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Interview: Women of BOOM! – Guin Thompson

Posted on March 27, 2014 by Brett

It’s Thursday which brings us a new interview and our 22nd “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

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

Guin Thompson is a writer and artist whose graphic novel Beautiful Scars will be out through Archaia next week! The graphic novel which will retail for $19.99 tells the the story of Ridley Shaw as he explains to his granddaughter how he got each of his scars, each one gained through either a sad or uplifting adventure. Through his tales, his granddaughter learns how to tell her own stories and how to hold on to his through her own, magical re-telling. Weaving historical fiction and fantasy together, Thompson, who along with co-creator Durwin S. Talon remind us of the power of stories, both those from our imaginations and, more importantly, those from our own lives.

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

Guin Thompson: I always loved telling stories, and always loved illustration. I tried animation when I was in college, but didn’t have the patience. Comics was like a revelation for me; I could tell a complex story in a very cinematic way, but could do it (mostly!) on my own. It remains my favorite medium for storytelling.

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

I read some titles when I was young, like Archie, Peanuts, Garfield, the usual. I remember my family checking out the Asterix books from the library when I was young, and those were great. I still have vivid memories of early 1990’s Barbie comics. When I was in high school, I discovered alternative comics, and I was hooked for life. There was such a variety of storytelling and style. I think the catalyst for me was reading Chris Ware’s Jimmy Corrigan: The Smartest Kid on Earth. It was heartbreaking, beautiful, and made me cry into my shirt at 3 am after reading it in one night. I decided that this is what I wanted to do, right then and there. I still definitely read comics; nothing energizes me more than going to a comics shop. It always makes me want to go home and work!

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

My wonderful partner, Durwin Talon, knew Mark Smylie from way back. Durwin and I came up with the premise for Beautiful Scars and wanted to see if Archaia would be interested. They have always done such interesting stories, with beautiful production values, and we felt our project would have a great home there. (This was when Mark was unloading books at GenCon out of the back of his station wagon!) So, we helped him break down one night after the con and all went to dinner. We pitched it over dessert and it was a go! It’s been so great to see the company grow and I’m so excited to be a part of it.

GP: How would you describe your job for people?

It’s hard work, but extraordinarily rewarding! I’m grateful that I get to do this. I’m also a professor, and when I teach my comics classes, I try to prepare them for how much work it is. It’s a job you do out of love. Or craziness. Maybe both.

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

Learn to budget your time. Make things and show them to as many people as you can. Make friends with other people in the industry, it’s invaluable. Not just for professional contacts, but because they are members of your art family; no one else knows as well what you go through. Take advantage of every interesting opportunity that comes your way, but learn how to not be taken advantage of.

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

My partner really knew the ins and outs before I did. It was a great help to draw upon his expertise. And the advice, friendship and guidance of many wonderful comics pros was invaluable to me. I don’t mentor anyone one-on-one but I do teach. I think it’s important for us to share our experiences with others, and to give back. I find the comics community to be very open for the most part, very giving about their knowledge, and I want to be a part of that, since so many people were gracious and generous with their own experiences. That’s very important to me.

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

I think in mainstream comics, there is still a lot of bias for women looking to break in. There’s still this boy’s club mentality. I have read interviews that feel very threatened by the fact there is a demand for more diversity in their artist lineups, and to me, that means they know they’re not doing right. They complain that their readership is dwindling, but don’t want to include story lines “for girls” (which are really just interesting stories available to a wide variety of humans). Their solutions are tone-deaf, like revamping a character’s costume to be even more revealing, which only panders to the current readership, and doesn’t grow their fan base. (I’m aware it’s fantasy, but it’s a power fantasy for dudes about what is capable with their bodies, and what is capable of being done to women’s bodies). It’s very tiresome to read these interviews with editors and creators that go on and on about how women don’t read their books, it’s not their audience, women don’t want to create comics, blah blah blah, when clearly this is not the case.

