Shooter is really my generation’s EIC “the most reviled figure in comics”
Chris Claremont Face Down in His Mashed Potatoes
…I pointed out to Chris that Saffel had merely passed along the invitation to the con in Yuckburg and Chris had accepted. Just as the Avengers guys had accepted the offer from WPB. He agreed to go to Phlegmopolis. Nobody forced him. And didn’t the comics fans stuck in that gray and hopeless place deserve the sunshine of his personality to brighten their wretched lives?
That only made him grumpier. Cold…so cold.
“It’s still not fair.”
Finally, having the rest of my life to get on with, I’d heard enough.
“Okay, turkey, where do you want to go?”
“Paris,” he sneered, in a high dudgeon tone that would have humbled Magneto.
“Paris. You got it.”
“You can’t send me to Paris.”
“Stand aside, mortal,” said I in my best Thor impersonation.
I went upstairs to the international licensing department and spoke with Dominique Boniface, a great guy and wonderfully capable co-conspirator. I forget whether we called or Telexed (Telexed! That’s how long ago this was!) our French publishing licensees. I told Dom to offer them a promotional visit by the entire X-Men creative team…
…if they’d do some PR and some extra publishing around the event.
A few minutes later I stopped by President Jim Galton’s office. I said, “Jim, I have a problem. Seems the French publishers would like to have the X-Men creators come to Paris and do a little promotional tour. They’ll get them on TV, get them lots of press and publish some special editions to tie in with their visit. It would cost us about $11,000 to send them. But the guarantees alone on those specials add up to about $30,000.”
“So, what’s the problem?”
A few minutes later, I walked back into my office. Chris was still there, dark energies coruscating around him.
“Pack your bags, monsieur.”
Word spread about the miracle I’d worked. The V.P. of Promotions (“promotions” not directly related to the comics—things like character appearances by costumed actors) came to me in high dudgeon rivaling Claremont’s.
“How do you get away with these things?! I can’t get Galton to part with a dime for anything!”
Very simple. Find a way to make whatever you want to do self-liquidating or, better, turn a small profit, and Galton will approve whatever mad scheme you propose. Nyah, nyah.
So now you know what the heck an Editor in Chief really does. It’s not about creativity - it’s about organization and support.
Also, this is one of the best things a new comics creator can read: