teaching experience and putting it good use!

NRAMA: We’re gonna let you keep being a salesman for a bit …what is Comics Experience specifically? What does it offer a would-be creator?

AS: Comics Experience is the only place to get access to the skills and tools that a creator needs to get up and running on his or her own two feet. It’s not just about becoming a better writer or artist - although that’s clearly a huge part of it - but it’s also about the industry, about how to network, how to connect, how the business is run, and how to find the other people you need to get off the ground.

Introduction to Comics Writing lays the foundation - everything you need to be a successful writer is put right into one course.

Advanced Comics Writing builds upon that foundation and we tell larger, more complex stories and get into how to create a comic book series.

Introduction to Comic Book Art, similar to the writing class, lays the foundation for good penciling work - how to do it, what not to do, and how to behave professionally.

Advanced Comic Book Art takes the art to a different level. It gets into the details and is a more work-intensive course in which students, if they complete the assignments, come out with a whole story at the end that’s crystal clear and easy to read.

So what are you waiting for? Don’t finish reading this interview! Go to www.comicsexperience.com and sign up for either Introduction to Comics Writing or Introduction to Comic Book Art now!

So, how was that for selling? Oh, yeah, classes start the week after Thanksgiving and you can only register online - so go now!

You know, that was kind of fun…

NRAMA: Okay, okay Andy, now you’re just taking advantage…

Is there or has there ever been a program like this before?

AS: Not to my knowledge. If there was, I wouldn’t bother building it. There are places to get parts of the training and guidance we offer, but no where that covers all of as comprehensively as this.

Again, at least not that I know of. Comics Experience is the only place to get your career started now.

NRAMA: Based on your experience at cons, more than likely the cold emails you get from would-be creators, and your past experience teaching these classes, what skill or skills do you find need the most developing out there?

AS: It’s funny, because the answer is the same for writers and artists. Folks have a tendency to read about or learn the basics and then think that they can do anything because they’ve read a book about it or seen it done. It’s one thing to know in your head that you need to stick to a story spine or that panels are read from left to right, then top to bottom. It’s an entirely different thing actually doing it. And that’s one of the first things we cover in the Intro courses. You start doing it immediately. Step one, get to the basics, learn them, live them, do them.

We can always expand from there.

NRAMA: So other than “doing it” [long pause to let the snickers die down], what else? Is it craft, actually working with people on structure and layout? Is it the networking and social skills required to get editors to consider hiring you? Motivating people to turn an ambition into actual physical work?

AS: Honestly, different for each individual. And that’s one of the nice things about my courses, they’re not so rigid that I can’t adjust for each particular group. I never teach the course the same way twice - that would get boring for me, and wouldn’t benefit those enrolled as much as they deserve.

We cover all of those topics in Comics Experience courses and one-day seminars.

NRAMA: Who is the ideal candidate for these services?

AS: I love having a mix of people. If everyone’s the same, then I don’t think the students get the full experience out of it. I had a great class for writers recently that had an award winning playwright, a published novelist, a TV producer, a TV editor, a magazine editor, a couple of writers starting out, an award winning musical writer, and two college students.

All of them were fans of the medium, except one, and she was really becoming one. Their differences made the group stronger. The best thing is to have some people starting out, some who are experienced professionals - that’s why I make sure to have guest speakers like Peter David and Dan Slott at the writing classes and Walter Simonson and Jae Lee at the art classes, just to be sure - and some others who bring skills from other media.

So, to answer the question, newbies, veterans, and everything in between. And it’s really not a cop-out answer.

NRAMA: Okay, so the flipside to that question (and sorry to put you on the spot), what do you consider to be your qualifications in helping people do these things?

AS: It’s okay, if you didn’t ask it, everyone reading was going to anyway. We’ve already talked about my editing experience on titles like X-Men, X-Factor, Annihilation, Ms. Marvel, etc. and we’ve covered my teaching experience, but also my passion for helping people out is a huge asset to doing something like this. You can’t do this, be an instructor and a guide, without loving it and loving working with creative people.

I’d also think the fact that I am so connected in the industry is a big part of it. I know people at nearly every publisher in the business and I enjoy knowing them. I like knowing what they need from their creators and the kinds of things they’re looking for. It all helps guide my attendees in the end.

NRAMA: The old joke is even the waiters, cops, and accountants in Hollywood all have screenplays and there is some debate on whether screenwriting classes such as those offered by the infamous Robert Mckee pay dividends. What’s your take on that question and do you think the situations (comics and screenwriting) are comparable?

AS: This is an easy one. I took Robert McKee’s course on screenwriting and found it intense and profoundly useful. As far as I was concerned, I got my money’s worth. And I think that will be true here. My basis for that is that people who have taken my courses before tend to want more. This isn’t a start-up in the sense that I’ve never done it before. I’ve been doing this for years already - I’ve just made it more legit now.

