Purchasing Books Libraries may have restrictions on what distributors and vendors they can use. Think of them as the equivalent of Diamond Comic Distributors. Vendor restrictions may be imposed by the library or academic system, or more likely, by existing city or county government rules. Sometime, libraries can add a new vendor, but it can be a slow bureaucratic process that requires a great deal of patience. New advances in technology and the growing popularity and awareness of self-published books is slowly creating more flexibility in collection development via purchasing self-published materials at shows and creator websites.
Often, when a librarian is purchasing a title at a show or via website, they are spending their personal money and submitting supporting paperwork for reimbursement. In those cases, receipts are crucial. Please be prepared with a receipt book for these librarians.
First Line of Defense Collection development policies also provide guidelines for handling attempts to ban a book. The policy establishes how and why librarians select materials for a collection.
A good collection development policy makes it clear a book will be evaluated as a whole, not based on an isolated portion. This is particularly important for comics, as their visual nature can make them an easy target for challenges. R Drop Everything and Read : A national month-long celebration of reading designed to remind folks of all ages to make reading a priority activity in their lives, nationwide D. All types of libraries — school, public, academic, and otherwise — participate. Many libraries now participate and host events on this day.
Halloween October 31 : Spooky storytellings are often hosted on this day, making it a great opportunity for horror comic creators to host an event. Check local school calendars to see when these tests are scheduled. Early June: For many schools, early June is when classes wrap for the summer. Libraries are ramping up for summer programs, and may have limited programming time available in their calendars. Many libraries have themes for their summer reading programs, so find out the theme for your local library and see what you can do to fit your program within the theme.
Late August to early September: Back to school can be a tricky time for school and youth librarians: They may be very busy doing outreach to schools, making contact with teachers, and preparing for classroom support.
They also might be planning special events to welcome students into the library near the start of the academic year. But some public libraries may be on the lookout for winter themed ideas or a hands-on program for tweens or teens that will help carry them through the winter holidays. A presentation about an upcoming release: Libraries host authors talking about their books all the time, so why not comics?
You could supplement a talk with images from the book and by showing some of your visual influences. A lecture about your process or a live drawing demonstration: Audiences who do not have much experience with comic books are always fascinated to see how comics get made. Talk about the collaboration between artists and writers, how your work goes from page to print, the materials that you use, and what makes creating comics a unique experience.
Dramatic readings of your work: Put together a slideshow of panels from your books and draft members of the audience to read different roles and let the comic come to life! Ryan , Brizuela. David , Nauck. Cohen , Brizuela.
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Daley, Diddle. The Katzenjammer Kids in "Shipwrecked. All of these are indications that we are on the threshold of a New Age of academic inquiry into the comic medium. This maturation of comics scholarship requires attention in an area heretofore neglected. Bibliographic citation, one of the hallmarks of scholarly writing, becomes problematic when dealing with comic art.
Comic books are particularly troublesome, as they incorporate aspects of both books and periodicals. Established citation manuals do not allow for the bibliographic uniqueness comics represent. Further, while established style guides may maintain that their primary aim is to establish credit, the primary aim of comic art citation is to provide location information: assisting those who wish to track down the cited source.
Credit, if only because of its potentially convoluted complexity, is secondary. The Comic Art and Comics area of the Popular Culture Association, having recognized and wrestled with these concerns for several years, has established the following criteria for citing comic art. Several, however, bear mentioning: Gene Kannenberg, Jr. Lent of Temple University. A nod also goes to Randall W.
Recommended also is the premier bibliographic reference for comic books, the annual Overstreet Comic Book Price Guide. The Style Guide I. Hopefully, however, the guidelines can be adapted for other style manuals. Of basic importance is that the citation of comic books for scholarly writing should incorporate four basic elements, as appropriate: writer, artist, story title, and publication information including, as appropriate, publication title, volume, issue number, date, publisher, page, and panel.
A Note About Bracketed Information This style guide suggests that scholars may include original material i. All information originating from the scholar rather than the source should be included in square brackets. This is information provided as a courtesy from one scholar to another, and ideally should not cross the line from scholarly detail to fanboy trivia. Such information may more appropriately appear within the text or notes, but examples are offered throughout this document.
Note that example 16 relies heavily on bracketed information. Writer The creation of a comic book is typically a collaborative effort, and comic book authorship, much like motion picture authorship, can be a complex issue. For the sake of simplicity, scholars should give first credit to a story's author as credited within the work usually in a designated credit spot on or near the book's first page. The comic book story's writer's name appears first: last name, the first name and initials if applicable, followed by a lower-case "w" in parentheses.
If there are second or third writers, they follow with first then last name. If there are more than three writers, et al.
If the author is unstated, then the word "Uncredited" in parenthesis is used instead of the name see examples 5 and If the scholar knows who the uncredited author is, then that name is provided in square brackets see example 1. The same rule holds with pseudonyms. Artist The major contributors to the visual aspects of comic books are the penciller and the inker, who are usually identified as such and in that order.
The same rules as stated under writer above will apply to the penciller p and inker i. The work of editors and such craftspersons as letterers and colorists are, of course, vital to the finished product, but, recognizing that one must stop somewhere, and that our aim is location over credit, we stop with the inker.
If citing an uncredited artist, whether penciller or inker, or if the artistic duties are not spelled out, the artist s may be credited with a parenthetical "a" for artist: a see example Story Title The title of the story should be taken from the inside title page, typically where the credits appear, and placed within quotation marks. The title is usually found within the first three pages.
As established, untitled stories should be so designated. If no interior title is found, a cover title, if present, may be used. If the cited story features a character not reflected in the publication title, such as a feature in an anthology, the character's name can appear before the story title, offset by a colon see example 5.
It is not unusual for reprinted stories to be in some ways altered. Reprints should therefore be regarded as separate entities, and there is no need to cite the original source of the reprint within the citation see examples 2 and 3.
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