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10 Questions: The Gathering Edition – Leigh Walls

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We continue our interview series with members of The Gathering and GrayHaven Comics. We’ve put out the same questions to numerous individuals and can compare their responses. A hopefully intriguing interview series.

Check out our previous interviews.

George Amaru Victor Gischler Travis M. Holyfield Brad Nelson
Elena Andrews Ray Goldfield Nathan Lee James James O’Callaghan
Arcadio Bolaños Andrew Goletz Sean Leonard Chris Page
John M. Coker Doug Hahner William Levert Amanda Rachels
Marc Deschamps Erica J. Heflin Marc Lombardi Jason Snyder
Donal DeLay Gary Hogan Glenn Matchett Sam Tung
Nick Francis

Up next is artist Leigh Walls who contributed to The End of an Afternoon’s Street-Fighting which appeared in The Gathering, Volume 4: Into the Abyss.

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

Leigh Walls: I’ve always written and drawn comic stories for myself.  Usually superheroes or robots or race comics.  It wasn’t until the late 80’s/ early 90’s that I realized that it was a “real job.”  I interned at the Marvel Comics editorial offices in ’94 during high school and then went to college, studying cartoon art.  After graduation, I worked with a small (very small) comic company where I learned of my love of inking.  After that I did a few odd jobs where I wrote or drew small comic strips that never saw the light of day until 2007 when I self-published Bloody Pulp Magazine with a couple of my college buddies, which became my first “official” comics publication.  Following, I did a couple of other self-publications until I met The GrayHaven guys in 2011 through a friend of my brother’s who was also the writer of our The End of an Afternoon’s Street-Fighting story in The Gathering Vol. 4, Camille Dewing.  The rest as they say – dot dot dot.

GP: Were you a fan of comic books before?

LW: A HUGE fan.  I mean I think I was a fan of drawing comics before I became a fan of reading them.  I remember reading comics on the floor of our shared bedroom with my brother.  I think my favorites were his favorites: X-Men, Spider-Man, Fantastic Four, the Avengers…

I would cherish the days when he would decide to count, what seemed like, an endless collection of comics and we would come across the books that I rarely saw because they were older than I was.  He also used to get the Marvel Comics subscription where they would ship the books to your house with a paper sleeve around them.  I used to read the books before he got home from school or work and put them back in so he wouldn’t know.  It broke my heart when they switched the books to being shipped in a sealed, plastic baggy.

GP: Do you read comics now? If so, what are some of your current picks?

LW: I do.  Not as much as I used to but, I’m still “addicted.”  My old stand-bys are (The) Savage Dragon by Erik Larsen and Image Comics and Hellboy by Mike Mignola and Dark Horse Comics.  I don’t pick up the Marvel or DC books as often anymore because (BEWARE! Small Rant Approaching!) I feel the books have gotten a little too mean spirited and a lot less fun.

GP: How did you get involved with The Gathering?

LW: My brother is friends with Camille Dewing, my writer for The End of an Afternoon’s Street-Fighting that was featured in Volume 4, Into the Abyss.

GP: Each issue of The Gathering has a theme, how did that factor into the comic creation?

LW: The theme was horror and Camille came to me with a story that was based on a true experience her grand-father had during THE war; WWII.  So, when she came to me with it, I was thinking old-school inking and Ben-Day dots for shading (what folks sometimes call Zip-a-tone) and, of course, lots of shadow.  The final image in the story, which is also the reveal, was really intimidating but, I think I pulled it off in the end.

GP: What advice would you give to independent creators just breaking into the business?

LW: Hmmm… Love what you do, first of all.  This is a hard business and a lot of it is without thanks or benefit and at the end of the day, if you don’t love it, it will eat you alive.  Also, just get it done.  Now with Print-On-Demand and a lot of the crowd-funding options out there, you don’t have to wait for Marvel or DC for that big break.

GP: What’s the most important lesson you’ve learned through your experiences?

LW: It all goes back to just get it done.  The mistakes or the little things that look like big mistakes in your artwork only really look big to you.  Don’t let those things discourage you and just GET-IT-DONE!

Also, be sure you make yourself leave the house at least once a day, but not when you’re supposed to be working.  Take a break, once in a while.

GP: Do you think it’s easier today for creators to get published?

LW: Now I didn’t say it’s easier to get paid but, you can definitely get published a lot easier than when I first got out of college in 1998.  When I printed Bloody Pulp Magazine in ’07, I was like, “That’s it?”  There’s no reason why anyone who has a story and some time can’t put out a comic or a book… or with Youtube, a movie.  Very interesting times, indeed…

GP: How do you think technology like social networking or crowdfunding sites like IndieGoGo or Kickstarter are impacting comic book publishing?

LW: It’s making it possible for fans to get and fund the comic or movie or book that they’ve always wanted.  Not to mention the direct contact fans can have with their favorite creators almost every day of the year.  I remember how much I geeked out when Erik Larsen replied to a tweet I made… or Dave Johnson or Dan Panosian!  It’s really making the behind the scenes stuff accessible to the public which can be good and bad.  I mean, I like the access and ability to reach my favorite creators but, at the same time, I miss being surprised.

GP: What can we expect from you next?

