I MEAN I’m slightly biased and I always think of @Atomic_Pixie’s query for her YA cyberpunk—it was sharp, & showed me several unique pieces of her story without confusing me. It had descriptors that piqued my interest, and most of all just had me EXCITED to dive into her pages 😍

It’s a fine balance between so much detail the reader gets confused, and so little detail nothing stands out as different or unique.

Make sure you showcase the unique aspects—don’t hide the stuff that will hook under vague, this-could-be-applied-to-twenty-other-books statements!

For me it’s detail —way too many queries are vague. They give the basic ideas but not what’s in THAT particular story.

i.e. “MC must save the world” vs “x, y, and z lead MC into having a personal stake in saving the world and will do it in this way”

Also, some good things to have in a portfolio are examples of sequential art and covers you've done (single issue covers, jacket illustrations, really anything you've been commissioned and paid for).

If by finished you mean published, that doesn't matter to me. I care about the pitch in front of me. If by finished you mean drawn already, I'd say no. Once an OGN is sold, the editor is going to work with you to alter the story/art as needed, so what a waste!

I have never pitched a self pubbed book for various reasons. Some webcomics do get picked up, but in those cases, they have a HUGE following and the art is super distinct. If something is already available, I think it needs to have a huge following to put it above and beyond.

This can vary, and I highly recommend doing a TON of reading in the genre you want to write in to determine your page count. MG can (roughly) be around 200 pages, and YA can be (roughly) between 200-240. There are major exceptions to both of those page counts.

graphic novels/comics are a visual medium—it's not graphic until there's art. If I'm looking at a script only, I really need to feel that the writing is strong and that special something. In cold queries, I prefer to see the art as well to get a fuller sense of the pitch.

If I sold a script only, the publisher would find the illustrator for that OGN. If I had a client with a script only and I felt another client of mine would be the perfect illustrator, I might see if they wanted to collaborate, but it wouldn't be a requirement.

This really depends on the story and on the publisher. Some publishers really like BW and less digital art, but I think the overall trend is leaning towards digital, colorful, eye-catching art. But if BW fits the story, then that's the exception.

It depends on the genre and age range. For younger MG, maybe 96-126. For older, maybe somewhere around 200-220. I'd spend time reading recent MG graphic novels to find what page count yours should be at.

It just depends on the story. If a pitch is really amazing and it's by a writer and an illustrator team, a publisher isn't going to be turned off. It's less complicated to deal with only once person (less paperwork) but that's true of any scenario.

Yes. MG and YA graphic novels only—no adult.

A concise pitch with recent comp titles (within three years).

I don't think so. I think there's a reason that so many movies and prose novels get a graphic novel later on. This is a visual medium, and it lends itself really well to so many different stories. I think the trick is just not to overrun the page with words—be visual.

Not in particular. I just need to be able to tell when we're on a new page and it needs to be clear who's talking in which panel.

I typically like to see 10 fully inked and colored sample pages, a full synopsis of the story, and as much of the script as you have. It's okay if the script isn't finished when you query, but I definitely need to get a sense of the writing.

I think we're definitely seeing an increase in demand, but that doesn't mean it's any easier to sell your graphic novel. The bar is definitely high—and that's a good thing! We're seeing really quality OGNs become mainstream for readers.

If you're the writer only, you would just submit the script. If you're collaborating with an artist, then I'd say both of you would email and pitch together since it's a collaboration. This is different than PBs, where collaborations aren't really common.

Dropbox links are always fine. A lot of people use them because the file is too big to send via email. Page count is pretty important (depending on genre) but it can usually be altered if it's off. Dimensions are decided by the publisher, and I really just have to love the art