Gender Archives - Page 5 of 8

Category Archives: Gender

Interview: Women of BOOM! – Grace Randolph

Posted on February 20, 2014 by Brett

It’s Thursday which brings us a new interview and our 17th “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

BOOM! (and KaBOOM! and Archaia) has given us unprecedented access and the chance to ask questions to their staff, and creative teams, to find out why the publisher is so successful in hiring women and their experiences in the comic industry as women.

Grace Randolph is a writer and the creator of the excellent BOOM! series Supurbia. She’s also written for the comics Muppet Peter Pan, and Fraggle Rock and is also an avid blogger.

Graphic Policy: How did you get involved in the comic book industry?

GR: I don’t just write comics, I read ’em! Like many comic book readers, ultimately I had a desire to contribute to the medium I enjoy so much. Thus began my letter and email writing campaign to various editors, and it was DC Comics Dan DiDio who gave me my first gig – writing Justice League Unlimited #41.

GP: Did you read comics growing up? Do you read them now?

GR: As a kid, I got into comics via Archie and Uncle Scrooge – both of which I read voraciously! Then, when I started to get annoyed that Archie didn’t simply choose between Betty and Veronica, I knew it was time to move over into mainstream adult comics – DC and Marvel.

GP: How did you come to work with BOOM!/Archaia?

GR: I did some work over at Tokyopop and a few of their editors transitioned over to both companies actually, back when they were separate. I was invited to pitch for the Muppet fairytale line over at BOOM! and Fraggle Rock over at Archaia, and luckily they liked my pitches!

GP: How would you describe your job for people?

GR: Comic books are produced by a group of people working together, which is very important to remember. But the writer is the only one who starts at zero. It’s my job to peer into the darkness and pull out the story, creating the skeleton that the rest of the team will layer their work over. And as a creator, I get to weigh in on those layers as well, which results in what I originally had in mind – but even better thanks to the talented people I’m working with!

GP: For people who want to pursue a career in what you do, what advice would you give them?

GR: Get ready for a long haul. Any kind of career, especially in the arts, takes a long time to establish – not to mention get to a point where you can support yourself financially. Luckily, a career in the arts is usually fueled by passion, and that passion will keep you going during the many, many rough parts.

GP: Did you have a mentor to help you break into the industry? Do you mentor anyone yourself?

GR: As I mentioned above, Dan DiDio got me my first gig and was the first one to believe in my talent as a writer. His assistant at the time, Jann Jones, is the one who told him my spec script was worth reading, and I owe her a lot as well. Plus those editors from Tokyopop who moved to BOOM! and Archaia who agreed to hear my pitches, Paul Morrissey and Tim Beedle. And of course, I’ve learned an incredible amount from working with Ross Richie, BOOM!’s publisher and founder, on Supurbia.

GP: Do you think women have a more difficult time breaking in and making it in the comic industry, if so why? And if yes, how do you think that can be overcome?

GR: Well, there’s a new fad where male comic book readers like to question is women really DO like comics, or if it’s just an act to get attention. It’s true that a small number of women do that, which is unfortunate in and of itself, but even more so because it makes it difficult for true female fans to be involved in the community. And exact same thing goes for female creators. Look, I think it’s amazing that JK Rowling felt – just recently – that she had to initially hide the fact she’s a woman from readers. And even when she published under a pseudonym this year, she picked a man’s name, Robert Galbraith. Women will have more success as creators when consumers are more willing to try their work – who knows when that will happen, or what it will take…

GP: We notice that when it comes to women in the comic industry, BOOM!/Archaia has a lot of diversity present. Why do you think have they succeeded when so many other publishers struggle with this?

GR: BOOM! is very special in that they have tremendous faith in ideas, and in making sure those ideas are realized in tact and to the best of everyone’s ability. That’s very rare in comics, and in any business sadly. So I think the fact BOOM! values ideas means they don’t particularly care who’s head those ideas come from, and that’s great. Favoritism is just as bad as discrimination.

GP: We’ve heard horror stories concerning women in the industry, have you ever seen or been discriminated/harassed and if so, how did you handle it?

GR: I was really disappointed to hear that a number of comic book stores didn’t carry Supurbia, and still don’t, because they felt it was too “girly” or perhaps because it had my name on it, a female name. First off, it’s not girly, and such an assumption means they didn’t even give the title an honest look. Second, for a store to make assumptions about what their readers want and don’t want to read is ridiculous, and quite frankly bad business. Every title should be presented to readers and if they don’t buy it, THEN you can stop ordering it.

GP: What advice do you have for women looking to break into the comic book industry?

GR: Hold your head up high, and let your work speak for you. Good luck!

Related:

Read more “Women of Boom” Interviews

Facebook Fandom Spotlight: Graphic Novels

Posted on February 17, 2014 by Brett

It’s Monday and that means a brand new Facebook Fandom spotlight where I look at the statistic of Facebook users when it comes to some part of geek fandom. Spinning out of a discussion over on the Beat, and with some prodding of that site’s head-honcho Heidi, this week I’m looking at graphic novels.