LW: Right now, I’m doing a horror story with Doug Hahner for The Gathering that should be ready by the beginning of the year.  I’m also working on a comic book series called Trey with FacePalm Comic.  I’m on the 3rd issue which should be complete in another month and a half.  I’m also working on a second issue to a small book I put out last year called Guardian Knight Presents which should be ready to buy around March of 2013 and there’s a graphic novel that’s making a rumbly in my tumbly… but I can’t say when that’s going to be happening.  Maybe sometime next year.

10 Questions: The Gathering Edition – Ray Goldfield

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We continue our interview series with members of The Gathering and GrayHaven Comics. We’ve put out the same questions to numerous individuals and can compare their responses. A hopefully intriguing interview series.

Check out our previous interviews.

George Amaru Nick Francis Travis M. Holyfield Brad Nelson
Elena Andrews Victor Gischler Nathan Lee James James O’Callaghan
Arcadio Bolaños Andrew Goletz Sean Leonard Chris Page
John M. Coker Doug Hahner William Levert Amanda Rachels
Marc Deschamps Erica J. Heflin Marc Lombardi Jason Snyder
Donal DeLay Gary Hogan Glenn Matchett Sam Tung

Up next is writer Ray Goldfield who makes it number 25 in our interview series with The Gathering team.

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

Ray Goldfield: It’s been a dream of mine to write in comics for a long time. Like many fans, I spent a lot of time thinking about what I would do if I got to write my favorite characters, but it wasn’t until recently that I started focusing on telling my own stories through independent comics. The Gathering is my first published comic work.

GP: Were you a fan of comic books before?

RG: I’ve been reading comics consistently since I was 8 years old. I first dipped my toe in the pool with the Archie Teenage Mutant Ninja Turtles comic, an obsession for me as a child. From there, Superman died, Batman got his back broken, and Green Lantern went crazy, and a lifelong obsession was born, heh.

GP: Do you read comics now? If so, what are some of your current picks?

RG: Oh, yes. I still read pretty much the entire DC line, a good chunk of Marvel’s, and any independent comic that catches my interest. Some of my favorites at this moment are Scott Snyder and Greg Capullo’s Batman, Vertigo titles The Unwritten and Sweet Tooth, Image miniseries Planetoid and Grim Leaper, and Oni Comics’ supernatural western The 6th Gun. And a lot of others. I could go on all day, really. But by far the most rewarding experience I’ve had in comics recently is breaking out of the superhero groove and starting to buy more independent and creator-owned comics.

GP: How did you get involved with The Gathering?

RG: Before Andrew was our editor in chief, we were both posters on the Jinxworld message board, and regulars in the DC Comics Megathread I started a few years earlier. After several years of talking comics with him, I was definitely excited when he told us he was developing a new anthology comic and wanted to include many of the DC Thread regulars as writers, if we were interested. It was a great experience, and since then I’ve been pitching to later waves when inspiration hits me.

GP: Each issue of The Gathering has a theme, how did that factor into the comic creation?

RG: It’s definitely both a challenge and an inspiration. There have been some themes that have just stumped me, but turned into amazing volumes. On the other hand, there were times where a theme that seemed challenging at first, like the upcoming True Ghost Stories, wound up sparking an idea for me. I find the variety of themes to be very helpful in breaking me out of the superhero groove I was stuck in for a while.

GP: What advice would you give to independent creators just breaking into the business?

RG: Write, write, write. Then write some more. Write whatever you’re interested in, even if you don’t have a place to have it published right now. Practice is a good thing. I would also say to find a good friend, preferably a fellow writer, to bounce ideas and scripts off of. Learning how to polish a script is almost as important as learning the basics of writing, and you’ll need both if you want to go pro. And finally, make sure you’re getting out there and pitching. There are a lot of anthologies out there (including ours!) that are taking pitches from new creators, and independent work is a great way to get your name out there.

GP: What’s the most important lesson you’ve learned through your experiences?

RG: I’ve learned a lot during my time at GrayHaven Comics. But probably the most important lesson is how to take constructive criticism. The perfect first-draft script is almost as rare as the unicorn, and when you send it in, corrections and changes are almost inevitable. The first time you open your e-mail and see that red font, it can be a bit daunting. But virtually every writer, from the newcomers to the big guns, likely goes through the same thing, and it’s important not to get discouraged. And there’s nothing more satisfying than learning from past mistakes and turning in a script that needs little to no editing. Also, I would say it’s important to develop a rapport with your artists. Keep the lines of communication open throughout, and be ready to take input from them on how to make the script stronger. I’ve been lucky to have great creative partners like Kent Holle, Nathan James, Fred Stressing, and Jeremy Carson in my time on The Gathering, and they’ve all helped to make my stories what they are.

GP: Do you think it’s easier today for creators to get published?

RG: In a sense, yes. The internet has opened so many doors for like-minded individuals to find each other and get a comic together, much the way GrayHaven did. However, I think there’s a double-edged sword to that. While it may be easier to get a comic off the ground, it may be harder to get noticed, since the independent comic book has experienced a boom with a lot of great product. It’s important to keep on your feet and look for what’s working and what isn’t. That’s why the constantly shifting themes of The Gathering help us, I believe – with each volume, we can see what’s catching on with the readers. For instance, strong sales for our Horror volumes led the company to launch an ongoing Horror anthology, Tales from the Abyss, launching later this year.

GP: How do you think technology like social networking or crowdfunding sites like IndieGoGo or Kickstarter are impacting comic book publishing?

