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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 – Nathan Lee James

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

Up next is artist Nathan Lee James who is our twentieth interview in the series!

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

Nathan Lee James: I’m still not sure, ha. I was originally going to be an animator, but I got a Fine Arts degree because I wanted to work for a specific studio that preferred that. But when I graduated, they had changed gears a lot, and I ended up directionless with a degree that was very difficult to get any use out of. I dabbled a bit in the graduate program, and I actually went into a bit of a depression and stopped drawing for years after that (there were “woman trouble” contributors to that as well). Luckily, I eventually made a few online friends who got me into some websites that got me drawing again and even got me some gigs. I dabbled in some independent film storyboarding also, mainly because I wanted to act and thought it might help me get in. I ended up meeting a writer on one of those jobs who wanted someone to illustrate his graphic novel series. That was my first attempt at doing comic book page art, though I had been doing my own humor comic strip for a while already. This first attempt of mine to illustrate a graphic novel didn’t come out that well, though I guess I’ve seen worse, but the writer loved it and it was a great learning experience. We got the first one out, self-published, and we even took it to Wizard World Texas one year, but the writer I was working with didn’t have much of a knack for promotion and distribution, and he didn’t want to go the traditional route. We began working on the second book anyway, as well as a color version of a standard comic book breakdown of the first (the first of which we also finished, self-published, and took to Wizard World), but the writer disappeared before we got very far. Still don’t know what happened to him. However, not long after that, I was recruited by GrayHaven, and I’ve since illustrated 5 stories for them, with more to come!

GP: Were you a fan of comic books before?

NLJ: Definitely, though maybe not the most popular titles. As a kid, I had some old Disney comics I used to practice drawing (and read and reread a lot). They were the late 70’s/early 80’s stuff, which wasn’t very good, but then Gladstone came along with reprints of some classic Disney stories, and that’s when I really got into comics. I was soon collecting Mickey Mouse, Donald Duck, Uncle Scrooge, and Walt Disney Comics and Stories. Later, I also started collecting Star Wars and Indiana Jones comics, and a few other titles after that. To this day, Uncle Scrooge McDuck is my favorite fictional character. I do love all the great superheroes, of course, but my fandom for them really comes from movies, television, and cartoons.

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

NLJ: My budget is really tight right now. In fact, I’m looking for a day job here in Austin and trying to get more paying commissions, and I’ve been doing that for a couple years now since I came to this city, though both my parents getting cancer in the past two years made things very difficult and required a lot of back and forth traveling that made job searching less effective, but I digress. I do still read comics, but much less often at the moment. I mainly get them in collection form, too. I’ve been picking up the Boom and KaBoom Disney comics I missed out on from a few years ago in collected form, and I’ve been trying to read some of the great graphic novels of the past too. A friend just sent me Watchmen! I also have been getting the English language version Sailor Moon mangas that have been coming out over the past year. Haven’t had a chance to read them yet, but I’m pretty psyched to. I got hooked on the cartoon back when it came to the U.S. as a DIC dub while I was an undergrad. Gorgeous schoolgirls fighting monsters, what more could I ask for? My dream is to marry a really excellent Sailor Scout cosplayer.

GP: How did you get involved with The Gathering?

NLJ: I was contacted by someone who saw my work on DeviantArt.com. I think it was Andrew, but I don’t quite remember. GrayHaven was in need of a replacement for someone working on one of their stories for volume 3. I got to work with writer Glenn Matchett, who was a great match for me! I guess the GrayHaven folks were pleased enough with my work, since I’ve been asked back 5 more times. And I’m thrilled and flattered by that, of course! Especially since my work is not what is common in comic books today, aside from kids’ comics. It’s definitely rooted in cartoons/animation.

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

NLJ: The first story I did for GrayHaven was for the Heroes issue, but it was a comedic story, which was great for me. It was a story that made fun of its lead character, a dimwitted, obnoxious, bumbling superhero, and that’s right up my alley if you’ve ever read my webcomic, Moonlight Motel (shameless plug), which is also all about making fun of the lead character, even though he is very much based on myself. I love that self-deprecating humor greatly influenced by years of watching Conan O’Brien since he first came on the talk show scene.