For this report, I look at the various terms used in Facebook as far as “likes” and through a mechanism on the site, report on the data of Facebook users concerning those likes. For this week, since it’s graphic novels, I narrowed the usual report down a bit to just focus on the gender of the people who like the various terms. Facebook has an algorithm on their backend to determine all of this, so it’s a bit more complicated than just “likes.”

Below I look at all these terms together as well as their broken apart. What stands out to me is that while women only make up 23.64% of the individuals who like the terms “graphic novel” and “graphic novels” there are some specific books where they are overwhelmingly the majority of the likes and many that are close to a 50/50 split. There’s a clear difference of interest when it comes to these books by gender.

Overall, this again shows that a diversity in what’s produced can only help attract a wider audience for comic books and graphic novels.

Amelia Bloomer Loves Princeless

Posted on February 17, 2014 by Brett

Princeless is no stranger to accolades and Action Lab Entertainment have added one more feather to their already impressive cap.

The Amelia Bloomer Project has included Jeremy Whitley’s Princeless this year to the Amelia Bloomer Project List. Each year the Amelia Bloomer Project List selects the best books with significant feminist content that will appeal to young readers from birth to 18 years old, published in the previous 18 months.

The Amelia Bloomer Project is part of the American Library Association, Social Responsibilities Round Table’s (SRRT) Feminist Task Force (FTF).

LEGO and Girls on the Run Join Forces To Build Confidence in Young Girls Nationwide

Posted on February 16, 2014 by Brett

LEGO Systems, Inc. has announced a partnership with Girls on the Run (GOTR). Girsl on the Run is a physical activity-based positive youth development program for girls. The partnership will incorporate an activity adapted from the LEGO Serious Play methodology into the GOTR curriculum which is designed to further develop girls’ social, psychological and physical skills. Girls in grades 3 through 5 will engage in solo and group building challenges that will tap their creativity and hone their problem-solving, critical thinking and social skills.

Girls on the Run teaches life skills through dynamic, interactive lessons and running games. The program culminates with the girls being physically and emotionally prepared to complete a celebratory 5k running event. The goal of the program is to unleash confidence through accomplishment while establishing a lifetime appreciation of health and fitness. Over the course of the program, girls will develop and improve competence, feel confidence in who they are, develop strength of character, respond to others and oneself with care and compassion, create positive connections with peers and adults, and make a meaningful contribution to community and society.

The GOTR LEGO building activity is based on LEGO Serious Play methodology and insights that shows that hands-on, minds-on play produces a deeper, more meaningful understanding of the world and its possibilities. The activity will guide teams through a simple process where coaches will pose a question, the girls will build in response, everyone will share a story about what they built and then reflect together on similarities and differences through a question and answer period.

Gender

Interview: Women of BOOM! – Danielle Corsetto

Posted on February 13, 2014 by Brett

It’s Thursday which brings us a new interview and our 16th “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

Danielle Corsetto is a writer who has worked on the Adventure Time OGN Vol. 1: Playing With Fire and Adventure Time OGN Vol. 2: Pixel Princess and the webcomic Girls With Slingshots.

Graphic Policy: How did you get involved in the comic book industry?

Danielle Corsetto: I’ve been creating comic strips since I was eight, published here and there in little publications throughout college, but the real first step I took to “break in” was attending comic book conventions and getting to know people in the industry (as well as other aspiring creators). I’ve been self-published for years, so I never really “got into the comic book industry” per se, but I’ve been creating comics full-time for six years now. I think personal connections and networking are monstrously helpful in getting the word out about your work, so I always recommend comic book conventions to aspiring creators, even if you’re just there as an attendee!

GP: Did you read comics growing up? Do you read them now?

DC: I never read comic books, but I read newspaper comic strips all the time. Now that the scene has shifted mostly to the web, I still read some of my old favorite newspaper strips online, as well as a handful of webcomics and graphic novels. I love anything that falls into the “slice-of-life comedy” genre.

GP: How did you come to work with BOOM!/Archaia?

DC: Lucky for me, it sounds like some of the staff at BOOM! knew my work already, and asked me to work on some of their best properties! I’m currently writing the graphic novels for Adventure Time, which is my favorite show on TV. Even before I got the gig, Adventure Time was the ONLY show I’d subscribed to on my iPad. So it’s a dream come true to play with the characters!

GP: How would you describe your job for people?

DC: I’m best known for my own webcomic, Girls With Slingshots, which is self-published on my website and in book collections. When I meet people who aren’t necessarily familiar with the comics industry, I simply tell them that I’m a cartoonist, and let them ask questions from there. I just got back from visiting a dentist, for instance, and as a fellow small business owner, he wanted to know all about the business model for publishing comics on the web without a subscription model.

I suppose I’m an entrepreneur at heart, but I like the ring of “cartoonist.” It’s always suited me best. :)

GP: For people who want to pursue a career in what you do, what advice would you give them?

DC: One: go to comic book conventions, and two: DO IT!! Put it up on the web so that other people will keep tabs on you and ask when you’re going to do more. It’ll keep you motivated.

Also, when you’re at a convention and someone asks you what you do, don’t call yourself an artist or a writer unless you’re actively spending most of your time creating comics. I know (and you know) that you’re an artist or a writer at heart, but you also know just as well as I do that when someone (in the States, at least) asks you what you do, they’re asking what you do professionally. Tell them you’re an aspiring artist, or an aspiring writer. If you go around telling people you’re already doing it, you’ll never get off your rump and actually do it!

