Thanks for the enthusiasm! I love it…

The comics are very hard to break into. I can’t see it working to pitch a series blind. Actually, I wouldn’t even know how to go about it. The best bet is to befriend an editor somewhere, and to make sure your work is great. Not good, but great.

Regarding Aliens pitching, along with the universe Bible, there is also a list of stories that we shouldn’t do. For instance, after the second movie, there were hundreds of pitches about various mammal / alien mixes. Whaleians! Yikes!

V.

In regards to my excitement about Underland, is there any more information you could give up about the Chaos title by Escober? I’d love to hear anything you had to say about the book, or the authors, even.

I’ve been meaning to ask this since you took over the blog (I’m excited about Underland, btw, and looking forward to laying my hands on some of your books). How difficult is it to pitch a concept for an Alien and/or Predator series to Dark Horse (I’m talking comics, here)? Say, a six issue limited series, for example. Are those titles primarily created using the same model as the novels? Meaning, do they originate with the editorial staff? I know comics are done that way, particularly with the big two, but I also know that books are not _exclusively_ pitched that way. Or, have I just answered my own question? Haha!

Thank you for the explanation. This model is interesting. As a writer, I send short stories to magazine editors, and novel manuscripts to literary agents, so I’m used to the work flowing that way. But in licenses, the river reverses direction, with the buyer of the license seeking out the authors. Very different than what I’m used to.

Thanks again and good luck with Underland.

Sincerely,
Mark

I’m all for literary-cross pollenization. You sure did it right with these two guys.