I think the comics medium as a whole is changing and evolving every year and creators are pushing what is capable as an art form, which opens up a lot more space for different kinds of stories and voices. There are a lot more avenues for artists and creators who want to get into the industry other than the entrenched mainstream publishers. But if you are drawn to that kind of story, and really want to be an inker or a penciler or whatever for one of those companies, and you are a lady, you’re going to run into some flak. If your work is excellent, it shouldn’t matter, but it still seems to in some arenas. In others, it doesn’t.

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

Really, it’s because of the stories. The range of stories and styles is stunning. It doesn’t feel like it’s by the company line; it’s really creative and interesting. I think anywhere that encourages and supports unique expression is going to have a more diverse range of storytellers. I’m very happy to be associated with it.

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

For the most part, I’ve been lucky. In my experience, the vast majority of people related to the industry are lovely and wonderful. However, I do not want to negate the very real experiences that some women have regarding sexism and harassment; I have just been lucky to not have encountered them. I have heard some horror stories from friends and acquaintances, and it just makes my blood boil. I’ve had people come up to me and offer their comments and want me to respond on behalf of all women, and I can’t do that. It’s dumb. I’ve had generic bad experiences, people taking the opportunity of my presence to rant at me about female characters, demanding I defend my place there because I can’t possibly be interested in comics. That kind of stuff. I don’t really engage. It’s not worth the energy.

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

Same advice as above. Just keep at it! A support system (whether it’s family, friends, other professionals, your partner, etc) is absolutely invaluable. Strive to make your best work, show it off proudly, seek advice and don’t give up!

Related:

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Interview: Women of BOOM! – Nimue Brown

Posted on March 20, 2014 by Brett

It’s Thursday which brings us a new interview and our 21st “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

Nimue Brown is a writer who has worked on the Hopeless Maine graphic novel series published by Archaia.

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

Nimue Brown: I was lured in by my artist, Tom Brown. Although I loved Sandman, I wasn’t much of a comics person, had grown out of capes and superheroes and didn’t really see it as a space for me. It took him a long time to persuade me to have a go, and it was the alternative nature of Tom’s art work that convinced me there could be a space in comics for the kinds of stories that interest me.

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

NB: I grew up with Batman, a bit of Superman and some exposure to X-Men. In my teens I found and fell in love with The Sandman, and then I fell out of comics entirely. However, trying to write them it seemed only sane to dive back in, so I read all sorts of things, sometimes just to try and understand technical aspects, sometimes out of love. I like webcomics a lot, I like the immediacy and the sheer diversity.

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

NB:We asked nicely and Archaia said yes! We came along with an existing webcomic, and were taken on as a property.

GP: How would you describe your job for people?

NB: Being the writer doesn’t take long. A couple of weeks of intensive work from me can keep Tom busy for months, so I feel a bit like an absentee landlord sometimes. I love what I do though.

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

NB: The webcomic was great for us, it allowed us to build an audience, and it made us keep working. It’s no longer the case that putting things in the public domain rules out getting a contract – often the reverse. A readership is a real asset, however you go. It’s not until you jump in and really do it, putting the work in front of people, that you find out if you can, and if anyone likes it. Knowing you have readers is a great motivator, finding that you don’t is a great teacher.

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

NB: Tom had a lot more comics experience than me, which has helped a lot. Donna Barr gave me a lot of advice about what I might run into as a woman in comics. Other people have picked my brains along the way.

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

NB: I think the industry is still assumed to be stories for boys, and that stereotype needs breaking down further. However, publishers are getting savvy to the fact that women generally read more than men, and are 50% give or take of the population, and that’s a big potential market to break into. So, I think things are getting easier. There are still too many places where women in comics as characters are either highly sexualised eye-candy, victims to rescue, or prizes to win, but the indy sector is delivering much more engaging female characters all the time, and I think that will knock on to inform how accessible the industry as a whole is for women, both as readers and as creators.