Which brings us back to my second point: DO IT!! Once you start doing it, THEN you can give yourself that title. :)

GP: Did you have a mentor to help you break into the industry? Do you mentor anyone yourself?

DC: I did! Funny enough, he’s a very different kind of artist and writer than I am, but I owe artist Michael Lark for pushing me to quit my job and do freelance work full-time back when I was starting out. He’s an incredible storyteller and all-around great, encouraging guy. Naturally, I met him at a comic convention.

Since then I like to think I’ve been a bit of a mentor to many aspiring artists and writers, just here and there. I teach an illustration class at the local college every spring, and a lot of those students are mad talented! I’m looking forward to keeping tabs on them as they grow, and seeing how their styles mature.

GP: Do you think women have a more difficult time breaking in and making it in the comic industry, if so why? And if yes, how do you think that can be overcome?

DC: I’ve been protected by this, for the most part, because I work for myself, and primarily on the web. But I did get a bit of advice from someone at the very first convention I ever attended as an exhibitor, and it was simultaneously annoying and humbling and painfully accurate.

At that first convention, I’d dressed myself to look (uncharacteristically) pretty and feminine, and I spent a good amount of the show blushing and being self-deprecating about my artwork. I don’t know where I learned to do this – I’ve always been a bit of a tomboy, and I’m pretty bold and confident within my friend circles – but it was definitely a learned behavior.

Someone who’d been working in the industry for a long time talked with me a bit, realized that I’m hardly a shrinking violet, and encouraged me to stop being a caricature of a “woman in comics.” His advice led me me to dress how I usually dress, act how I usually act, be confident in my artwork, and to see myself as a peer to others in the industry, rather than a “woman trying to make it in a man’s world.”

I suppose this could be misconstrued as sexist advice, but it worked for me. I’m very “me” at conventions now, and I feel entirely accepted for it. If you’re a shy female creator who enjoys dressing up, you can still be exactly who you are! (In fact, PLEASE be exactly who you are!) But when people ask you about your work, have confidence in your strengths. Have confidence in the way you’re presented, the way you’re dressed, and in all of your potential. You know you’re just as good as your male peers! And if you honestly think you’re not, then just keep working at it, keep practicing. It’s not like the estrogen in your body is a handicap to your talents, you know that!

DC: I’m not sure! I mean, I’ve met the staff, and I feel super comfortable with all of them. I never feel like “the girl creator” (in part because so many of their creators ARE girls!). So maybe it’s because of the overall positive, inclusive attitude of the people they hire. I’m glad I’m a part of it!

GP: We’ve heard horror stories concerning women in the industry, have you ever seen or been discriminated/harassed and if so, how did you handle it?

DC: I haven’t seen much of it first-hand, or at least, I haven’t seen it coming from other professionals.

I think the worst I’ve ever experienced was at a small comic book show in New York, years ago, before my work and my name were becoming well-known. I was sitting next to my aforementioned mentor, Michael, who’s a seasoned professional and has been in the industry for nearly 20 years. Some kid walked up to his table, said some nice things about his work, looked over my (rather lacking, at that point) portfolio, and asked Michael if he thought men were just inherently better at drawing than women. I was surprised by his bluntness (“I’m right here, kid, I ain’t deaf!”), but I think all I could do was laugh. Michael, on the other hand, was appalled, and told the kid that despite the fact that I was 15 years behind him and just starting out, there were plenty of things I could draw better than him.

I humbly disagree – Michael can draw in just about any style – but the point was made that this kid was comparing apples to apple blossoms. I wasn’t any less talented than Michael, but I was over a decade behind him in experience, and that had nothing to do with my gender!

Since then I’ve had one or two guys walk up to me at shows and make an inappropriate comment – I suspect it’s because I’m very open about sexuality in my comic and on Twitter – and I always handle it by giving them an empowered “WHAAAAAAAAT did you just say?” The moment someone crosses a boundary with me is the moment I feel superior to them, because they’re making it so clear that they’re more socially inept than I am. I rarely blow up at people, but I also rarely let it slide when someone objectifies me, or treats me differently than they’d treat a guy.

GP: What advice do you have for women looking to break into the comic book industry?

DC: I guess I’ve already shared this, but: go to comic book conventions; be confident in your abilities; if you feel like you’re not good at something, don’t mope about it, WORK on it; and be yourself. We’re kicking the gender imbalance in comics square in the junk; help us kick it further by kicking ass!

Related:

Read more “Women of Boom” Interviews

Interview: Women of BOOM! – Corinna Bechko

Posted on February 6, 2014 by Brett

It’s Thursday which brings us a new interview and our 15th “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

Corinna Bechko is a writer who has worked on Betrayal of the Planet of the Apes, Exile on the Planet of the Apes, Planet of the Apes: Cataclysm for BOOM! Studios; Once Upon a Time: Shadow of the Queen for Marvel; Star Wars: Legacy for Dark Horse; and Heathentown for Image/Shadowline.

Graphic Policy: How did you get involved in the comic book industry?