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

NLJ: Of course, I’m still just “breaking in” myself, but…

Don’t give up. I just recently turned 37, and I only started getting “real” illustration gigs in the past few years (perfectly parallels my love life). They still are few and far between, but, as an artist, I’m doing a lot better than I was a few years ago. Gigs lead to more gigs, so don’t be too reluctant to occasionally do some that are purely paid for in experience and exposure. And don’t be discouraged if you don’t (or don’t want to) draw in the most popular, mainstream style. There are still books out there for you if this is something you love to do. Now, if only I could make as much progress with dating.

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

NLJ: Um, basically what I just said in the form of advice, I guess, ha. And that when you design a superhero costume that includes aviator pants, people just think you draw legs really badly, because of course all superheroes are always wearing tights. Yes, in the two Commander Cosmo stories I have illustrated (the second being a webcomic), his upper legs look that way because he is wearing aviator pants like Launchpad McQuack!

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

NLJ: I’m really not an expert on this. Certainly, it’s easier to self-publish. But, whether it is in hard copy or online, the next and more difficult trick is getting your comics “out there”. Still trying to get people to come to my webcomic’s site. Granted, I don’t have time to post a brand new strips very often at the moment. I also still have boxes of that first graphic novel I ever did sitting in my parents’ house. We didn’t sell too many of those. Honestly though, I didn’t really love them anyway. Like I said, it was a learning experience. Anyway, besides self-publishing, GrayHaven is the only way I know of to get your foot in the door.

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

NLJ: I think they’re great. Anything that helps the average Joe get his work out there!

GP: What can we expect from you next?

NLJ: Besides being in volumes 3, 6, 7, and 9 of The Gathering, I recently finished illustrating a story for an upcoming romance issue, and I am slated to do a horror story for them after that. I also contributed work to an upcoming card game, The Card Game of Oz, that is supposed to come out in December from Game Salute and Orion’s Bell. Many artists contributed. I did 5 pieces for them, and hopefully they weren’t cut from the game during the recent retooling. I’m also on the verge of finishing up a noir detective story that’s been running on Erica J. Heflin’s readwebcomics.com, Of the Grave. Then, of course, there’s my own webcomic site, moonlightmotelcomic.com, where I post my Crush of the Day, movie reviews, and the occasional Moonlight Motel comic strip, ha, plus, hopefully soon a revival of my previously tested on YouTube “Moonlight Movie Show”. Hopefully, I will work with GrayHaven more in the future, and hopefully gigs will continue to lead to other gigs as well.

10 Questions: The Gathering Edition – Gary Hogan

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

Up next is writer Gary Hogan.

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

GH: By way of GrayHaven Comics recently. My two page story in The Gathering Vol. #2 was the first comic script I’d ever written in my life. While I’d been writing creatively for years the idea of writing a comic script had never even occurred to me as a passing thought. In fact prior to writing my first GrayHaven script I pulled out my copy of the first Powers trade and read over the script to the first issue of Powers by Bendis that was included in the trade, to get an idea of how I was supposed to write and format it.

GP: Were you a fan of comic books before?

GH: Yes, I was, from a young age actually and then getting into some of the mature titles as I got older.

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

GH: Yes, still do. Saga, Daredevil, Animal Man, Swamp Thing, Batman, Fables, Unwritten, Sweet Tooth, Amazing & Ultimate Spider-Man, Avengers and Powers, and that’s just naming a few.  Oh, and I wish Tom Beland’s True Story, Swear To God were still around.

GP:  How did you get involved with The Gathering?

GH: Andrew posted in the DC Thread on the Brian Michael Bendis Board that he was going to put together a comic among those who were interested, pairing writers with artists if needed. I thought that might be fun so I responded and I was paired with artist Blake Sims, which turned out to be quite the pairing and inspiration for what I wrote later on.

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

GH: I wrote for the theme but always tried to turn it around and put a twist on it. For example, when the theme of Myth was announced and Andrew said that meant anything based a myth or a creature of myth such as Bigfoot, could be used, I thought, well, why not have Bigfoot retiring and using a reality TV show to find his replacement? It fits the theme but it also bends it. Plus, I knew Blake would draw awesome monsters and freaks.

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

GH: Be original. Try to find your voice. Try to do something different. Trust your artist.