RG: I think this is very tied in with the increased opportunities for independent comic book publishing, in that it’s definitely a great opportunity for a lot of talented creators. But at the same time, there is an added pressure when your supporters have “skin in the game”. They expect quality, and with so many comics seeking Kickstarter support, it’s a very competitive field. Overall, though, it’s an amazing net positive if you know how to use it.

GP: What can we expect from you next?

RG: On the writing end, right now I’ve got stories coming up in several volumes, including Romance 2 and Pulp Heroes (edited by Doug Hahner), Fairy Tales 2 (edited by Glenn Matchett), True Ghost Stories (edited by James O’Callaghan), and a six-page story in the second issue of Tales from the Abyss (edited by Glenn Matchett and Erica Heflin). I’m also in the process of developing a Phase Two project, based on an idea that’s been kicking around in my head for a long time. More on that as it develops, heh.

I was only brought in as an editor a few months ago, so the first volume under my purview won’t be hitting till next year, but it’s already shaping up impressively. The theme is Fantasy, under our growing “Hey Kids” banner. Editing my first volume has been a challenge, but my writers have been making it easy on me, with a lot of them turning in incredibly polished, clever scripts well ahead of deadline. And open submission season is right around the corner with a new Hey Kids volume that I’ll be steering.

10 Questions: The Gathering Edition – Brad Nelson

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We continue our interview series with members of The Gathering and GrayHaven Comics. We’ve put out the same questions to numerous individuals and can compare their responses. A hopefully intriguing interview series.

Check out our previous interviews.

George Amaru Nick Francis Travis M. Holyfield James O’Callaghan
Elena Andrews Victor Gischler Nathan Lee James Chris Page
Arcadio Bolaños Andrew Goletz Sean Leonard Amanda Rachels
John M. Coker Doug Hahner William Levert Jason Snyder
Marc Deschamps Erica J. Heflin Marc Lombardi Sam Tung
Donal DeLay Gary Hogan Glenn Matchett

Up next is writer Brad Nelson.

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

Brad Nelson: My Gathering work is actually a return to comics for me after more than a decade. Way back in 1999 and 2000 I created, wrote, and self-published the first issue of Gabriel: The Facts of Death with the insanely talented artist Owen Freeman. Back then we printed about a thousand copies of the book and debuted it at Wizard World 2000 in Chicago and had a nice setup in Artist Alley and sold a few hundred copies, but to be honest I was young and wasn’t in any way prepared for the business side of comics and never made enough to print the second issue. Despite the praise we received and kind emails and letters I was a little disappointed in myself with how things went down and then I just got really busy with life and thought I had left comics behind.

My jobs kept me busy, then marriage and kids, and after a few years away from reading comics I jumped back into things in 2005 and joined the Jinxworld message board run by Brian Michael Bendis. Along with my return to reading comics I started to craft a whole ton of new ideas for comic book stories. I started out with a couple of pitches for Marvel that I ended up retooling into my own superhero stories and then I started to rework the idea that started everything, Gabriel. But when the opportunity to work on The Gathering came along I dropped everything and wanted to branch out and try something different (shorter stories and within the confines of a predetermined theme) and I feel very proud of what I have managed to put together and I’m excited for people to read what I have coming up down the road. I have been very fortunate to have been paired up with some very talented artists like Mike Bunt in my first story and Brian Defferding in my second and I think people are going to continue to be blown away by the level of talent GrayHaven puts out there issue after issue.

GP: Were you a fan of comic books before?

BN: Absolutely. I have been reading comics since I was about seven or eight years old, so going on thirty years now and I have always been a fan of the medium. My Dad brought home an oversized Marvel comic book that told the origin of Captain America and from that day on I was hooked. I was probably twelve years old or so when I first started buying books on regular basis at a little shop called Legacy Games that later moved and became the mega popular comic book haven in Minnesota – The Source Comics and Games. I have had a box at that store pretty much ever since. Over the years I have filled that box with everything from Preacher, Transmetropolitan, and Sandman to Spider-Man, Captain America, and X-men.

GP: Do you read comics now? If so, what are some of your current picks?

BN: Yes. With only a couple of periods where my income couldn’t support my habit I have been reading comics for most of those thirty years or so. As a kid I read mostly superhero books but as a teenager Neil Gaiman’s Sandman was the first thing I really remember me branching out on. That, Dark Knight Returns,  and Watchmen really showed me what was possible in the medium beyond just capes and tights, and later on Preacher by Garth Ennis and Steve Dillon really inspired me to write comics. So yeah, I still read and enjoy a lot of superhero stuff from DC and Marvel but most of my pull list is made up of books like Fables, The Walking Dead, Scalped, Criminal, Morning Glories, Saga, and The Boys.

GP: How did you get involved with The Gathering?

BN: I came in a little later than some of the other Gatherers but I had been watching from a distance for a while. I had planned to pitch very early on to some of the books but life just got in the way and after keeping up to date on things via the DCU thread on Jinxworld I saw another opportunity to pitch and I took it. Luckily Andrew and the rest of the editors saw something in my work and gave me a shot and here we are today.

GP: Each issue of The Gathering has a theme, how did that factor into the comic creation?

BN: It was huge. I had never done anything like that before and as challenging as it was at times to go out of my comfort zone it was a lot of fun. I’ve never written a horror story for example, but after what I put together for Horror Vol. 3 I really have some ideas for more. My story in volume 13 (Young Readers) was a blast as it was written by my eight year old son Logan and I and I have always wanted to write a Western story. My Dad is a Western buff and his passion certainly inspired what I put together for that volume. Going forward I want to try to pitch more to volumes outside my comfort zone and try to spread my wings as a writer and not confine myself only to either writing superhero or adult themed crime fiction.

