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But the point of a concise pitch like that is that I can tell you know your story, and I can tell you on the spot whether or not I want to see more. Seriously, the best pitches take no more than two minutes. Here's another thing: if I tell you we have something else in development that sounds a lot like what you're pitching me, just stop talking and pitch me another idea. A whole bunch of other folks have been working a long time on their project, too, and they got to me first. Them's the breaks. Sort of as an adjunct to this one is don't bother pitching me a book about space men in jeopardy of some kind. The AiT in Planet Lar stands for Astronauts in Trouble , and I'm not a corporate television executive who just watched Survivor and then told his folks to give him a reality show for his compa ny. I want to see something different, something only you could write or draw. I know all this sounds a bit harsh, but it's a harsh world out there. Joe Casey pitches me four books at a time, and they're all excellent so we have to do them all. Tom Beland needs his True Story, Swear to God collected, Matt Fraction had another brilliant idea, Dan Curtis Johnson's sent me another email, Ryan Yount just tapped into the zeitgeist, Fabio Moon has sent over some art for his book, Joe Kelly calls with genius, and maybe I want some time to finish up some Black Diamond script for artist Jon Proctor. So you've got a lot of competition for my attention and my Tall Comics Dollars bankroll. If I'm going to fund your project, you suit up and come ready to play. I'm telling you, if you get good at pitching your idea, and it's a quality story with a good hook, somebody somewhere will publish it. It’s All Just Lines on Paper December 24, 2004 In analyzing kinships and differences between Frank Lloyd Wright's reflec tion of modernism in his designs of homes and Georgia O'Keeffe's expres sion of modernism in her paintings, one cannot help but imagine a theory of unified modernism that penetrates the works of these two artists and binds the two together thematically. This "unified modernism theory" may be a concatenation of several effects: a radical simplification of objects through an economical use of line and form; an achievement of unity by a sparse use of color, or a repetition of a color; juxtaposition of symmetrical or asymmetrical forms; or even a radical disorientation of the perceived And the way to do that is to be ready with your pitch when the time comes.

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