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

GH: That comic writing is a lot harder than it look, that  like everything, it has rules and pacing is so important. After I wrote my first script for The Gathering Vol #2 I started writing scripts on my own, without a GrayHaven theme to guide me and looking back at some of them now, I cringe. As I was still new to comic scripting then, I was putting 7 or 8 panels on a page with alarming regularity. I got out of that fast.

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

GH: I don’t know if I’d say easier but there exists a lot of opportunities that didn’t exist before.

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

GH: Well, Internet networking in general.  Just the Jinxworld Bendis Board, even – by posting there I came to have contact with Andrew and other creative people. There’s no way that I, a guy in Nova Scotia, Canada, would be having comic book art drawn by a guy from Kentucky. There’s just no way. As for Kickstarter, I’m sure most of what GrayHaven does wouldn’t exist without it, so, yes, big impact. Heck, even awesome established writers like Gail Simone are using it now.

GP: What can we expect from you next?

GH: Schedule wise, a story in GrayHaven’s The Dark Anthology coming up soon, along with other long time Gathering writers like Jason Snyder, ect. Then if things fall into place on time, a six page story in the crime issue of The Gathering that has multiple writers telling one tale, from an idea and a lead character created by Sasha Makarewicz. That was interesting – writing with someone else’s character creation.

That same month should see the currently titled one shot The Bid written by myself with art by the awesome Blake Sims and edited by Marc Lombardi. This will consist of that very first script I did for The Gathering Vol. #2, also called The Bid, along with the 13 pages Blake and I did for the GrayHaven Comics web site called The Further Adventures of a Super Annuated Adventurer, plus 15 brand new pages.  The whole thing is about a retired Superhero with less than stellar people skills who tends to find himself in awkward situations. Of the 15 brand new pages I think Blake is going to kill on them, as he does on pretty much everything.  The Bid one shot will be the 6th thing Blake and I have worked on together.  I love how his art takes things to another level and gives an emotional kick even I didn’t think of when writing it. We’re really hoping everyone will check it out.

10 Questions: The Gathering Edition – William Levert

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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 Marc Lombardi Jason Snyder
Elena Andrews Andrew Goletz Glenn Matchett Sam Tung
Arcadio Bolaños Doug Hahner James O’Callaghan
John M. Coker Erica J. Heflin Chris Page
Marc Deschamps Travis M. Holyfield Amanda Rachels

Up next is writer William Levert who has worked on two issues of the anthology.

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

William Levert: I’ve been flirting with doing comic work for a long time, but my first true break into the comic industry was thanks to Andrew and GrayHaven comics.  They gave me my first real chance to write comics and get them published, and for that I will always be grateful.

GP: Were you a fan of comic books before?

WL: I’ve been a comic book fan since I was a little kid.  I don’t even remember how young.  My dad used to always get a bunch of comics from the library, and forbid me to touch them because he didn’t want them messed up.  Well, I got into a lot of trouble in those days to be sure.  I really got into comics when I was in Jr. High, during the big ninety’s boom and the starting of Image and Valiant.  I’d go to a comic shop called Super City comics in downtown Cleveland every day of the week after school.  Brian Michael Bendis was working there at the time, and when he made it, it made me realize that one day, I could too.

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

WL: Oh, I read tons of comics.  I’ve always loved reading period, but comics have been my number  one pleasure.  I’m the guy on the internet who will defend both Marvel AND DC in one sided arguments.  I love those two companies, but my highest recommendations would come from more of the Independent and creator owned books.  When I really got into comics it was Valiant that ruled my heart, and they have recently been coming back with some of my favorites, and everything so far has been so good it warms my heart.  So I’d definitely suggest books like X-O Manowar, Bloodshot, Harbinger, and the recently released Archer and Armstrong to anyone.

GP: How did you get involved with The Gathering?

WL: Like many others, I’m a long time Bendis Board member on Jinxworld.  When I found out that Andrew and some of the guys were doing this thing called The Gathering I wanted to help out where I could.  Buy the books, which are phenomenal, and help promote where I could.  When I got the chance to pitch my own stories to some of their anthologies I did, and I’ve never looked back.