GP: What advice would you give to independent creators just breaking into the business?

BN: Read, write, and draw. It’s as simple as that. For writers, don’t just read comics. Read as many different genres as you can and study story structure. Study how Jack Kerouac and Cormac McCarthy do it. Pay close attention to the way Stephen King crafts a story. Or David Mamet. As brilliant as Alan Moore, Garth Ennis, Brian Michael Bendis, Scott Snyder,  Geoff Johns, Grant Morrison, and Brian K. Vaughan are you need to have your own voice and your own brilliance that is influenced by more than just comics. Read comics, novels, screenplays, anything you can get your hands on. Write every day. Even if it is just a paragraph or a few nonsense sentences you should get in the habit of writing every day. Write what comes naturally to you and if it’s something you truly have a passion for with enough practice you will get better. I can’t draw a stick figure to save my life so my only advice for artists would be to keep practicing and work on telling a sequential story. There are millions of people who can draw a pretty picture, but it takes a different kind of talent to tell a great sequential story.

But to break in to the business I would suggest a few things. For the most part, unless you’re the second coming of Shakespeare you are not going to get a job with Marvel or DC right out of the gate. The only real options are to pitch to an anthology series like The Gathering, self-publish your book, or hire an artist, letterer, and colorist out of your own pocket and pitch to Image or another publisher willing to look at it. With enough practice and enough exposure your resume will speak for itself and if you’re good enough with enough hard work you’ll make it. I know a lot of people who have succeeded in this industry and some of the best took years to get there, don’t expect to be writing The Punisher or drawing Batman overnight.

GP:  What’s the most important lesson you’ve learned through your experiences?

BN: Less can be more. I am a rather long winded person and tend to write a lot more than I need to and initially it was challenging to get a story down to just a few pages. But I think that is the brilliance of this format. If you can take a story that could easily be stretched out to full length and condense it down to just a few pages and still tell a cohesive story well then that’s something special. I have learned that making use of the space you have is important and that doesn’t mean cramming as much dialogue into a panel as you can.

GP: Do you think it’s easier today for creators to get published?

BN: Sure, in a sense. On Demand printing wasn’t really available when I was getting started. You really only had a few printing options available and most were very expensive. The only really affordable option was Preney Print and Litho and they did a lot of the newsprint indie books like mine. Today there are many more options and cheaper services that provide a higher quality look to boot but it still isn’t easy. It really still boils down to either having a great idea or self-publishing, but anthologies like The Gathering are making it easier for talented creators to get their foot in the door for sure.

GP: How do you think technology like social networking or crowdfunding sites like IndieGoGo or Kickstarter are impacting comic book publishing?

BN: I think if something like this existed in 1999 and 2000 my career might have been very different. I think in a day where it seems big publishers are less likely to take risks and even well-established professionals can’t get approval to do projects they really want to do all these new technologies are a very important tool and something that will only increase in the years to come. Movies, TV, music, comics will all be impacted by the idea of allowing fans to fun their favorite creators’ projects. Look at what Amanda Palmer has been able to do for example. I see a lot more of that and a lot less involvement from the so-called gatekeepers in the years to come. To me that is a good thing.

GP: What can we expect from you next?

BN: I have a story in the upcoming Western volume of The Gathering with the incredibly talented artist Danos Filopoulos and I will have one in next year’s Hey Kids! Fairy Tales (with Lex) and Hey Kids! Superheroes volumes as well. I am also working on a few pitches for future volumes of The Gathering and I am reworking my self published series Gabriel for future publication. I have a few other projects I am cooking up and basically just writing, writing, writing. Between that and my day job, my wife, and chasing after my three young boys it makes for a very busy but very good life.

10 Questions: The Gathering Edition – Sean Leonard

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We continue our interview series with members of The Gathering and GrayHaven Comics. We’ve put out the same questions to numerous individuals and can compare their responses. A hopefully intriguing interview series.

Check out our previous interviews.

George Amaru Nick Francis Travis M. Holyfield James O’Callaghan
Elena Andrews Victor Gischler Nathan Lee James Chris Page
Arcadio Bolaños Andrew Goletz William Levert Amanda Rachels
John M. Coker Doug Hahner Marc Lombardi Jason Snyder
Marc Deschamps Erica J. Heflin Glenn Matchett Sam Tung
Donal DeLay Gary Hogan

Up next is writer Sean Leonard.

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

Sean Leonard: I got started when my good friend James O’Callaghan became an editor with GrayHaven comics. We had talked several times about going to a big convention in the US together and since he was going to NYCC he suggested that I come along as well and I am glad I did, as I got to meet a lot of the great people involved with GrayHaven. Meeting all those wonderful people helped to give me the confidence to submit a story.

Well that and James threatening me, hahaha.

GP: Were you a fan of comic books before?

SL: I have been into comics since I was about 5 years of age. Living in Ireland though the first comics I read were British comics like Commando, Eagle and 2000 AD. I didn’t get into American comics till much later mainly due to the fact that they were very hard to get where I lived.

GP: Do you read comics now? If so, what are some of your current picks?

SL: Yes I still read comics, although not as much as I would like. I just don’t have the time at the moment. My current picks are 2000 AD and The Walking Dead.

GP: How did you get involved with The Gathering?

