FAQs So Far:
INFORMATION
Attending WHC as:
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If you are interested in bidding for a future World Horror Convention in your city, or you have won a bid and are preparing to host a WHC, visit the World Horror Society's FAQ page for invaluable information regarding behind-the-scenes WHC prep and info.
This page will be a continuing work in progress. As common questions are floated, they will be added and answered here. Check back often!
Would you like to share your experiences at WHC? Feel you have some wisdom to impart to future attendees? BY ALL MEANS, fill us in! Email your thoughts, memories, advice and anecdotes to Chad Savage.
Do you give out Press or other Free Passes?
No. The World Horror Convention does not issue any kind of free pass. We are, however, happy to work with members of the press who are in attendance to facilitate any story or article they might happen to be writing.
What's the difference between registration, a membership and admission?
All three terms are generally used interchangeably. You can register for a membership in advance of the convention, or you can pay admission at the door, but they all wind up being different ways to describe doing the same thing: Paying your way in.
I registered for my membership a while ago and still haven't received my tickets - what gives?
WHC doesn't mail out tickets; there will be a will-call registration desk when you arrive, and at that time you'll be given your membership badge (which gets you into all areas of the convention), goody bag, program book and so forth.
I bought my membership but now it looks like I can't attend - can I get a refund?
No. Each year's WHC is entirely funded by the money it's able to take in during the year before the convention. Generally that money gets spent almost as quickly as it comes in - conventions cost tens of thousands of dollars to run.
You can, however, give or sell your membership to somebody else - just be sure to notify the committee for that year's convention so they have the correct name(s) in their database!
THE ART SHOW
ALL ARTISTS WISHING TO SHOW THEIR WORK AT A WHC MUST BE JURIED
Artists who wish to participate in World Horror Convention Art Shows must submit their work for jurying prior to the convention in which they wish to show. Submission does NOT guarantee acceptance. Artwork should be of general interest to the horror/dark fantasy community, and must display a reasonable degree of skill and ability. All traditional media are acceptable; unusual art forms, art that requires a power supply, art that is large/heavy, or art that may present a risk to WHC attendees will be considered and reviewed on a case-by-case basis.
Acceptance into the Art Show puts the accepted artist under absolutely no obligation. If an accepted artist decides not to show, s/he may simply not register once the registration phase of a given convention begins. Artists need only be juried once, ever - once passed, artists are welcome to show at any WHC Art Show in the future.
3 WAYS TO SUBMIT YOUR ART
- Email a link to your images, web site or online gallery to Alan M. Clark<<< THIS IS THE PREFERRED METHOD. Please make sure your links are accurate - dead links won't be investigated.
- Email no less than 3 and no more than 10 image files to Alan M. Clark.
- Image files should be no larger than 600 pixels in width or height, 72 dpi, and should not exceed 150K each.
- .GIF, .JPG, .TIF, .PNG, .PSD or .EPS files are acceptable.
- Images may be sent in a .ZIP or .SIT file
- MAC USERS: Make sure your files have the proper .XXX file extension
- If you send a virus with your images, you will not be included in the show. So be careful.
- If you need to send actual, physical examples of your work, email Alan M. Clark for instructions.
When sending email, please be sure to indicate the convention about which you are inquiring (World Horror Convention).
THE ART SHOW
SO YOU'VE BEEN JURIED AND ACCEPTED, or, YOU NEED TO UPDATE YOUR CONTACT INFO
Please complete the following information and email it to savage@worldhorrorconvention.com so that the WHS / WHC has your contact info:
- Your Name
- Your email address
- Your mailing address
- Your phone number
- Your website URL (if you have one)
- Please indicate whether you are a newly juried artist, or an already juried artist updating your information.
THE ART SHOW
CURRENTLY JURIED ARTISTS
Following are artists who have been juried into the World Horror Convention Art Show to date. Names with an * asterisk indicate artists for whom we have incomplete (or, in some cases, NO) contact information. If you know any of these artists, please encourage them to use the form above!
If you have been juried in the past and your name does not appear on this list, please contact Alan M. Clark to discuss the matter.
If you are on the Committee for an upcoming WHC and you need a database of the juried artists' contact info, please contact Chad Savage.