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

WL: The Gathering started out with a lot of guys who were just breaking into telling comic stories themselves, or those who have been telling them a while, but were getting their first chance at having them published.  When your at that point, you have a lot of worries.  What kinds of stories do you tell?  How do you juggle telling a story that’s close to your heart, but making it so that others will love it too?  The Themes of the different Gathering anthologies provided a focus.  Something that first timers could pinpoint their imaginations on without having to worry about thinking too far outside of the box.  With a theme in mind, they had somewhere definite to focus their imaginations and creative styles, and I think that helps a whole lot.  It definitely did for me.

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

WL: At first, think small.  Don’t worry about creating some vast world, or wide spanning stories that you want the masses to love and embrace.  Anthologies are a great, great way to start.  Or do small, self contained quality stories, and graphic novels to show your craft, and hone it so that people will take notice.  One day it will lead you to bigger things.  Create connections with other writers, artists, and definitely editors.  Most of all, love what you do with all of your heart.

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

WL: Have a great editor, or someone who knows what they are doing to help you out with your short comings.  The worst thing you can do is not know your mistakes and be able to correct them.  You can be caught up in your craft and never know your making them.  Ignorance is not a shield.  You have to be proactive in learning what you are doing wrong, and making it right.  It’s a big part of making yourself, and your craft the best it can be.

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

WL: Definitely.  Today there are so many more platforms you can use to get yourself off the ground and noticed.  You can self publish through various sources, get your work out there in the open to be seen.  There are small up and coming companies, like Grayhaven comics, that give guys like people not only a chance to break into the business, but work with very well known, and established creators as well.

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

WL: These sites are the biggest weapon up and coming comic creators have to get projects they want to see published off the ground.  In fact, even well known and established creators are using them to get projects they truly want to do, but couldn’t otherwise get it off the ground.  It’s a great tool for any comic creator to use.  Some will abuse this system, but that’s with anything of this sort right?  Looking at the big picture though, these sites are definitely great tools that not only deepen the talent pool of the comic industry as a whole, but it adds more diversity as well.

GP: What can we expect from you next?

WL: 2013 is going to be a big year for me at GrayHaven Comics.  I’ll have stories in the upcoming issues such as Hey Kids: Fairy Tales, Erotica, Limitless: Dark Anthology 2, An issue of GrayHaven’s horror anthology, Into the Abyss, The Gathering: War, and Hey Kids: Fantasy.  So I’ll definitely be busy, and I hope that everyone who reads these stories take some kind of enjoyment out of them.

10 Questions: The Gathering Edition – John M. Coker

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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 Andrew Goletz Glenn Matchett Sam Tung
Elena Andrews Doug Hahner James O’Callaghan
Arcadio Bolaños Erica J. Heflin Chris Page
Marc Deschamps Travis M. Holyfield Amanda Rachels
Nick Francis Marc Lombardi Jason Snyder

Up next is penciler John M. Coker, cartoonist, writer, artist, creator of the webcomic Decompressionism, and former Art Director of GrayHaven Comics. Contributor to The Gathering volumes 1, 2, 3, 5, and 8, cover artist for volumes 5: Love Letters, and 8: The Fifth Dimension.

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

John M. Coker: Andrew Goletz, publisher of GrayHaven Comics, asked me very early on to contribute to a comic anthology he was going to publish. And I was just making comics for myself, so I figured, hey, this dude is super cool and giving me an avenue to let other people other than my girlfriend and my dog see my work… so why the eff not.

GP: Were you a fan of comic books before?

JC: The darn things pretty much taught me how to read. Basically grew up on old hand-me-downs from my older cousins, 70’s stuff mostly, things like Avengers, Spider-Woman, Luke Cage and Iron Fist, Doctor Strange, Captain Marvel. In the 80s I fell in love with the X-Men. Completely got out of comics in the 90’s. Starting getting back into them in the early 2000s, mostly independent stuff, and most OGNs.

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

JC: I do, but right now, not very many at all. I’m mostly only reading OGNs, pretty much anything put out by Fantagraphics, Drawn and Quarterly, Top Shelf. Work by guys like Daniel Clowes, Craig Thompson, Adrian Tomine. As far as single issue monthly comics go, right now I’m only reading everything AvX related, Fantastic Four, FF, Invincible Iron Man, The Defenders, and all the Ultimate books.