SL: Same as answer 1. I’m pretty new to the business.

GP: Each issue of The Gathering has a theme, how did that factor into the comic creation?

SL: It was a huge help to me. As someone new to writing it helped me to focus on what kind of story to write. It leads you down paths creatively that you might not consider otherwise. I never considered writing a horror story but now I have one in GrayHaven’s ongoing Horror comic, Tales from the Abyss.

GP: What advice would you give to independent creators just breaking into the business?

SL: Treat people the way you want them to treat you. Be nice to people and treat them with respect and make friends. The friends I have made since I have started writing comics and gotten involved with GrayHaven have helped me out so much with advice and tip. Also meet your deadlines.

GP: What’s the most important lesson you’ve learned through your experiences?

SL: The most important thing I have learned is to listen to your editor. Your editor can help you to become better writiers and artists. Don’t be afraid to ask them questions or to ask for help if you need it.

GP: Do you think it’s easier today for creators to get published?

SL: Definitely. The internet has made the world a lot smaller. It has opened up a lot of opportunities for people to get their work out there. Grayhaven is a great example. You have people from all over the US and a number of other countries working together to produce great comics.

GP: How do you think technology like social networking or crowdfunding sites like IndieGoGo or Kickstarter are impacting comic book publishing?

SL: I think they are having a huge positive impact on the industry. More and more creators both professionals and newbies are using them to promote and fund their work. Crowd funding sites also allow comic book fans to help fund the comics they would like to see.

GP: What can we expect from you next?

SL: I have work featured in GrayHaven’s first Dark Anthology, which is out in October this year and again in the second volume due next year. I’ll be in the first and fifth issues of Tales from the Abyss and the War issue of The Gathering. I also have a few other projects in the works but it is still early days with them.

10 Questions: The Gathering Edition – Donal DeLay

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We continue our interview series with members of The Gathering and GrayHaven Comics. We’ve put out the same questions to numerous individuals and can compare their responses. A hopefully intriguing interview series.

Check out our previous interviews.

George Amaru Victor Gischler Travis M. Holyfield James O’Callaghan
Elena Andrews Andrew Goletz Nathan Lee James Chris Page
Arcadio Bolaños Doug Hahner William Levert Amanda Rachels
John M. Coker Erica J. Heflin Marc Lombardi Jason Snyder
Marc Deschamps Gary Hogan Glenn Matchett Sam Tung
Nick Francis

Up next is artist Donal DeLay.

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

Donal DeLay: A group of writers and artists got together on the Brian Bendis message board back in the day to put together a small studio called Ronin Studios, which later became Dial R Studios. I worked on a couple anthologies and one-shots. Why? I couldn’t tell you, because I absolutely sucked at drawing. Still do, which is why I question Doug & Andrew’s tastes.

GP: Were you a fan of comic books before?

DD: I was and still am, but my tastes have changed. I was heavily into superhero comics, and 90% of Image comics. Now, I’m mostly an indie guy. The most mainstream book I’ve purchased in the past 5 years has been Hellboy.

GP: Do you read comics now? If so, what are some of your current picks?

DD: I read a lot of old school Sunday funnies stuff. E.C. Segar, Winsor McCay. Some Ketcham, Watterson, and Schulz. Franco/Belgium guys like Peyo, Franquin, and Maurice Tillieux. Hellboy has been fantastic, as always, and I’m really looking forward to reading Punk Rock Jesus by Sean Murphy. His art is gorgeous.

GP: How did you get involved with The Gathering?

DD: It’s a bit of a blur, because I was asked to work on a couple different short stories by a couple different writers, but I’m pretty sure it was Doug Hahner’s 2pg story about his cancer discovery. It was a really personal story, that I absolutely loved drawing that I’m both proud of and wish I’d done half as good as it deserved.

GP: Each issue of The Gathering has a theme, how did that factor into the comic creation?

DD: I’m not sure I can answer this one very well since I’m too cowardly to really write for myself or submit a story myself to an issue. I’m sure it’s got to be tough to have to conform to a set theme and page count, but I just draw what I’m asked to draw and I’m okay with that.

GP: What advice would you give to independent creators just breaking into the business?

DD: If it’s not something you’re willing to do for free then find something you WOULD be willing to do for free. Make comics because you have stories to tell. Tell the stories YOU want to tell.

GP: What’s the most important lesson you’ve learned through your experiences?

DD: Learn when to say no. I’m a big ol’ softy, and have a hard time saying to no to someone, but sometimes it’s necessary. You’ll want to take on everything offered to you because you want the exposure, or maybe even the money, but if you don’t have time then you don’t have time. TELL people that. Sometimes they’re willing to wait, but everyone in the indie business understands the concept of being swamped.

GP:  Do you think it’s easier today for creators to get published?

DD: Absolutely. Not only do you still have POD sites, but now there’s Kickstarter, making it infinitely easier. Not to mention the internet makes it 100% possible for anyone and everyone to get their stories in front of readers.

GP: How do you think technology like social networking or crowdfunding sites like IndieGoGo or Kickstarter are impacting comic book publishing?

DD: They’re impacting comics publishing in a MAJOR way. Because the beauty of a place like Kickstarter is not only does it allow you to get a project funded, but funded by a guaranteed audience. That’s not publishing money from a company hoping people will buy it, that’s money from people ALREADY buying it. The days of relying on companies, and pitches to get published are almost completely gone, if they aren’t already.