Corinna Bechko: I wrote a creator owned graphic novel called Heathentown that was published by Image/Shadowline.

GP: Did you read comics growing up? Do you read them now?

CB: I read a lot of them now, both digitally and in print. So much interesting stuff is coming out lately! Growing up I read comic strips in the paper and imported Indian comics about Hindu mythology.

GP: How did you come to work with BOOM!/Archaia?

CB: My writing partner (and husband) Gabriel Hardman and I ran into Matt Gagnon at the LA Festival of Books. We mentioned how much we loved what Daryl Gregory and Carlos Magno were doing with their Planet of the Apes book and asked if BOOM! would consider a one-shot from us. Instead they offered us a miniseries, and that became Betrayal on the Planet of the Apes.

GP: How would you describe your job for people?

CB: I simply say that I write comics.

GP: For people who want to pursue a career in what you do, what advice would you give them?

CB: Be persistent, don’t give up, and always, always be polite. The industry is small and everyone knows everyone. Read lots of comics to get a feel for how they flow and the visual ways that a story can be told. Pay attention to the art, especially how page turns impact the pacing and how information is revealed. Try to work with the best artist you possibly can because that is the first thing anyone will notice about your book.

GP: Did you have a mentor to help you break into the industry? Do you mentor anyone yourself?

CB: My husband and writing partner is a master visual storyteller and I have learned a lot from him. He spent years working as a storyboard artist on feature films so it’s second nature to him. As for mentoring someone else, I did have the chance a couple of months ago to be “job shadowed” by a young woman in high school who is considering a career in comics. I brought her to the BOOM! offices where my editor Dafna Pleban generously showed her all aspects of how comics are made and really gave her the lowdown on what it means to be a woman in this industry. She was amazed to see how much hard work goes into even a single issue!

GP: Do you think women have a more difficult time breaking in and making it in the comic industry, if so why? And if yes, how do you think that can be overcome?

CB: I do think there’s still a bit of glass ceiling in certain areas. All you have to do is look at the percentages of females vs. male creators to see that. Things are changing, but not as fast as they should. I don’t think that there’s a “no women allowed” sign hanging anywhere, but rather that many people in the position to hire new talent don’t have a mental image of comic creators that comes in more than one template. That will hopefully be naturally overcome as more people speak up about the problem. The rise of digital delivery is helping too, since it presents consumers with choices that may not be available in tiny local shops that sometimes only order from “the big 2.”

CB: In my dealings with BOOM! it was always striking how young and energetic the company seemed. I don’t think anyone there has just one idea of what a creator should look like. They’re looking towards the future where you make comics for all sorts of people, not just one type. Which is not to say that every story has to appeal to every person, but it is nice when there aren’t stories that are actively excluding people.

GP: We’ve heard horror stories concerning women in the industry, have you ever seen or been discriminated/harassed and if so, how did you handle it?

CB: I’ve been very lucky. Aside from a couple of twitter trolls and a few ignorant comments, I haven’t been actively harassed or discriminated against within the industry. I do get the occasional “soft” discriminatory assumption at cons, like that I’m just minding the booth for my husband or that what I’d really like to do is write for children (even though my OGN is horror and that’s my first love) but I haven’t had the struggle that women who blazed the path before me have had.

GP: What advice do you have for women looking to break into the comic book industry?

CB: Act like a professional and don’t let anyone treat you like you’re not. Read a lot, study scripts, and pay attention to what’s going on in the industry. But mostly, make comics!

Related:

Read more “Women of Boom” Interviews

Interview: Women of BOOM! – Chondra Echert

Posted on January 30, 2014 by Brett

It’s Thursday which brings us a new interview and our 14th “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

Chondra Echert is an advertising copywriter turned comic writer. She started off helping on The Amory Wars and eventually writing Kill Audio and Key of Z! She’s also the Creative Co-Director of Evil Ink Comics.

Chondra and her husband, Claudio Sanchez, are launching a new series, Translucid, in April from BOOM!. The new series explores the thin line between heroes and villains, and the space between childhood hope and loss.

Graphic Policy: How did you get involved in the comic book industry?

Chondra Echert: About 6 years ago, I was working in advertising as a copywriter. My husband and I are very interested in the designer toy scene and we had begun creating a figure of our own as a little creative adventure. At the time, he was working on a creator-owned title The Amory Wars and I would help edit the series on the side with him when I had free time. I had begun to really fall in love with the medium by proxy, so as our vinyl toy Kill Audio came to life, we were already dreaming up a crazy tale of the same name that we thought would lend itself to a comic. The first issue of Kill Audio found a home in Image’s Pop Gun 2…and I was hooked. I quit my copywriting job a month later to make stories full time.

GP: Did you read comics growing up? Do you read them now?

CE: I was voracious growing up, but the only comics I was exposed to were the Archie digests that I’d sneak into the shopping cart at the grocery store. I lost touch with comics as a teen because there wasn’t anyone showing me that those weren’t the only options available–that I could find books that resonated with me outside of the capes and tights. I was never into superhero books. As an adult, I feel like I’m making up for lost time. Now, 80% of my reading material is graphic novels and comic books–but I still don’t read superheroes. I’m into a lot of Vertigo titles, indie stuff, creator-owned series and of course BOOM!/Archaia books!

