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[WWLA] HOLLYWOOD AND THE GRAPHIC NOVEL
Ahmet Zappa, Christian Beranek and Ken Lavin talked about grahic novels getting converted to other mediums in a panel moderated by Simpsons comic scribe Tony DiGerolamo
By Ryan Riley
Posted 3/16/2008
Have you ever wondered just what it takes to successfully translate a comic book or graphic novel from print to TV or make it into a movie? Well, wonder no more!
A Sunday panel at Wizard World Los Angeles entitled "Hollywood and the Graphic Novel" was dedicated to discussion of that very topic! The panel was moderated by "The Simpsons" comic book writer Tony DiGerolamo and featuring Ahmet Zappa, Ken Lavin and Christian Beranek.
Here's the excellent dispensed advice from the panel:
Is it necessary to get an agent to represent you in publishing a graphic novel?
Zappa replied that it was helpful for him as he didn’t have any publishing experience. His first story was about a recipe and tip book to ward off monsters. Beranek joked that he got in a lot of trouble as a kid so he went out of his way to befriend a lot of lawyers. DiGerolamo added that you should make sure you are organized and ambitious before seeking out an agent. Lavin’s opinion was that while it’s not all that necessary just to get a graphic novel published by an established publisher it is a good idea if you intend to self-publish.
When pitching a graphic novel, should you make a visual presentation? Christian stated that if you can go in with some artwork to back up your story pitch it will help. Tony added that the graphic novel is your visual presentation if you’re pitching a graphic novel for a movie script. Ahmet and Christian mentioned that some of their prior graphic novels got a cease and desist notice prior to publication because someone else claimed that the story concepts were theirs. Because they covered themselves by copyrighting their story prior to publication they were able to proceed ahead.
Is there a legal difference between printed and online graphic novel’s? Tony responded that there really is no difference. Ahmet added that a simple way to protect yourself is to register your graphic novel with the Writer’s Guild of America for $20 or copyright it for $45.
Is there a website that tells you which publishing agents are reputable? Ahmet cautioned that you should never give an agent any money up front for a reading fee, citing it as a sure sign that the agent is less than honest. You should make sure any agent you hire is enthusiastic about your property. Tony added that the WGA has a list of reputable agents on their website.
How can someone best go about shopping their graphic novel to potential publishers? Ahmet mentioned that lots of reps from publishing and movie production companies come to conventions seeking out new graphic novel properties to buy. Ken added that you should use the internet to get your graphic novel to reviewers and agreed that conventions are great places to network with established comic creators and other entertainment industry pros. Tony stressed that agents have to attempt to cull the real talent from crazy people, to which Ahmet quipped, “Like people that rape toothpaste!”
Ahmet told a cautionary tale of a story concept that was outright stolen from him because he hadn’t copyrighted it. He had gotten then-Image president Larry Marters’ number from an Image chocolate bar and called him to pitch an idea for an aquatic superhero, since one hadn’t been done yet. Marters volunteered to set up a meeting with Jim Lee at a convention. Ken interrupted by saying, “You’re going to slander Jim Lee, aren’t you?”
Ahmet continued that Lee liked it and got an audience with all Image founders. After that meeting they ended up creating stories that had quite a few things in common to the story concept he pitched, to which Ahmed said “I was the toothpaste!” Ken pointed out that the only medium that still has lots of copyright lawsuits is the comic book industry, adding “Our industry is the only one with idiots that are egalitarian in their naiveté.” You shouldn’t verbally agree to any type of creative collaboration. Instead you should draw up a contract and get it in writing. Ahmet warned that even if you have a clear-cut contract, there are some scumbag publishers that will try to dodge around it.
Tony stressed that all relationships are temporary, especially in business. You should figure out a possible exit strategy before any money is involved.
Ken advised that if you have a graphic novel published and want to have it made into a film you should try to write the screenplay yourself instead of placing it in someone else’s hands.
Does registering with the Writers Guild or getting a copyright get your graphic novel looked at more by publishers? Ken replied that it’s not nearly as likely with WGA registration, as anything registered with them is pretty much considered confidential info. Copyrighting your work has a better chance of getting it noticed, because it is in full public view and is much better protected.
Is there any advantage to converting a screenplay into a graphic novel? Ken said yes, as you have the screenplay ready-made for any possible movie pitches. If you are offered an opportunity for your graphic novel to be optioned into a screenplay by anyone other than an established production company like Sony and Disney, make sure the rights revert back to you after a certain amount of time in case nothing gets done with it.