GP: How did you get involved with The Gathering?

JC: Andrew Goletz, publisher of GrayHaven Comics, asked me very early on to contrib- oh wait– I already said that :) Andrew asked if I could contribute something to an upcoming anthology comic that he would be publishing, asked me if I would like to either draw a story for a writer, or draw and write my own. I ended up doing both. I wrote and drew two one page comics which booked-ended the first volume, and drew and lettered a two page story with writer Ignacio Segura. Also ended up lettering two other stories in that volume.

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

JC: For me it was a starting point, or a mood setter to jump off from. What was great, is that Andrew wanted all the stories to fall under the umbrella of said theme, yet he gave all of the creators room to let that be, and mean, whatever the story called for. It was a vague theme, and vague in a good way. Each creator was encouraged to interpret that theme however they chose. So that there’s always a theme, but the books are never “theme-y” (if that makes any sense). Which makes for very diverse stories in each volume, even though they are all evoking one specific theme. And that’s what’s coolest (to me) about The Gathering, and what Andrew, and all of these creators have put together.

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

JC: I’m not really the right guy to ask that question of. As I don’t really know the answer, I don’t really feel that I have, nor was that ever a goal of mine. I just wanted to make comics, and if other people want to read them, that’s pretty cool, and I appreciate any and all opportunities that I’ve had for that to happen. But it’s weird to me to think of it in terms of “breaking into the industry” because I don’t feel that I have. I’m just a dude that sometimes likes to write words and make doodles, and hopefully sometimes, some people like to read those words and look at those pictures. So, I guess my advice is this- if you like making comics… make them, just make comics, and make comics that you would like to read, and get ’em out there, any way you have to.

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

JC: Trust collaborators. Everyone brings something to the table, and there’s always more ways to skin a cat. Be flexible, and I’m not saying to bend more than you’re comfortable with, I’m just saying, whether you’re a writer, artist, or both, when you’re working with other creative people, while you’re trusting your gut, trust theirs as well. Look at the creative process though all the angles, through other peoples eyes, and the finished product, will be stronger because of it.

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

JC: Definitely. There are simply a lot more avenues these days. More publishers, more formats, and more diversity.

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

JC: It’s definitely easier to get the word out there now, and easier to get funding.

GP: What can we expect from you next?

JC: Nothing I can tell you about today… but maybe tomorrow…

10 Questions: The Gathering Edition – Nick Francis

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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 Doug Hahner James O’Callaghan
Elena Andrews Erica J. Heflin Chris Page
Arcadio Bolaños Travis M. Holyfield Amanda Rachels
Marc Deschamps Marc Lombardi Jason Snyder
Andrew Goletz Glenn Matchett Sam Tung

Up next is penciler Nick Francis.

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

Nick Francis: Social networking and posting my art. I have had the pleasure of learning from my idols as well.

GP: Were you a fan of comic books before?

NF: I have been a fan of comics since the early 90’s pre-image era

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

NF: Batman, Red Hood and the Outlaws, mostly DC titles

GP: How did you get involved with The Gathering?

NF: A friend of mine sent me a link to GrayHaven and I contacted them. Rest is history :)

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

NF: I’m actually not involved in a Gathering book with them at the moment. We are working on something special.

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

NF: Never give up and always have a great attitude. Learn as much as you can about every aspect of making comics.

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

NF: It can be stressful at times but never giving up seems to stand true.

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

NF: With programs like Kickstarter I think it’s a lot easier than say, ten years ago.

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

NF: Everyone is more accessible from fans to comic book creators. It definitely helps up and comers more

GP: What can we expect from you next?

NF: Hopefully big things!

10 Questions: The Gathering Edition – Sam Tung

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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 Doug Hahner James O’Callaghan
Elena Andrews Erica J. Heflin Chris Page
Arcadio Bolaños Travis M. Holyfield Amanda Rachels
Marc Deschamps Marc Lombardi Jason Snyder
Andrew Goletz Glenn Matchett

Up next is artist Sam Tung.

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

Sam Tung: My first published comics work was actually in the first issue of The Gathering!  I’d done some self-published comics in college, and some other freelance illustration and poster work before that.  They’re floating around online if anyone is curious.