NB: Archaia doesn’t do superheroes attired in something dangerously close to fetish gear. It’s not afraid of stories that go outside the usual bounds of ‘comic’ and this means it is more attractive to women, more likely to get female creatives knocking on the door in the first place. There’s no sense of some ‘old boy’ network at Archaia, there are women on the staff, in the editing team, so there’s an openness to female participation I don’t think you get everywhere. It’s a culture thing, and culturally, Archaia is excellent.

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

NB: I’ve not had any first-hand experience, I’m very glad to say, but we spend more time at Steampunk and Druid events (very female friendly spaces) than we do in the specifically comics gatherings, and I don’t bare my skin. I think all women should have the freedom to dress as they please and be free from harassment, but at the same time, I don’t feel any desire to wear that kind of kit myself, so I doubt I’d attract that kind of attention. Archaia is the only comics publisher I’ve ever worked for, and gender just isn’t an issue there, except in so far as I suspect Archaia of wanting to court the potential female comics reading market, which is fine by me!

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

NB: Tell your own stories on your own terms. Whatever those are. There is no need to replicate what already exists, or to conform to assumptions about what comics mean, and require of us.

Related:

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Interview: Women of BOOM! – Penelope Gaylord

Posted on March 13, 2014 by Brett

It’s Thursday which brings us a new interview and our 20th “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

Penelope Gaylord is a cover artist and inker who has worked on such titles as Adventure Time With Fionna and Cake, Adventure Time, Fanboys Vs. Zombies, and the recently launched Loki: Ragnarok and Roll!

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

Penelope Gaylord: When I met my then-boyfriend/now-husband, Jerry Gaylord, he really opened my eyes to the possibility that being an artist could actually be a job. Comics was a natural industry that we wanted to be involved with since it’s been a huge influence in both of our lives. After my first taste of being behind an artist alley table at a comic con, it just felt good.

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

PRG: No, I don’t really recall reading a lot of comics growing up. But the stories were always around me. I was definitely exposed to Superman and DC superheroes and the X-Men through tv/movies before I read any of the comics. When I got into high school, that’s when I started reading manga (Japanese comics) because it was really just starting to make its way into the U.S. From there I started to appreciate the medium more. I definitely read them now, both manga and American comics, but just a select few.

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

PRG: When my husband Jerry Gaylord got the penciller job for Fanboys Vs Zombies, I volunteered to be his inker because we love to work together. When we went to San Diego Comic Con two years ago, I got to meet the BOOM! family and they were just the coolest people I’ve ever met. Honestly. There’s a bit of an expectation of editors being somewhat aloof and almost pretentious when you meet them for the first time, at least in my experience anyway. But all the editors at BOOM! were extremely friendly and down to earth. After getting to do an exclusive cover for Adventure Time with Fionna and Cake #1, I got to talk with Shannon (editor) and Whitney (asst. editor) and shoot them some more ideas which got me more work with them.

GP: How would you describe your job for people?

PRG: Not as easy as it looks. =) Yes I get to draw for a living, and believe me that’s a dream come true. But just like any job, it has its good days and bad. You definitely have to persevere through the bad days because the good ones are so worth it. With being a freelance artist, you really have to work hard to make sure you get more work. More work means more bills paid but it also means less time to do other things. You don’t have a supervisor to keep you in check, you just have you.

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

PRG: Be sure that you really really really want to do this. And I can’t stress that last “really” enough. Anybody can draw, nobody can stop you. But to make a career out of it, you have to be willing to work HARD. Like I mentioned before, being a freelance artist means you have to work harder than everybody else. If you don’t work, you don’t get paid and you can’t pay bills – it’s that simple. You have to be ready to show your work, then show it some more. You have to be willing to learn new techniques and grow as an artist. You’ll have to draw some things that you really don’t want to, but you have to anyway. Always be ready to take some rejections and corrections. But with perseverance and a really strong support system from family/loved ones, it’s absolutely possible and you won’t have to worry about being categorized as a “starving artist.”

