networking – Cheryl Lynn Eaton

“As of DC Rebirth’s announcement event, ~11% of announced creators were women.”
EL Anderson

I’m thinking about this in conjunction with DC’s new talent programs and Ronald Wimberly’s comments on spec.

There are many creators of color and female creators who are at (and beyond) the talent level we see in the mainstream. And in the process of integrating the mainstream, they are being judged not by their work, but by their outward appearance. And it’s insulting. Would you ask a woman who has produced multiple books independently to join a training program? A black man with a résumé outside of the cape books that’s longer than a highway for unpaid spec work? C’mon now. We’re talking vast portfolios here.

Editors are stumbling upon the names of popular creators from marginalized groups—creators with followings and established brands—and treating them like college students who just rolled out of bed with a degree in art or English. It’s dismissive and stems from bigotry. It’s the same as the white A&R rep or label owner who rolled up to established musicians in black communities with garbage deals like they were doing an amateur a favor. Nah, son. You’re a visitor in a spot where people know what they are doing. If you have any respect and you’re serious about your company and diversity? You approach as an equal. Do the necessary research before you sit down.

Frankly, these numbers are abysmal because those in power don’t know where to look or how to act once they get there. Frat boy and good ol’ boy behavior is driving off and angering (or scaring) the very folks these companies need to be better.

So? So you step your game up and do some work. You can’t post up in a bar and wait for creators to buy you drinks at cons. Well, you can, but you’re only going to get talented white dudes that way and that’s only one element of the mosaic you need. You’ll have to go to different places and behave in new ways. And if you can’t do that? Get you some editors who can, b. Or a creator to be your ambassador. (Although since most of these creators bring up folks who look just like them—Morrisons beget Ways—you’ll need to vet those ambassadors.) And let me tell you, the last thing you want to do is go out and hire you a whole bunch of Timberlakes and Whedons and think you’ve done something in regards to diversity. You’ve done nothing but boost the voices of white men. And if you try to present it as anything else? I’m coming for your neck in the messiest of ways. (Do continue to hire them because their work is nice, but you best watch your marketing.)

Also, don’t Buzzfeed the very people you should be hiring. Biting cultures at best and actual specific marginalized creators at worst is going to bite you in the ass because those folks have a direct line to the people you want to sell to. And you’ll end up having to hire folks from those groups anyway to do immediate damage control and drown out the voices of those you originally stole from.

Don’t be afraid to roll up to someone and say you like what they do and want to build with them if you have building blocks on deck. “Let’s build” has become a massive joke amongst black creators, but because folks come to them with nothing. But if you have something? Shoot your shot.

DC is rightfully lambasted for what the company gets wrong in regards to representation. However, diversity initiatives launched by the company to correct existing problems (such as the one that led to the recent acquisition of Marguerite Bennett) are often ignored by fandom.

“New writer, Marguerite Bennett – @EvilMarguerite here – is penning a badass Batman annual for you all. Proud of her.”
Scott Snyder

The above is a perfect example of DC getting it right. Outside of the realm of self-publishing, the comics industry’s writing pool is overwhelmingly homogenous—white, American, and male. I’ve often stated that the best way to diversify the talent pool is to hire writers from outside the field of comics and allow said writers to hone their skills by (1) pairing them up with established professional comics writers on ongoing titles or (2) allowing novice writers to create short back-up stories in existing popular works. And though disgruntled reactionary fans would like to accuse Marguerite Bennett of simply being a quota hire, she is an individual with the talent and determination necessary to improve DC’s status quo. In addition, many white male writers launched their careers in comics in the exact same manner as she (sans the added stress of bigots combing through their credentials with a fine-toothed comb). Luckily, for Bennett—and for DC, for that matter—gender was of no importance to Snyder in picking his protégés. And, equally as important, Snyder’s profession as a teacher allows him access to a diverse (and novel) selection of writers in regards to race, religion, and gender—something his peers cannot take advantage of given the industry’s overwhelmingly white and male pool of writers and apprentices. In Snyder, DC has a tutor, recruitment center, and diversity outreach program in one—and is clearly taking advantage of that fact.

David Brothers, who beat me to the punch, discussed Marguerite Bennett’s recent hire, networking, and the dearth of writers of color in the comics industry. David suggested, and I agree, that the lack of writers of color in the comics industry may be linked to the lack of creators of color in the social circles of those in a position to hire new creators. Networking in any creative industry is key. Without the ability to network, aspiring writers are relegated to talent contests, cold pitches at conventions, and unsolicited submissions. As indicated in Nancy DiTomaso’s piece for the New York Times, opportunities for success are frighteningly slim.

“Help is not given to just anyone, nor is it available from everyone. Inequality reproduces itself because help is typically reserved for people who are ‘like me’ … Because we still live largely segregated lives, such networking fosters categorical inequality.”
Nancy DiTomaso

I am lucky in that my social network is absurdly diverse. There are many I adore who are “like me,” yet there are clear differences in race, gender, nationality, and age. There are cultural bonds upon which friendships have been formed that bridge all differences. Still, diverse social and professional networks sans the power to employ individuals are useless in changing an industry’s landscape. The industry will change only when those in a position of power to generate change feel the need to expand their existing networks, or younger individuals with diverse networks assume positions of power. Waiting for the industry to “age out” of its racial and gender inequality is frustrating, but given the mainstream’s disdain for other outreach methods and its current industry monopoly, I don’t see change occurring any other way.

Finally, I apologize for the title of this blog post. Actually, no. No, I don’t. It is glorious.

Tag: networking

Diversity and Goliath redeux!

Let off some steam, Bennett.