THE ART SHOW
INFORMATION
Attending the World Horror Convention as a Freelance Illustrator
by Alan M. Clark
I was living in Nashville, Tennessee over fifteen years ago when the World Horror Convention was started in that city. I’d hoped it would become as good a business meeting for the field of horror as the World Fantasy Convention is for the fantasy field. While it is not as big as World Fantasy, it has not disappointed me.
As primarily a freelance illustrator, I go to the convention to display my work in the art show, maintain a visible presence in the horror community and make connections for new work. I spend most of my spare time while at the convention hanging out in the art show. I stand near my artwork and talk to people interested in it. The fans have quite a lot to say and ask interesting questions. Being there helps promote sales of my original paintings and drawings and prints since people are more interested in artwork if they know something of the mind and personality behind it.
This effort also helps me with the publishers, editors and art directors who come into the art show looking to see what’s new and meet the artists. They like to be able to get to know the artists and assess their reliability as well as talent.
I attend the artist reception in the art show because this is for some attending the convention the only time they will get a chance to see it and so the turnout is usually very high.
The mass autograph session is also a good time to get to know people so I ask to be allowed table space for that.
I participate in panel discussions at the convention. In these discussions, a group of panelist, primarily horror professionals, is given a topic to discuss. Some panels are how-to discussions, ranging from creative techniques to business tips, some are philosophically oriented with questions to be answered such as why we are interested in horror or what makes for effective horror. Usually one of the panelist is given the job of moderator and the group proceeds to explore the topic, take questions from the audience and provide answers and hopefully an educational and entertaining experience.
Participation in these panels is always very educational for me as my fellow panelists are generally articulate and thoughtful. Much of the conversation involves aspects of creative process that are integral to what I do, but until I started taking part in these discussions, I had never been in a position of needing to verbalize them coherently for an audience. The act of putting my creative process into words has helped me to step back from the artwork and see it more objectively. This has not only solidified my approach to illustration and given me a clearer view of what I’m doing, but has also sharpened my ability to communicate my creative ideas and philosophies. Now, when interviewed, I have more to say and I say it more concisely. When providing text for my art book, I found that I had quite a lot to say about what I was doing and how I went about doing it. This has also helped me answer the questions asked by the fans in the art shows.
The fans and professionals attending the World Horror Convention are by and large intelligent folks with good social skills, although I think the general public finds us to be a suspicious lot.
Attending the World Horror Convention as a Freelance Illustrator, by Jill Bauman
If you are planning to attend the World Horror Convention and display your art in the art show, I hope to share some of my experiences with you and offer some advice.
I have been attending conventions for many years. In the past, most of conventions that I attended were Science Fiction/Fantasy conventions, a few of them Mystery conventions.
Horror writers and artists participated in these meetings, but really had no professional event of their own until 1991. That year,I received a call from Charlie Grant explaining that a group had begun setting up procedures and guidelines for the first World Horror Convention. Charlie asked if I would like to be involved in inviting and jurying artists for the art show and programming. I was also asked to be the “Artist Guest of Honor.” I was honored and of course, agreed.
Attending conventions takes some research and preparation. The world Horror Convention is in a different city each year, run by a different group, and so their information and rules can vary. The first thing I do is learn about the convention either by writing for information or going online to the convention’s website. I look for the rules and guidelines. Unless you are a guest, there is a membership fee for the World Horror Convention that can range from $100.—$150. The later you wait to pay this fee, the higher it will be. I suggest finding out as much about the convention as possible from a past attendee.
Once I decide that I will attend and display my art, I inform the committee that I am available to participate in some of the programming such as panel discussions or workshops. There is often a programming questionaire among the convention paperwork for this purpose or I find an e-mail link on their web site to notify the programming director of my interest in participating.
I carefully read the art show guidelines. I’ll note the cost per panel and the size of the art display panels. Some shows allow you to hang limited edition prints in the art show, others don’t. There is a commission on the sales of art and prints. Again, the rules and amounts vary from convention to convention.
I always want to make the best presentation I can. This means matting and framing the art. Once I know the size of the panels, I can calculate which and how many paintings I’ll be taking to the show. Having business cards or some hand-out is very helpful. Some artists make a small holder to place on their art panels.
