I drew a Godzilla comic once. What got me the gig? The editor/writer who solicited my talents loved the way I drew Harvey Pekar. No lie. I got the gig sans "audition" because my previous art spoke for my (then) skill set (see The Quitter/American Splendor and then have the insight to KNOW I could draw GODZILLA, hah!), despite my personal reservations of whether or not I could rock a good Godzilla (I ultimately took the job because the story was so cool). Alas, I needed to do a bunch of revisions but that was AFTER I got the job. Revisions comes with the territory. Who knew Toho would suggest to draw Godzilla more like a cross between an old fat lady and a dog, but I did my best. Naturally, not all solicited jobs go like this but, once you've established yourself as a professional artist (in this case, a cartoonist), I think it's fair to be paid something if the corporation solicits you and wants "samples" before they officially hire you. Everyone else is getting paid (the editor, the writer, the company) to perpetuate company-owned franchises. A printer and distributor wouldn't do their job on spec, why should you (and, no PLEASE don't equate drawing to acting just because I used the term "audition" - don't even). I think I drew one unpaid Godzilla to prove my salt and I was okay with that (I needed to know for myself if I could swing the gig). Don't forget, the sample you send might be the tenth drawing you did (banging your head against the art table) because it could take awhile to "find" your version that you feel comfortable sharing with an editor/writer and the world (and, that's when you been afforded the luxury of expressing your version versus drawing on model; a whole other bag of worms). Corporations used to build a "kill fee" into the budget and process. Nowadays? Of course, other way around, you solicit an editor/publisher and you better bring your A-game. Meanwhile, viva la indie/alt comix!