GP: How did you come to work with BOOM!/Archaia?

CE: When we decided to stretch the one-off Kill Audio story into a series, we wanted to partner with a publisher who would be passionate about the project and offer a strong editorial team for future endeavors. From day one, after meeting with them, BOOM! felt like the right choice for us. They continue to be enthusiastic, hands-on and dedicated. I’ve never seen someone who adores comic books the way that Ross Richie does and as a result, BOOM!’s priorities have always been on protecting and guiding the medium, especially where creator-owned titles are concerned.

GP: How would you describe your job for people?

CE: My job is 15% daydreaming, 20% putting the mental deluge to paper, 60% making sense of it and 5% drinking coffee.

GP: For people who want to pursue a career in what you do, what advice would you give them?

CE: Work at it every day and always bring YOU to what you’re working on. Finding your style isn’t a result of copying someone else–it’s a result of inspiration. It comes from the heart.

GP: Did you have a mentor to help you break into the industry?

CE: My husband, Claudio has been my mentor in more ways than one. He’s been a comic fan since he was a child and has opened the door for me to fall in love with graphic storytelling through his own love for it. He has pushed me to be confident as a creator and writer by forcing me to be fearless.

CE: I think BOOM/Archaia are not only afraid to think outside the box–they operate as if the box doesn’t exist at all. I have always felt respected and valued as a writer in our relationship there and am privileged to work with so many incredible women there. Their business model is built on the concept of inclusion and diversity in the creation process. It’s no surprise to me that this makes for better books, more innovative practices and a better work environment overall.

GP: We’ve heard horror stories concerning women in the industry, have you ever seen or been discriminated/harassed and if so, how did you handle it?

CE: The only discrimination I’ve really noticed takes place at comic conventions when I’m at the booth trying to sell books I’ve worked on or am in the middle of a signing. There’s always one or two people who assume I’m some kind of hired “booth girl.” The most shocking part of this is that those people aren’t exclusively men! I’ve heard so many stories about women being disrespected in comic shops or questioned as to the “authenticity” of their fandom. I can’t pinpoint a time that has ever happened to me or where I felt genuinely disrespected as a woman, but I hate that there are others who’ve been made to feel that way. To be honest, I’m pretty unaffected when it comes others’ perceptions of me. I was raised to believe that there were no limitations in my life and that is how I operate. I handle preconceived notions by working harder and surrounding myself with forward-thinking people who like what I do, rather than dwelling on the closed-minded jerks. They’re on their way to being extinct anyhow.

GP: What advice do you have for women looking to break into the comic book industry?

CE: Don’t ever let other people qualify whether you belong.

Related:

Read more “Women of Boom” Interviews

Interview: Women of BOOM! – Chandra Free

Posted on January 23, 2014 by Brett

It’s Thursday which brings us a new interview and our 13th “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

Chandra Free is an independent creator, writer, illustrator, artist, and is up to the plate this week. She released her creator owned series The God Machine through Archaia, acting as both artist and writer. She’s been an illustrator on Fraggle Rock Vol. 2 and artist for Conspiracy of the Planet of the Apes, both for Archaia.

Graphic Policy: How did you get involved in the comic book industry?

Chandra Free: It was always destined to happen. When I got out of high school, I already wanted to put my book The God Machine out there. Of course, college got in the way, and I grew as an artist. In 2005, I “took a break” from college and started to discover my own artistic voice… one that wasn’t my professors. With this, I was producing new digital illustrations, and one in particular was a piece of fanart for Gloom Cookie. I sent it along to Serena Valentino (the writer of Gloom Cookie) for her to see. She was so excited about my artwork that she asked me to try out for her upcoming comic, Hell’s Cafe! I did sample pages and everything! Sadly the project didn’t go forward during that time for many reasons, but it was my sample pages that she ended up posting online that caught the eye of Drew Rausch. Now, Rausch wanted me to do a pin-up for him, which I did. So impressed, he asked me to be his colorist on his book, Sullengrey. I did the first two issues of his second volume. This was my “initial” involvement with the comics industry. All creator-owned endeavors.

GP: Did you read comics growing up? Do you read them now?

CF: I did, all kinds of comics too. When I was in grade school I read things like Garfield, newspaper comics, Disney Adventure, then later the weird stints Marvel had with the “then current” Disney movies. My mom always collected weird comics like Tom & Jerry, Heckel & Jeckel, The Three Stooges, and a bunch of old Marvel and DC titles that I’d always look through when I was a kid– but I never read them, just gazed at the pictures. I tend to gaze even to this day! FYI My mom also bought several copies of the Death of Superman when that came out…hahaha! Oh…

When I was about thirteen years old (this is around 1995), Marvel put out 11 issues of Disney’s Gargoyles. Oh man! I LOVED that comic so much! It featured Amanda Conner as the initial artist, and it was a more adult story. Conner made Elisa look so cool! Like kick your ass kind of cool. I would try and draw Conner’s version of Elisa all the time! I wanted to get an edge to my drawings (granted I was in middle school at the time.) The writing in that series made Elisa a multifaceted character, more fleshed out, filled with guilt and justice, and she wasn’t afraid to right the wrongs of her past by putting herself in danger! I collected all of those issues! I still have them bagged and boarded too. I was heartbroken when the next issue didn’t come out. I’d visit all the comics shops and turnstyle racks to no avail!