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

PRG: I don’t think I had an actual mentor who knowingly helped me break into the industry. Jerry definitely kept me focused because of his determination to break in. But when we were first starting, guys like Jonboy Meyers and Sean Galloway were really the first ones that spoke to us on a real level. They weren’t secretive about how they broke in like most of the other artists we’ve met at the time. These guys understood where we came from and where we were trying to go as artists and really pointed us in the right direction. I suppose that qualifies them as my mentors.

As far me mentoring someone, I don’t think I am. I’m a terrible teacher in my opinion. But if I can spark someone to follow their artistic dream, that’s all I can really hope for.

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

PRG: Yes I do, but not AS difficult as it used to be. As with anything in our society, the established norm is tough to break. Though the comic industry seems to have taken huge leaps in progress in the past couple of decades, it’s still very much a man’s world. Someone like Gail Simone has been extremely important in seeing women gain high recognition and respect from her peers, but she is ONE in an industry of many men around her. There are so many factors to look at, definitely too much to write here. But basically, when you see the age demographics of those that read comics and attend comic cons, it’s easy to see why it’s still very much geared towards men. The comics that were out during the Bronze Age and earlier were very much geared towards boys. And now those boys are men buying comics. Now I’m no history buff so I can’t tell exactly when, but at some point the focus shifted to include girls and women into comic readership. That, however, has been too recent so there’s not as many grown women buying comics YET. Webcomics seem to really lend itself well to female creators and younger audiences that, many times, are also females. These ladies are able to write/draw their own stories without any pretense, and readers (both men and women) really respond to that creative freedom. I think it’s really just a matter of time before women take a more dominant role in the industry as long as we continue to do what we love – whether it’s writing, drawing, or editing. There’s simply too much talent to hold back.

PRG: I think the great thing about BOOM!/Archaia is that they’re willing to open their eyes to NEW possibilities. They’re not interested in the same stories that everyone has told, you can get those anywhere. They want truly unique and different approaches to the medium and I think that’s why the diversity is so great with them. They don’t promise brand new stories but hire the same writers/artists/editors to work on them. When you look at a title like Adventure Time, BOOM! has really taken it to so many different tangents. We can all be grateful for Pendleton Ward, that much is certain. But BOOM! has given the audience new stories with Marceline and the Scream Queens, Fionna and Cake, and recently Candy Capers with very strong female creators at the helm! Even when you look at the different variant covers for their books, they’ve really given artists creative freedom with their take on established characters. It just opens up the titles to all sorts of readers. It’s this fearlessness to open the doors to new storytelling that I think allows BOOM!/Archaia to be so successful in creating diversity in the industry.

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

PRG: I don’t think I’ve ever really dealt with a heavy dose of discrimination/harassment from being a woman in the industry. This may have something to do with being in a studio with three guys and we’re always together at comic cons, I can’t say for certain. I think the main form of discrimination I’ve had to deal with have been from people that come up to our tables at artist alley and just assumed that out of the 3-4 people there, I am the one that just collects the money. Always happens to me, not the other guys. I don’t think they do that maliciously, they just see a woman in a table of three other men and they figure I’m somebody’s wife just there to help out. It doesn’t make me angry so much as it’s just a nuisance. I think when that stops happening, I’ll know that women have become a dominant force in comics. I don’t make a big fuss over it, I just tell them I’ll gladly take someone else’s money and smile. I’m very choosy over my battles I guess.

The other form of discrimination I’ve faced, to a lesser degree, is how surprised people are that I drew the pictures that are in front me. It’s no secret that I like drawing sexy pin-up ladies so maybe that’s surprising to some. But again I don’t make a fuss. I just smile and tell them I drew that. Hopefully if enough women just smile confidently when asked if they drew the pictures that are in front of them, people will stop asking and just know.