There is usually a print shop in or near the art show. Sometimes there are restrictions as to the number of images you may enter in the print shop. There tend to be more restrictions when the space available is small.
There is paperwork for the art show that must be filled out, a control sheet which lists all the art, the prices, etc. Then each piece is given a paper tag filled with information specific to that artwork. These tags hang from the pieces in the art show to provide those viewing the show with information about the artwork and how it might be purchased. The instructions for all this are provided in the paperwork. Most conventions will have their art show paperwork available for download off their web sites. I read the rules to find out how to fill out the forms.
Which pieces of art I decide to include in my display often depends on where the convention is located. If I have to fly, I may want to mail some of the art and bring some that I can check-in with the airline. If I’m shipping art and prints home, I’ll have to make arrangements before I get to the convention with either the hotel or art show personnel. I have to remember to bring packing tape and labels to prepare the packages after taking down my art from the show. If I am driving to a convention, I’ll usually purchase more panels and display larger pieces.
Once I arrive at the convention, I spend several hours hanging my artwork. I find this to be an exciting time as I can renew old acquaintances and meet new artists. I learn a lot watching how other artists display their work. Once I’ve completed this task, the rest of the convention is filled with meeting people, seeing other artist’s work, making contacts, socializing, attending panel discussions and having lots of fun.
Attending the World Horror Convention from a Fan's Perspective by Brad Hutchings
I attended my first World Horror Convention in 1995, in Atlanta Georgia. I had been reading horror novels for approximately 15 years by that point, and had recently expanded that hobby to include collecting First Edition hardcover versions of horror novels and some original artwork by artists working in the horror field. So, when I found out that conventions like the World Horror Convention existed, that they were attended by many of the authors and artists I had been a fan of for years, AND that they were open to a nobody like me, I decided I had to attend.
That WHC in '95 was only the second convention of ANY type that I had ever attended, and what amazed me the most was how friendly, approachable, and "normal" everyone was; INCLUDING the Guests of Honour! I was also very pleased to discover the professionalism of those in attendance. This is not a "Trekkie"-type convention for the horror crowd instead; people are not running around in costumes, speaking made up languages. A large number of the people in attendance work in some aspect of the horror publishing field - whether as authors, artists, editors, publishers, book dealers, etc. - and they are there to learn and discuss the field, make contacts, and improve their craft.
As a collector and fan, there are many aspects of this professional environment that I enjoy. The convention has an artshow in which artists working in the field display and sell their original artwork. These artshows have given me the opportunity to meet several of my favourite artists, see the original paintings that have graced the covers of some of my favourite books, and in some cases purchase original art.
Programming at the conventions include several panel discussions on a wide-variety of topics pertaining to the horror industry. There are usually anywhere from 3-7 pros on each panel, and those panels are usually interesting, funny, informative, and a great way to get a "feel" for the personality of some of your favourite authors, artists, editors, or publishers. Programming also includes readings by many of the authors in attendance. These are a great way to get some exposure to that new author you've heard about but for whose work you have been unsure whether or not to plunk down your hard-earned cash to buy their book, AND to hear your favourite author read a short story in-person.
Another highlight of the convention for me is always the mass autographing session, during which all the authors, artists, and editors gather together in the hotel's ballroom for 2-3 hours. This is a great way to meet your favourite authors if you're too shy or courteous to approach them at any other time, as well as to get them to sign any books you have brought. Most authors do not limit the number of books they will sign for you, but if there's a lot of people behind you the courteous thing to do is just get a few of them signed (up to a half dozen is reasonable), then go to the back of the line again to allow others the opportunity. I've never had a situation where I haven't been able to go through a line up for several authors at least twice if required.
The dealers room is always a book collectors dream as well......especially if there are no specialty book stores in your home town. If you've ever read in a dealers catalogue or online about a limited edition that sounds nice but you're hesitant to order it simply from a written description, then the dealers room is a great opportunity to actually see the book in-person and decide whether or not to buy it. You can usually find something you've always wanted in the dealers room; from the brand-new specialty press hardcover you want, to a $2000 Arkham House H.P. Lovecraft collectible.
