Okay, Drew, you've talked a lot about what's the wrong attitude for a novelist wanting to get into comics, so what's the right attitude, the right approach? There's limited value in knocking something down unless you have something better to offer in its place. How does a novelist who has a sincere respect for the comics medium and a sincere desire to participate in the field go about earning that opportunity?
C'mon, Christopher, do you really need this explained to you? You do it the same way that you learned to write anything else: You read. You learn. You practice.
You do writing exercises, draft sample pages, get them critiqued by your peers. Redraft, resubmit, practice.Take a class, join a writer's group, whatever works for you. And, oh yeah, did I mention practice?
It makes perfect, gets you to Carnegie Hall, and lets you look good in front of the cheerleaders before the big game.
When I'm dealing with a prose writer (or screenwriter, etc.) who's actually made the effort to learn the craft of comics writing, then I'm more than happy to take a look at what they've got--and, quite frankly, the effort that they put into learning the craft usually immediately shows in their work. It's almost always head-and-shoulders above the work from prose writers who have "dabbled", maybe written a couple of comics pages years and years ago, flipped through a couple of comics scripts and decided that their reputation qualifies them for comics writing, like the writer that I mentioned in my initial message here.
The difference between the two is really that obvious; and, as I said, it's the difference between prose writers who take the prospect of comics work seriously and professionally, and those who simply see it as an extra closet in the basement of their talent.