GP: What can we expect from you next?

DD: I’m finishing up my first webcomic, The Legend Of Tanin, which has been a HUGE learning experience in the making of webcomics. I’m working on a one-shot with Doug Hahner, about a day in the life of his family, called My Geek Family, and after that I’ll be getting another webcomic together for the start of next year that I hope Andrew Goletz will want to publish on the site, as well as continuing to work on a 300+ page digital OGN.

10 Questions: The Gathering Edition – Victor Gischler

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We continue our interview series with members of The Gathering and GrayHaven Comics. We’ve put out the same questions to numerous individuals and can compare their responses. A hopefully intriguing interview series.

Check out our previous interviews.

George Amaru Nick Francis Travis M. Holyfield James O’Callaghan
Elena Andrews Andrew Goletz Nathan Lee James Chris Page
Arcadio Bolaños Doug Hahner William Levert Amanda Rachels
John M. Coker Erica J. Heflin Marc Lombardi Jason Snyder
Marc Deschamps Gary Hogan Glenn Matchett Sam Tung

Up next is writer Victor Gischler.

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

Victor Gischler: I started as a novelist, and I was very fortunate that an editor at Marvel noticed my work and worked with me on ideas for Punisher Max.  The gritty tone of my crime novels suggested I might be a good fit with a Max title.  A Punisher one shot was the first thing I ever wrote for comics and it did well enough that I was able to write a 4-issue arc for Punisher Max.  That went over pretty well too, and more Marvel work followed.  I’ve now also done work for Dark Horse and Dynamite now, but I’ll always appreciate what I learned scripting those first Punisher issues.

GP: Were you a fan of comic books before?

VG: Yes.  From ages 7 to about 15 I read a ton of comics.  The Frank Miller run of Daredevil was a huge influence on me, but I enjoyed quite a variety of things.   Then when I went off to college there was a huge gap of many years when comics just didn’t fit into my life, and I was always broke anyway.  Then about six years ago, I really started picking up comics again, catching up on what I’d been missing.

GP: Do you read comics now? If so, what are some of your current picks?

VG: Well, I’m still playing catch-up.  I’ve been reading trades of Red Sonja and Buffyverse stuff from the Dark Horse Digital Store.

GP: How did you get involved with The Gathering?

VG: I bumped into Marc Lombardi on Twitter and found out about it.  It occurred to me I really didn’t have a lot of experience writing shorts, and I wanted to sort of test myself to see if I had the control and patience to write one.  It was a good experience.  It’s not an easy thing to fit a complete, satisfying story into 3-4 pages.

GP: Each issue of The Gathering has a theme, how did that factor into the comic creation?

VG: It really helped me focus to have a theme.  Most new writers hate the idea of “limitations” but more experienced writers know that often a limitation will help spark creativity.  So I think I got the ball rolling a lot faster having a theme to focus on.  Ironically, I *think* the story I wrote actually ended up in a different issue than the one I intended, but I might not be remembering that right.  You’ll have to check with Drew and Marc.

GP: What advice would you give to independent creators just breaking into the business?

VG: Write SOMETHING.  Just get it out there where people can see it.  I mean, yes, make sure you’ve written it well, revise it, all that.  The work has to be your best.  But after that it needs to be seen.  Nobody will blame you for submitting to the big places, but if that fails just get it out there anywhere you can.  When I first started, I published short stories in zines and on websites for no money.  You don’t want to do that forever if you’re looking to have a career, but it’s a perfectly acceptable training ground.

GP: What’s the most important lesson you’ve learned through your experiences?

VG: Listen to your editors.  They know the readership and the characters. Their goal is the same as yours – to produce the best product possible.

GP: Do you think it’s easier today for creators to get published?

VG:  Not sure since I wasn’t doing this in the “old days.”  I’ve been writing for a long time, but only scripting comics for about 5 years.  But it seems like there are more publishers, digital publishers, just a lot more outlets available … so that’s encouraging.

GP: How do you think technology like social networking or crowdfunding sites like IndieGoGo or Kickstarter are impacting comic book publishing?

VG: It’s giving readers a chance to vote on what they really want with their dollars.  Publishers are putting out a ton of great stuff, but they can’t do everything.  It’s good that creators have a way to appeal directly to readers.

GP: What can we expect from you next?

VG: Well, my first issue of Spike hits in this week and my first issue of The Shadow hits in October.  A handful of creator-owned things at various stages.  Exciting times.

10 Questions: The Gathering Edition – Glenn Matchett

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Yesterday we kicked off a series of interviews with those associated with GrayHaven Comics and The Gathering. You can read our first entry.

Today, we’ve got the second entry with comic book writer and senior editor for GrayHaven Comics Glenn Matchett.

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

Glenn Matchett: It’s been my dream to write comics for over 10 years now. I’ve worked on writing styles and ways to plot and script in all that time.  I really began as a fan to be honest and it wasn’t until Andrew came up with the original proposal for the Gathering that I got my first comics work printed.

GP: Were you a fan of comic books before?

GM: Yes for many years, since as far back as I can remember.  I did a series of articles on Grayhaven’s website titled ‘My Life As An Irish Fanboy’ which details me learning to read with UK comics such as the Beano and takes the reader up to the point I begin to write comics.  I can’t seem to locate part 1 but here’s part 2 that talks about my passion for Sonic the Hedgehog comics in my youth lol http://www.grayhavencomics.com/2011/12/16/my-life-as-an-irish-fanboy-part-2/

GP: Do you read comics now? If so, what are some of your current picks?