One side-benefit to the World Horror Conventions is the vacation opportunities that they present. Along with San Francisco in 2006, recent WHCs have been held in New York City, Phoenix, and Denver to name a few. The convention is a great excuse to visit a city you've never been to before. Tack on a few extra vacation days before or after the convention, and give yourself a much-needed holiday and go site-seeing in a city or State you've never been to before - or revisit a favourite one.
Last but not least, one more thing I enjoy about the conventions is the opportunity to meet other people with a similar interest in books, art, and travel. Whether at a signing, at an evening party, in the art show, or in the hospitality suite, I always meet someone new at each convention that becomes a friend I look forward to seeing again at a future convention. People I've met at past conventions have become some of my best friends for life.
All World Horror Conventions are different; they vary in size, number of guests and attendees, quality of artshow and dealers room, etc., but one thing that never changes is the fact that my wife and I ALWAYS have a good time.
Attending the World Horror Convention as a Freelance Writer by Michael A. Arnzen
I've been attending World Horror Con off and on since 1992 -- and I can't stop coming back. I attend a number of professional conventions each year, but for some reason, this is the one I enjoy the most. I'm not entirely sure why I love it so much, except for one reason: everyone in attendance seems to be in the right frame of mind. There is a balance of professionalism and good fun. We rarely wear masks or goofy costumes or any of that cheesy gobbledy-gook -- but we never take ourselves so seriously that we have to dress up in business suits all the time, either. We know that our field, as twisted as it might be, is also inherently fun, and most of us are fans of the genre as much as craftsmen within it.
Fun? That might be the wrong word for a conference of professionals (and not just fans), but it's a curious fact that most horror writers are surprisingly friendly and nice people; indeed, the sicker their work, the more affable they seem to be. I guess we purge all that ugly stuff out of our systems when we write. It keeps us honest and human. And we love what we do, so we naturally love those who do it, too.
I'm not sure, but I do know that this phenomenon is a fact because the writers I meet at WHC every year are genuinely congenial at the panels and chummy at the bar and entertaining at the parties. It may be inappropriate to call a horror author "good-natured," but just about every writer I know sports an open mind, a wild sense of humor, and a disarming smile. There's a strange bond that horror writers share. Writing can be such a lonely business that we need events like these to keep us in the tribe. Returning to this tribe of professionals every year really restores my faith in the spirit of the genre.
Beyond all the good times, of course, is business. A lot gets done at WHC, from the professionally-handled "pitch sessions" between editors and writers to the fascinating panel discussions by bigwigs in the field, from the writer's workshops to the casual conversations during happy hour, from the hallway chit-chat to the interviews with guests. I leave every con armed with new projects, new leads, new contacts, and new ideas. To me, "networking" always seems like a false, dehumanizing term for some business world baloney-- but at WHC, a lot of networking does get done. It just never feels artificial. It happens organically. I find that the contacts I've made and the information I've picked up at WHC each year really have not only built long-term friendships, but also a career.
It pays to "be seen" by readers, agents, editors, and others who want to put a face to the name they may have only seen in passing on a book spine or magazine cover. At WHC, you'll often "see" me not only cavorting in the hallways, but also sitting on panels beside famous authors or filmmakers; you might catch me giving a fiction reading or make chit chat with me while sipping wine at the art show. Attending WHC gives you a real world "visibility" that you'll never get just sitting at your computer, typing away all the time.
And you'll not only be seen -- you'll get to see a lot of what the genre has to offer for yourself. You'll learn which publishers are investing the most money into their authors, which book dealers are hustling the most for the genre, which writers truly care about their audience, which agents are in the market, and more. Although I know a number of writers who attend the con just for the camaraderie at the bar, there are just as many who know that attending the panels at this convention is like a going back to school and getting an advanced degree. Even after more than a decade of visits to this con, I learn something new every year.
Those of us who work in the genre really are a tribe, and WHC is quite a pow-wow. I could go on and on, but -- just like they say about Vegas -- to some degree, what happens at WHC stays at WHC. However, unlike Vegas, you're not throwing your money away by attending. What you gain from WHC can't be put into your pockets, but it certainly has value.
Hope to see you at the next one.
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