Are they comparable? Oh, yeah. TV and comics are both about telling stories visually (though there are extremely important differences) and they both have complex industries that are difficult to navigate. Yeah, they’re comparable, but not identical.

NRAMA: So this is not just you solo, you’ll have some famous names in this community helping out. Who’s involved and if you can speak for them, what’s their motivation.

AS: Walter Simonson [picured below] and Jae Lee have agreed to guest-speak at the artist classes. I tried to put together courses that I would want to take myself, so I went to the people that I would want to learn from. Walt and Jae are both at the top of the list - only two artists I asked, actually. Maybe next time I’ll try to get others, but it’s hard to top them.



Peter David and Dan Slott have agreed to guest speak at the writers classes. Same deal. I’d want to learn from them, so I asked them to come speak. Peter’s got a wealth of experience and has worked in a number of different media and Dan is relatively new to his success and offers a great perspective as someone really breaking out today.

Nick Lowe, editor of the X-Men franchise as well as classics like Next Wave: Agents Of H.A.T.E., 1602, Runaways, Ultimate Iron Man and Daredevil: Target - D’oh! (Wasn’t supposed to mention that one!) - has also agreed to poke his head in here and there to chat it up with folks.

As for their motivations, I don’t want to put words in anyone’s mouth, but I feel comfortable saying that they all have a general interest in helping and teaching. And they all love comics.

NRAMA: Tell readers about the consulting services. What does that entail specifically?

You mention on your website that as a consultant your wealth of contacts would be at your clients’ fingertips. Some would-be-writers may imagine as a recently-ex Marvel editor you’d like still have friends on staff and that perhaps you could be an “in” for them (i.e. past the ‘do not accept unsolicited submissions’ roadblock) if you’re impressed with their work. You want to endorse, throw water on, or explain that potential thought?

AS: The wording of that (as is true of much of the website since you got your sneak peek) has actually changed because I specifically don’t want to give people the impression that I’m just going to be calling up my friends and introducing them to my clients.

To be honest, if I was doing that, it would be a disservice to that client. The consulting is there to create a specific plan for a specific person, to help them navigate, to motivate them, to help them set realistic goals and turn set-backs into triumphs. It’s a very individualized thing, not everyone has the same dream, and I’m not there to force mine onto the client, but help the client develop the skills necessary so that they not only succeed, but don’t feel like they need my sessions with them anymore.

Bottom line, the more success my clients have, the better my business becomes.

NRAMA: You’ve been teaching versions of these classes for a while now, have any students graduated to published professional?

AS: There it is. The $2 million dollar question…

NRAMA: We have our moments…

AS: The short answer is “yes.” A few have. The long answer is Comics Experience is only the beginning. I haven’t been teaching the advanced classes nor have I done the private consultations. I felt that the consulting would be a conflict of interest while I was still editing comics and I didn’t have time to do the advanced classes while an editor either.

Rome wasn’t built in a day and you don’t build a career in a day either. Anyone who tells you different is either a magician or is lying. If I told you to take this class and you’d be published at a major company working on major characters within a year, you’d know I was full of it, wouldn’t you? This is the real deal. Building real skills, laying a real foundation. It takes time, it takes work. I’m just here to make that time shorter, and help you make your work better.



NRAMA: Okay, we think we grilled you enough for one day. Any parting thoughts for people that may be intrigued by these services?

AS: Sure, check out the website at www.comicsexperience.com and take a look around. If you’ve got any questions or still aren’t sure if the course is right for you, give us a call on the phone. I don’t want people signing up for a class that isn’t right for them or isn’t going to do what they want or need. The business phone number is right on the website. Give me a call and let’s make some comics.

And thanks, guys, for having me. It’s always a pleasure to reconnect with Newsarama.

And remember, courses start soon! Come to the website and call today for more information! WWW.COMICSEXPERIENCE.COM

[Dirk Manning]

This sounds excellent!

Good luck to you, sir. I'm sure there are a lot of people who can and will use this!

[christosgage]

Having worked with Andy on UNION JACK, WORLD WAR HULK: X-MEN, and a number of other books, I can say that he definitely knows his stuff, and if you're wondering if this class if worth it, it totally is. Anyone who can get a Union Jack miniseries greenlit has got to have some tricks up his sleeve!

[Ace]

This sounds really useful for people who want to go down that path.

Personally, I'm hoping he starts writing as a freelancer sooner than not. He obviously knows a lot about what goes into making a story that I'd like to read since I enjoyed almost everything he edited.

[scottmdavis]

Anyways, sounds cool. Will definitely check out the website later.