GM: Oh yes, too many.  I think Batman under Scott Snyder’s pen may be a modern classic in the making.  Dan Slott is also doing great work on Amazing Spider-Man at the moment.  I love Robert Kirkman’s indie titles especially Walking Dead and Invincible which I collect in the lovely yearly hardcovers.  I wait forever for those things and devour them in no time and then end up having to wait all over again.

GP: How did you get involved with The Gathering?

GM: I had known Andrew for a while as a fellow poster on Brian Michael Bendis Jinxworld forums.  Both he and I were huge Spider-Man fans so we got a connection quickly.  He basically proposed to the people who posted in a thread we both frequented (the DCU megathread) about doing a one off comic for laughs.  I gave a pitch for a 2 page story and he liked it.

GP:  Each issue of The Gathering has a theme, how did that factor into the comic creation?

GM: It’s an interesting challenge I feel.  There are particular genres I feel very comfortable with and others less so.  Working with various themes allows me to play outside my comfort zone.  It’s also interesting to try and go ‘okay what hasn’t been done before’.  The interesting thing about Grayhaven and the Gathering is how many talented folks we have.  You have to stand out and go ‘well what will no one else think of?’ and I enjoy that a great deal.

GP: What advice would you give to independent creators just breaking into the business?

GM: Write every day and never give up.  It’s cliché but it’s true that if you want to write you should just write.  I may be in the minority here but I feel writing is not something you can learn from a book or a classroom it is something that has to be deep inside you.  As an editor for Grayhaven I’ve learned the difference between people who write and those who are writers.  You have to keep plugging and along and listen to the advice you’re given.  Don’t take a break and don’t come up with excuses not to do it.  If you’re serious about writing you will make the time.  You’ll also hear a lot of people tell you that you can’t do it or it’s too hard.  It’s not easy and no not everyone will make it but you will never forgive yourself if you don’t try.  Hard work does pay off in the end I feel.

GP: What’s the most important lesson you’ve learned through your experiences?

GM: Oh god there are so many.  Both from the editing and the writing I’ve learned a lot.  I think even though I thought I was doing this initially I think I’ve learned to not give the artists such a huge headache.  It literally takes me seconds to write ‘and there’s a fight scene involving 1 million people!’ but someone has to draw that and it will take considerably longer than a few seconds.  Just because you’re only given a few pages don’t overdo it on the multiple panels either.  Try to think of how you can apply ‘less is more’ to your stories.   Basically I’ve learned how to be a better writer by just doing it and that leads back to my point earlier.

GP: Do you think it’s easier today for creators to get published?

GM: With the internet and things that in a way yes it is.  However since there are new ways to get yourself out there and more avenues available to get your work noticed it’s hard to stand out in the crowd.  Its swings and roundabouts really because in some ways yes it is easier but that in itself makes it harder to stand out.  Since the success of Walking Dead there has been an explosion of zombie related comics trying to capture the same ‘lightening in a bottle’.  Don’t get lost in the shuffle think ‘well how is my zombie story or whatever different from his or hers?’  That’s the challenge now I feel.

GP:  How do you think technology like social networking or crowdfunding sites like IndieGoGo or Kickstarter are impacting comic book publishing?

GM: Without social networking and kickstarter there might not be a Grayhaven comics.  Using avenues like the ones you mentioned and others like Twitter have got us some serious talent.  There are is a lot of amazing artists out there that no one has ever heard of and we’re given this great tool to find them.  It also brought our work to the attention of some pro’s who are doing some stories for us down the line.  It’s been invaluable and I see the same story all across the internet.  Again there are more ways to get your work out there but capturing people’s attention will be the new stumbling block to success.

GP: What can we expect from you next?

GM: Editing wise I’m currently pushing out our third and final Gathering Horror anthology that should be available to buy soon.  Our Horror anthologies have been incredibly popular so we’re splitting them off into their own series ‘Tales Of The Abyss’ which I’m co-editing with Erica Heflin.  This is going to be the book where we really give our best creators a bigger playing ground and will feature a regularly appearing story from comic Pro Sterling Gates.

I’m also editing the second Sci-Fi and Fairy Tale volumes next year.  I edited both the initial volumes and they turned out very well so I want to top that next year.  I’m also editing something else that hasn’t officially be announced but could be our most successful anthology ever so stay tuned for that.

Writing wise I have stories coming up in Horror 3 with artist George Amaru, our first Dark Anthology with Arcadio Bolanos, Western with Amanda Rachels and True Ghost Stories with Alan Anguiano.  I also have stories and scripts written for our Mystery volume and the Superhero volume out next year as well as one of the stories in our third issue in Tales Of The Abyss.

Also late this year I will be very proud to debut my own one shot entitled ‘Sparks’ that is being drawn by Cassandra James.  This is a story I first came up with when I was 16 or 17 and I can’t wait to see it finally in print.  I don’t want to say a lot about it but I think people will certainly find something different in its pages.  I’m also plotting out a sequel in my mind at this time so I very much hope it becomes a regular thing maybe 2-3 times a year.

I’m also involved in the Gathering Phase 2 which is allowing some of our creators to publish their own creator owned work.  I’ve got a project approved for that too which I’m thinking might even be a series of mini’s.  Don’t want to say much about that since its in the early stages but I will say it may be the best idea I’ve ever had and allows me to pay partial tribute to one of the reasons I’m a writer.