Around the time Gargoyles was coming out I was also getting into X-men, and I needed to know everything about them. I had seen the cartoon, but I really wanted to know what i was missing out on– the real lore! I don’t know how we did research back then; there was internet, but that was all bbs’ and various pages with info on them! In addition to all of that, I wanted everything with Psylocke! Don’t ask me why… maybe because she reminded me of anime characters? The issue that stands out the most was Psylocke vs. Sabertooth with Joe Madureira doing the art – and you can really see the anime influences there! I was so infatuated by Psylocke that I wanted the Sega Saturn game with her in it, until I learned it was a terrible port of the original arcade version, then I snubbed it and went on with my life!

I picked up the early issues of Archie’s Sonic comics. I didn’t make it past #50, I was getting tired of the story! I think I was mainly into those comics because I was going nuts over the original 16-bit games. They’re still making Sonic comics…

I never stopped reading comics. I had my time with manga and SLG titles during my teens and early ‘20s.

Currently when I find the time, I will read my friends’ comics, slice-of-life comics, and dark bizarre comics. My all-time favorites currently are Daytripper, DE:Tales: Stories from Urban Brazil, In the Flesh, Fell, Sleepwalk (Optic Nerve), Shortcomings, The Killer, From Hell, Courtney Crumrin, Paradise Kiss, and Critical Millennium (that has nothing to do with the fact my boyfriend wrote it, it was in my pullbox before I even met him! PLUS! It’s an original science fiction story! You don’t find those that often!)

GP: How did you come to work with BOOM!/Archaia?

CF: In 2007 I was pitching The God Machine at New York Comic-con. I had six packets to give to potential publishers. Each packet had everything in it, my black and white comic pages, my synopsis, character designs, full color illustrations– the works! I pitched to Mark Smylie (then owner of Archaia), and he immediately wanted to publish me based on my pitch package and my colorful illustrations! The only thing was that I needed to make my pages like those color illustrations in order to make it happen (Archaia only did color books at the time). I was mortified! I had picked out black and white as the format so I could be quick and produce my pages at a fast rate. Color wasn’t a fast thing for me to do. I wouldn’t take up Mark’s offer to publish me until seven months later when I had a break-down about what I wasn’t doing with The God Machine. I contacted my friend Alex Eckman-Lawn about what he thought of Archaia, and he said Mark had been asking about me the week before! I made that much of an impression. I took this opportunity immediately! If Mark Smylie wanted full colored pages, then by golly that’s what he was going to have! In late 2007 I would sign with Archaia as my publisher for The God Machine. It’s worth mentioning that Mark was right. My book looks and reads much better than it ever did in black and white. I have never regretted making it this way.

GP: How would you describe your job for people?

CF: I’m a freelance creator and illustrator. I create my own stories, in which I write and draw them. My primary focus is my title, The God Machine. I have done other projects , as well. On Fraggle Rock, I worked as an illustrator, and for Mice Templar, I have been a cover colorist. I have adapted two stories for the anthology series Graphic Canon, and illustrated for Conspiracy of the Planet of the Apes. I have done numerous pin-ups, album covers, and personal commissions. I’m also the Art Director at BLAM! Ventures, for books like SPACE:1999, and FRENZY. I’ve also made sure there was visual continuity with SPACE:1999 with dealings of likeness rights.

GP: For people who want to pursue a career in what you do, what advice would you give them?

CF: Make sure you understand what it is to tell a sequential story. It’s more than pretty pictures, it’s about capturing the right moment. It’s more than a battle scene with zippy dialog, it’s about capturing character and story arcs that will bring your readers further into your story. Know the jargon– what’s a panel? What’s line weight? What’s a splash page… all this and more! Educate yourself! There are tons of books out there that are literally titled, “Understanding Comics.” Pick them up, read them! Make sure you know how to write and/or draw, too. The fundamentals!

Moving on from basics– so you want to break in?

Have a great portfolio! Find out what the publisher you’re pitching to wants from you, and make sure you have that. Meet the editor of the publisher you’re looking to pitch to at a convention. You’ll more than likely you’ll get more out of that than by sending in a submission. Be prepared for criticism from the editor! It is not an attack on you personally; it’s to help you get better or even understand what the publisher is looking for. Most importantly, NEVER show work that you’re not happy about, that’s incomplete, old, or anything that shows your insecurities. Show them your best and newest stuff. Exude confidence in your work, but not to the point of smugness. Listen to what they have to say, be receptive, and courteous. All of these things will take you far.

Don’t expect fame, fortune, and an easy ride. It’s hard, laborious work that will tax your nerves, your esteem, your free-time, and will barely reward you in the end. But I have to say, there’s something to be said for making your own title and reaching people. Something that is intangible and amazing! Trust me on this, it’s worth all those tears smeared all over your comic page at 3am when your deadline is at 10am.

