I was looking through my old rejection letters from the first time I pitched Adamsville, (then just called THE UNKNOWNS) and it was surprising how I felt after looking at those rejections. I wasn’t saddened by them or upset, or discouraged. I enjoy this book series for myself and have enjoyed making it for myself completely. I will not find this experience to have been a waste. But what was even more encouraging was just the nice things said by the editors. I walked away from those letters excited about the reception I hope this version will find. We shall see. The point being though that we all go through failures. I don’t know if this book will find the success I would like for it to find, but I do know I won’t let the previous experience keep me from trying again.
What I thought would be fun is to post the original version of the opening scene of Adamsville. If you haven’t see this yet, I did this in 2008. Much has changed since then. It’s exciting! Enjoy.
Now go check out the current version and see the difference.
So, what sort of feedback did you get from the publishers/agents? How did it affect your re-work?
That’s a great question. You remember going through this experience with me since we were going through it together. After shunning reworking the project for some time, I mostly rethought the artwork. The primary concern was that my art wasnt strong enough or it looked too similar to Kazu Kibuishi’s (which he was a HUGE influence on my art at time. Still is). So I just sort of restarted the book trying to be “me.” Which sounds odd, but made sense to me. Publishers really thought the concept was strong so I didn’t want to change that at all, but I did completely rewrite my script. I trimmed all of the fat out and tried to make it more a streamlined story. I tried to introduce my characters in a more impactful manner. I also tried to make it a more contained story, so that it worked better on its own. But the biggest decision was to make the entire book before I pitch it again. I got feedback over and over again that the book should be done before I pitch, especially for nonpublished creators. Some get lucky, but it appears to be a thing in the industry where publishers just aren’t taking chances on things as much, but if the book is done it gives them a ready product. I want them to see the whole idea without wondering what it is I am up to, or if I can complete it. I also decided to keep it entirely offline (other than the first chapter) to allow myself to ability to really just make the book in a way I want without too much external pressure. We’ll see how these things change agents and editors opinions this go around. But so far I’m very encouraged by other’s feedback.