10 Questions: The Gathering Edition – Erica J. Heflin

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For nearly three years The Gathering anthology has afforded nearly 200 comic creators the opportunity to have their work published for the first time.

GrayHaven Comics has been dedicated to giving aspiring creators their big break and through fourteen issues of The Gathering have done just that. Along with newcomers to publishing, The Gathering has also featured the works of pros like Sterling Gates, John Jackson Miller, Mike Lapinski, Brent Peeples, Gail Simone and Len Wallace with many more to come.

Coming up on their three year anniversary and leading up to some big announcements at New York Comic Con, Graphic Policy has teamed up with the GrayHaven Comics in an attempt to put together an unprecedented set of interviews. The same 10 questions have been sent to all 200 comic creators covering their start in the comic book industry, their work with GrayHaven and The Gathering and what advice they’d give to those just starting. That’s potentially 200 different perspectives to learn from.

We’ll be posting 1 interview a day for as long as we get responses….

Up first is Erica J. Heflin. Erica’s first foray into comic books was with The Gathering. She describes herself as a “comic fan, gaming geek, mother, screen and comic writer with a mix of archaeologist and herpetologist thrown in just to keep things interesting.”

An on to…. 10 Questions with Erica J. Heflin.

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

Erica J. Heflin: My plunge into the comic industry really began with discovering GrayHaven and The Gathering. I had previous experience writing screenplays, and had taken a stab at a comic script many years previous. Finding a place where I could submit as a writer just seemed remarkable. After pitching my first stories the staff became more familiar with my writing and editorial experience. I was invited to edit the All-Women’s issue, and then invited on full time afterward.

GP: Were you a fan of comic books before?

EJH: I’ve been a comic fan for many years. I’d say that I first jumped into comics during the height of their 90s popularity. I lived and breathed the local comic shop and gaming store through high school, and then in college I worked at a local shop. I eventually owned my own comic store.

GP: Do you read comics now? If so, what are some of your current picks?

EJH: Absolutely. I’m leaning heavily toward a lot of the current Image titles; they’ve got some fantastic and explorative books available right now. But if I was going to pick one book to demand that people read, it would be Rachel Rising. Terry Moore is proving that once again he is a master of his craft. I’ve loved his previous titles, too, but the marriage between Moore and horror is heavenly.

GP: How did you get involved with The Gathering?

EJH: I got started by putting in a pitch for a fairy tales story.  As a writer I’m constantly bracing myself for a rejection letter, but on this occasion I made the cut. My first collaboration was with George Amaru. From there I just never looked back.

GP: Each issue of The Gathering has a theme, how did that factor into the comic creation?

EJH: I wasn’t around for the inception of the anthology, but in recent months I’ve had the opportunity to discuss theme ideas with the rest of the staff. We’ve got to strike a balance between visiting the themes that everyone just loves – such as horror – and breaking new ground and pushing our artists and writers to explore new genres. Pulp heroes is a great example of the latter.

GP: What advice would you give to independent creators just breaking into the business?

EJH: Don’t be too hard on yourself. Anyone who creates is going to have supporters and detractors and it’s important to listen to both. Learn from your critics, but don’t let them define you.

GP: What’s the most important lesson you’ve learned through your experiences?

EJH: The pool of talent in the independent comic industry is astounding. There are numerous people who spend their days hunched over keyboards or sketchpads, and each one of them is looking for a break. While it’s easy to focus on yourself and your personal goals, if you reach out and help the other talented creators who are trying to break in, you’ll reap some incredible rewards.

GP: Do you think it’s easier today for creators to get published?

EJH: With the increase of print-on-demand services, it’s become much easier for creators to publish their own works. Financing projects, and then taking the time to do all the promotional work, is where I see a lot of creators struggling. Printing is just a small part of the package and while it’s becoming easier to do, I still don’t think that it’s easy.

GP: How do you think technology like social networking or crowdfunding sites like IndieGoGo or Kickstarter are impacting comic book publishing?

EJH: I think that these sites are already having a notable impact on the industry. Small creators are able to produce miniseries, graphic novels, and single issues without bankrupting themselves. Industry pros are able to produce their dream projects without the same concerns over rights.  Better yet, it’s a great place for consumers to find projects that they would not otherwise have access to.

GP: What can we expect from you next?

EJH: While I continue to work on editorial projects from GrayHaven, I’m turning my attention to several different Phase 2 projects. Issue one of my five-part miniseries Mother and Son, a twisted science-fiction invasion story, is now available.  I’ll have several other projects available in the near future; Of Wolf and Woman and Flesh of White should also be available this year. There will be some more great announcements at New York Comic Con, and our upcoming open submission period will reveal my new major editorial undertaking.

Be the Next Cover Artist of The Gathering

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The Gathering is is offering folks the chance to be the cover artist for their first issue of 2013, True Ghost Stories.  GrayHaven and The Gathering are looking for the individual who impresses them the most and will get the honor.

So what do you have to do to get a cover? That’s pretty easy. You know the theme: True Ghost Stories. All you need to do is come up with your cover and submit it to us at gatheringanthology@hotmail.com by July 7, 2012. The editorial staff will sort through the entries and our three favorites will be featured on the site and voted on by the fans. Voting will come to an end on July 31, 2012. This is open only to those who have never done a cover for us, I’m afraid.

You can get more details at their site.

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