CF: Companies like BOOM!/Archaia, and other indy comics companies, seem more geared to diversity and unique titles that usually comes from one creator or a small group of people. Gender doesn’t have anything to do with their selection, but instead, its what title the creator is bringing to the company. It’s based on: 1.) if the title is right for them, 2.) if it’s great, 3.) and if the market is looking for something like it (or even if they want to strike out with something different and daring!). Indy companies are interested more in stories than meeting status quo, otherwise they would be in direct competition with the big two who have corner the market in a lot of ways.

GP: We’ve heard horror stories concerning women in the industry, have you ever seen or been discriminated/harassed and if so, how did you handle it?

CF: I haven’t exactly faced it internally in the industry itself, yet, but externally online, and at conventions, I have.

I once had a book review that focused on me, personally, where the reviewer said he was in love with me and messed up my lead character’s name in the process. Not sure how I feel about that. It wasn’t professional at all. I have no issue with somebody saying they loved my work, but don’t make it about me.

I’ve also been confused as being a “booth babe” instead of the creator, so much so that a dude went behind my table at Archaia and came and kissed me on my arm! He went back to the front of the table and asked me why I was there. I never felt so violated before! It wouldn’t have been cool of him to do that even if I had been a booth babe! That kind of behavior is unacceptable. Learn some respect for your fellow humans, who happen to have different sexual organs than you.

Other times, when I had my ex-husband at my booth, everybody would go to him first and ask if he did my work. This would happen a lot. I can also be the only person at the booth, explain my book, have by banner with my name on it, and still be asked if I did it. In some cases, I don’t know if it’s just that the people didn’t use common sense, or if I’m being discriminated against. I often do get surprised looks, though, as if I just blew their minds. I hate it.

In all of these instances, I haven’t had much in the way of handling it, other than to continue on. But you know what’s really awesome? When a father continues to bring his daughter back every year to show her that, she too, could be a comics creator… and all the BS of all the other events melts away. It’s the other girls and young ladies that I have effected in one way or another, and have inspired to create their own comics, that make everything okay. Heck, I think I’ve inspired some boys out there, too! That’s what really matters at the end of the day.

GP: What advice do you have for women looking to break into the comic book industry?

CF: Don’t give up hope. This industry will try and test you, but you have to come out stronger. Your gender has nothing to do with your skill, talent, and intellect. Focus on what matters the most to you, whether it’s creating your own epic, writing a webcomic, or drawing a fantastic comic– you do it! Don’t let anybody else tell you otherwise. Be wise and take real criticism in mind, but don’t let it drive you away.

And most of all, LOVE what you do. It will take you far.

Related:

Read more “Women of Boom” Interviews

Interview: Women of BOOM! – Allison Strejlau

Posted on January 16, 2014 by Brett

It’s Thursday which brings us a new interview and our 12th “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

Artist Allison Strejlau is up to the plate this week. She works as an artist, both pencils and inks, for the popular comic series Regular Show.

Graphic Policy: How did you get involved in the comic book industry?

Allison Strejlau: I’ve been drawing comics all my life and I went to college for it. At the School of Visual Arts I made sure to meet as many people as I could through various clubs and conventions and take work wherever it was given. I always had about 4 jobs going on along with my schoolwork. I’ve gotten them from various networking and taking work no matter how small the job was in order to build experience quickly and learn everything I can.

GP: Did you read comics growing up? Do you read them now?

AS: I’ve always loved art and drew comics, but I was a late bloomer to actually reading other comics and even manga. I read my first American comic when I went to college and haven’t looked back, but I haven’t read any Marvel until after I graduated which is really a crime. Now I read everything that comes out and whatever I can get my hands on, and I can’t get enough of it. I can probably talk for hours about it!

GP: How did you come to work with BOOM!/Archaia?

AS: A friend back from school who freelances with BOOM! called me about doing a test page for a comic and I agreed thinking it was probably for some small side story at best. When I got the script it just happened to be a comic for my favorite cartoon, no big deal. They liked what I did and I was hired.

GP: How would you describe your job for people?

AS: I illustrate the Regular Show comic, so that is pencils and inks. I get the script and draw it out, and then print out the roughs or pencils and ink them.

GP: For people who want to pursue a career in what you do, what advice would you give them?

AS: Don’t stop loving what you do or lose sight of your goal. Meet everyone you can and make the best out of every opportunity you can get. Never stop trying to be the best you can be.

GP: Did you have a mentor to help you break into the industry? Do you mentor anyone yourself?

AS: Yes, all my teachers at the School of Visual Arts were amazing and it would be hard to pick one so I’m not going to name drop or else we would be here for a while. They were all people I really admired and I’m so grateful to have learned from them. I don’t mentor any individual really, but I am always open to helping my peers when they come to me.

GP: Do you think women have a more difficult time breaking in and making it in the comic industry, if so why? And if yes, how do you think that can be overcome?

AS: Comics is a hard industry to break into for anyone, and I don’t think gender plays a role at least in my experience dealing with the publishers I have been interested in working for. I can’t speak for others, and I know it exists and sometimes it can’t be helped, but thankfully I haven’t seen this issue come up so I’m not in a position to speak on it.

AS: They are willing to take chances on new talent and sadly that has not been common in comics, but obviously it is paying off in the best ways for them and more and more it looks like other publishers are starting to hire newer artists. There is an incredible amount of talented people out there who are just waiting for their chance. It’s amazing to see and I think the industry as a whole has really been flourishing because of it.