[drastic_q]

Originally Posted by christosgage

Having worked with Andy on UNION JACK, WORLD WAR HULK: X-MEN, and a number of other books, I can say that he definitely knows his stuff, and if you're wondering if this class if worth it, it totally is. Anyone who can get a Union Jack miniseries greenlit has got to have some tricks up his sleeve!

Hey, I really enjoy your work. Well done, sir.

[Lhriangel]

This sounded interesting to me so I looked at the website. There is a phone number but I couldn't find a location to save my life. Did anyone catch where this is located? I'm having a bad day so it totally could just be me....

[coldwarmyth]

I wish there was another way to pay though. Paypal is out of the question right now.

I'll have to sit this one out...but I'll keep an eye on the site itself. I would love to take the writing seminars.

[AC Rempt]

And sadly, it's in Brooklyn. I thought he was offering online classes, since he was pushing the website. Ah well. I have the dough for the class, but not for 7 weeks living in Brooklyn. Maybe he'll franchise . . .

[Supreme Convoy]

Yeah, I thought it was an online class. But meeting in person would be a much more benficial learning experience.

But this is something I would definitely would be interested in if I lived in the area.

[Sean Walsh]

Am I the only one who missed the news that Andy left Marvel Comics?!?

That confusion on my part said, good luck to him in these endeavors.

[Lhriangel]

Brooklyn. SAD ... it would have been greatly interesting if it had been an online class.

[ArchonComics]

This would be great as an online course.

[BlueThunderArmy]

I saw Andy's panel at Big Apple Con today, and I'm convinced. It will be good to focus on my comics work for a bit after spending the last year developing my prose fiction. Workshops are great, and it looks like he's bringing in guest speakers who know what they're doing.

[Michael Heide]

Same here. For me, Brooklyn is not only in another city, but on another continent. Some kind of online seminar would have been great.

[AbacusComics]

Well, hopefully with the network he's got, he can help people break in as writers. That's got to be the single hardest job to get in comics from the outside. Good luck!

[Vintage]

Sounds worth a look. I'd be quite open to a career change.

[edyhdrawde]

I would love this if only it was online. But can't afford NY for six weeks. all the way from VA.

[Mercury]

if a bunch of people on the East Coast all wanted to take this class but can't swing Brooklyn, why not 4 or 5 all rent an apartment and take the 7 weeks to try to become comic professionals? whats to lose? if nothing else, you're going to have nearly 2 months in NYC with fellow comic fans, learning and having fun, and pooling all expenses and resources. it sounds like a good idea for a good opportunity.

[waxer]

a hundred dollars an hour!???

[khuxford]

Originally Posted by Lhriangel

This sounded interesting to me so I looked at the website. There is a phone number but I couldn't find a location to save my life. Did anyone catch where this is located? I'm having a bad day so it totally could just be me....

Nope...go right to the site and have nothing directly indicating this is a brick and mortar deal, but all the classes talk about MEETING. The classes/seminars are between 7pm-9pm for six weeks...apparently 42 days, because it never mentions specific days of the week.

Don't get me wrong...I'd be really interested in trying this class...even if it looks like the former editor didn't have anyone proof read his web page to make sure all the necessary details were there.

[khuxford]

Originally Posted by Mercury

if a bunch of people on the East Coast all wanted to take this class but can't swing Brooklyn, why not 4 or 5 all rent an apartment and take the 7 weeks to try to become comic professionals? whats to lose? if nothing else, you're going to have nearly 2 months in NYC with fellow comic fans, learning and having fun, and pooling all expenses and resources. it sounds like a good idea for a good opportunity.

Ummm...you're right...leave our families behind...quit our full-time jobs and relocate somewhere on short notice (it starts right after Thanksgiving, you know)...and panhandle work two jobs during whatever time you're not in class because NY is expensive and you're not going to get a job for 6 weeks paying anything like what you had at the job you quit just like that.

Hopefully, this class will make it past this first semester and expand into some sort of online web seminar version in the future. With all the bumps in the road I can see this semester having, I'd *still* have signed up because, assuming you show you have something by the end of this class, you have Andy Schmidt's name on your resume and whatever other networking perks you might derive from this class.

[qnetter]

Nice idea, but is there some reason he had to (nearly) use the recognizable name of Brian Hibbs' award-winning store? Did he bother to ask Hibbs?

[nickmaynard]

id like to think the name of this is "comic sexperience"

[Supreme Convoy]

Originally Posted by Mercury

if a bunch of people on the East Coast all wanted to take this class but can't swing Brooklyn, why not 4 or 5 all rent an apartment and take the 7 weeks to try to become comic professionals? whats to lose? if nothing else, you're going to have nearly 2 months in NYC with fellow comic fans, learning and having fun, and pooling all expenses and resources. it sounds like a good idea for a good opportunity.

Man, if I was younger (college prime years before a real job) that would be an awesome experience. It'd be rock n roll.