GP: Were you a fan of comic books before?

ST: Absolutely — I grew up on a healthy diet of Calvin and Hobbes and Amazing Spider-Man and never stopped.

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

ST: I do, as much as I can find the time.  I don’t read much cape stuff any more, though I really like Bendis and Pichelli’s Ultimate Comics Spider-Man.  I really love Blacksad, and I’ve been really into Claire Wendling’s art lately.  Saga by Brian K. Vaughan and Fiona Staples is rocking my world.

GP: How did you get involved with The Gathering?

ST: I was a member on the Jinxworld boards, and I guess at some point I posted some art there.  Andrew saw it and reached out to me when they were putting together their first anthology.  I was fresh out of college and eager for any opportunity to draw, and it sounded like a really cool project.  I’m so glad I jumped on board and have been fortunate enough to work on a number of projects with them.

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

ST: I think I give a higher degree of fidelity to the script, and hope that it all fits in with the overall theme.  I seem to get put on the “horror” stories — I’m not sure what that says about my art!  But I try to tell the story in the script as clearly as possible, and put a lot of thought into concept design.  In my second story, with Evan Valentine, we told a story about the monotony of working in Hell.  I tried to play up the dreadful, unending conveyor belts of work the demons had to do, and the Devil’s creepily cheery, used car salesman-type attitude.

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

ST: My advice would be two-prong: one, draw until your fingers bleed.  To get your art up to professional quality, you’ve got to not only know your anatomy, perspective, and form drawing, but also design, composition and acting.  There are a lot of great resources out there, both print and online, for aspiring artists.  I would recommend picking up The Five C’s of Cinemetography to learn about storytelling and composition, and The Skillful Huntsman to get your design gears turning.  Sketching: The Basics by Steur and Eisen is great if you’re a beginning artist.  James Gurney’s Color and Light for the Realist Painter is also really informative.  A number of DreamWorks storyboard artists have blogs and they’re fantastic resources for visual storytelling.

Second, you’ve got to network.  If you’re the world’s greatest comic book artist but your pages are all in a desk drawer, you’re doing it wrong.  Hustling isn’t always fun but it’s absolutely necessary.  Fortunately, it’s easier now than ever, between Jinxworld and Deviantart and other online places to show off your work.  However, if you want to not only work in comics, but animation or concept art, I would really recommend moving to Los Angeles or New York so you can meet people and get in on “the scene.”

tl;dr work hard, be nice to people and things will happen..

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

ST: Wow, just one lesson?  I feel like I’m still learning so much about drawing, storytelling, and the industry!  I think my best advice is to go out and make something.  This means finishing a project — even if it’s only a five or ten page story that you write and draw entirely on your own.  Finishing a project, small or large, is satisfying and invaluably educational for the next, larger project.

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

ST: Definitely — the last ten to fifteen years have seen an explosion in independent comics.  It was really only very recently that comics stopped being such a superhero-driven medium.  Now, Scott Pilgrim from Oni Press gets a huge movie deal and Walking Dead is a smash hit on AMC.  There’s a lot of great stuff being done online, too — the guys at Penny Arcade seem to do pretty well for themselves.  There are a lot more ways to get noticed, and niche comics to find a fanbase.

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

ST: To an extent, I think this remains to be seen.  People are definitely getting money to produce their own comics projects, but I’m not sure what the larger result is.  Are any of these smaller, self-published books leading to larger visibility for the creator?  Or do they print their 400 copies, send them to the Kickstarter investors and go back to square zero?  I honestly haven’t looked into the “where are they now” aspect of this method of production.  Are publishers or executives in positions to produce future projects ending up with these books?  I’d be curious to learn.

GP: What can we expect from you next?

ST: Well, I work in visual effects so there will be some Hollywood movies with my name in the credits next spring and summer.  I’ll be working on a graphic novel with comedy writer Josie Campbell and colored by my cousin Anita Tung for Committed Comics called Monstersitter which we’re really excited about..  And, of course, I’m working on some projects for The Gathering — I’ll have a seven-page, full-color story in the new, regular Horror anthology and I’ll be working on a larger project as well, but it’s super top secret.

Sorry!  Lots of great new things, all of them hush-hush for the time being!  Stay tuned!!

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