GP: We’ve heard horror stories concerning women in the industry, have you ever seen or been discriminated/harassed and if so, how did you handle it?

AS: Personally I haven’t come across any hardships due to my gender.

GP: What advice do you have for women looking to break into the comic book industry?

AS: For anyone looking to break into the industry I can say that it is a difficult road to take but never give up. If you believe you can do it then you can. It sounds simple but some of the best advice I’ve gotten has been to never stop drawing and not to forget to love what you do.

Related:

Read more “Women of Boom” Interviews

Interview: Women of BOOM! – Megan Hutchison

Posted on January 9, 2014 by Brett

It’s Thursday which brings us a new interview and our 11th “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

Artist Megan Hutchison is up to the plate this week. Her graphic novel An Aurora Grimeon Story: Will O’ the Wisp debuts this week from Archaia. Hutchinson’s line work is delicate, animated, and spooky, blending influences from Tim Burton and Mike Mignola. The story follows a young girl who is forced to live with her estranged grandfather on a mysterious island where she thrusts herself into the middle of the mystery on it, uncovering secrets that might be better left buried.

Graphic Policy: How did you get involved in the comic book industry?

Megan Hutchison: I came into the comic industry through making movies. I met my writing partner at film school and we developed our graphic novel based on a screenplay that he was outlining. I always wanted to draw professionally, especially a comic book or graphic novel, so we decided to put a pitch together and shop it around. It was picked up and just recently completed. Comic books and movies are surprisingly similar — both are narrative, visual storytelling. Film has helped me to become a better comic book illustrator and illustrating has made me a better filmmaker.

GP: Did you read comics growing up? Do you read them now?

MH: When I was a kid my older brother read comic books, so I read comic books as well. My dad would take us to the comic store every other Saturday to pick out a few issues of whatever we were reading, so learned to draw coping pages out of X-Men and Batman as most young artists do. At the comic store I was also exposed to Manga, which influenced my art quite a bit. As my brother and I got older, we grew out of it until the last few years of high school when I was introduced to graphic novels though other artist friends. I read every graphic novel I could get my hands on. I still do.

GP: How did you come to work with BOOM!/Archaia?

MH: When we had put our pitch together for our graphic novel, we researched a few publishers that we’d like to approach. What really stood out to us about Archaia was the quality of their books. They are beautifully printed, designed, and a lot of care goes into each book. I was drawn to the quality and uniqueness of artwork of each of their projects. We knew that we wanted to have that kind of quality and care given to our project. We consider ourselves very lucky to work with such talented editors and other creatives throughout the whole process.

GP: How would you describe your job for people?

MH: I get to make movies on a page. While drawing a page I become the director, production designer, cinematographer, costume designer, etc. It’s a dream job.

GP: For people who want to pursue a career in what you do, what advice would you give them?

MH: Anything worth having is something worth fighting for, and creating and illustrating a comic book or graphic novel is no different. If it is something that you want, you have to go after it. It is very very tough, but there is nothing else like it.

GP: Did you have a mentor to help you break into the industry? Do you mentor anyone yourself?

MH: I was very fortunate to have Ed Brubaker as my mentor. I was art directing a film that he had written, when he took a shine to my writing partner and I. During our many weeks on set, he introduced us to his friends in the comic book industry, which helped us get our foot in the door. He is still a big advocate of our work and has been very supportive through the whole process. Although I don’t mentor anyone personally, I would like to.

GP: Do you think women have a more difficult time breaking in and making it in the comic industry, if so why? And if yes, how do you think that can be overcome?

MH: As in the film industry, there are very few woman in the comic industry. It does make it harder to break into the “boys club” as a female. However, what I found in the comic industry is that there is a lot more support. I met with a lot of female editors who would bend over backwards for me because they want to see other talented woman thrive. I think that is the key. We should all be supporting each other.

MH: BOOM!/Archaia’s books are unique and diverse, which represents the motivation of the company. There is a lot of creativity and out of the box thinking within the company, which needs to come from a range of different creative people. I think the older companies struggle with this a bit because it is hard to change these out-of-date rules of what kind of comics are made and how to make them.

GP: We’ve heard horror stories concerning women in the industry, have you ever seen or been discriminated/harassed and if so, how did you handle it?

MH: I’m very lucky to not have had to deal the discrimination first hand, although I know that it’s there. What I do notice is, within the comic industry, it’s hard to find material about a strong female character who isn’t overly sexualized. I think this is a problem. Much of what motivated my writing partner and I to develop our story in particular was the main character being a young girl who solves the mystery using her brain, bravery and science. Growing up reading comics, thewoman were all very unrealistic, which is the result of a male dominated industry. I think it is important for not only woman, but all creators to make material for today’s female audience.

GP: What advice do you have for women looking to break into the comic book industry?

MH: You have to be brave and rely on your integrity to break into in this industry. I have been passed over for so many jobs because I’m a woman, but I refuse to let that stop me. Find like-minded people who will build you up and strengthen you as you work towards your goal. Push the negative people aside, they will only slow you down. If you have a passion, relentlessly follow it.

« Older Entries Recent Entries »