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

PRG: Do you! Draw what you like to see, write what you want to read. It’s that unique vision that you have that makes you an asset to the industry. It doesn’t have to be anything like what’s been established, just do you! You’ll be surprised at how many people really appreciate that individuality.

Related:

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Interview: Women of BOOM! – Polly Guo

Posted on March 6, 2014 by Brett

It’s Thursday which brings us a new interview and our 19th “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

Polly Guo is a writer and artist, who has worked on Spera and Marceline and the Scream Queens as well as her own comics Houdini & Holmes and Strongman and Pianist.

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

Polly Guo: I’ve been doing small comic jobs for people since college while working on my own comic Houdini & Holmes. Right now I’m working in animation on StoryCorps, MAD, and the new Mickey Mouse shorts while working on my own comic Strongman and Pianist.

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

PG: Of course! I love comics. I’ve always really loved shounen manga, horror manga, and some fringe genres, too. Reading Giffen/Dematteis/Maguire’s run on Justice League International in particular really made me want to get into comics. These days I’ll read anything with Chris Samnee, Cory Walker, Nate Bellegarde, Mike Mignola, or Guy Davis attached to it. They RULE!

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

PG: I was asked.

GP: How would you describe your job for people?

PG: In comics, it’s been a lot of on spec work, test work, work for hire contracts, and some times no contract at all. Essentially, work for little to no pay.

I used to do way more unpaid work in college, but now I mostly work in animation, and during my time off I work on my own comic Strongman and Pianist instead of having a social life. I figured if I wasn’t going to get paid, I might as well not get paid doing whatever I felt like doing!

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

PG: Do something other than comics for your money, and then do comics because you love it. I’ve had to turn down multiple graphic novels because I simply could not financially sustain myself on what they were paying me. The story of the self-made comic artist is a myth. Many of the famous comic artists you know are only able to do what they do because they have a breadwinning spouse with a stable job or they were able to work out of their parents’ house for YEARS without paying rent, with few exceptions.

My friend was just saying to me yesterday: it’s like if someone got to the top of Mt. Everest via helicopter and started telling everyone at the bottom that, hey, if they got there with their bare hands and then everyone else could, too.

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

PG: Nah. Comics has always been something I do for myself.

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

PG: Style has a lot to do with it. A lot of women just don’t draw in what people would deem ‘house style.’ There are obviously exceptions, but for the most part women have a pretty different and varied set of influences that might not fall into a ‘house style’, and that shouldn’t be a bad thing, but it prevents a lotta people from giving women artists the benefit of the doubt.

I’ve heard editors say they don’t hire women because women can’t draw backgrounds and perspective. Even if that were true (it isn’t), if this was any other industry, that’s something you could teach someone to do passably well through a little bit of mentorship or training. Most learning is done on the job in ANY industry. And when introducing diversity into a workforce you always have to reach across the aisle and do a fair share of giving people the benefit of the doubt, which, admittedly, when there’s money to be made and bellies to be filled, is hard to do.

On top of that, it’s simply difficult to get women to reach for these opportunities because everything about the comics industry tells them they aren’t wanted in it (sexist imagery, fake geek girl-ism, white male dominated work environments, seasoned professionals declaring that comics are not for women, etc.).

I once spoke to a major tv network executive (white male) who said that since his youth he understood the failings of the lack of diversity in tv, and he’d go out of his way to connect with women and people of color in the company and request that they submit tv pitches. Only a small handful of the employees he reached out to actually came to pitch. He told me he realized then that offering the opportunity to people is only half the battle.

The people he reached out to had spent their entire lives subtly being told their work was not wanted, in a way he had never personally experienced. And if you tell a certain group of people again and again that they won’t succeed, eventually they’ll stop trying.

PG: They go out of their way to reach out to women, which is something that other publishers could learn from. Again, when introducing any diversity into a work force it’s important to reach across the aisle and give people the benefit of the doubt even if they don’t fit the perfect employee profile.

It also shouldn’t be ignored that a big contributor is that the projects are low budget. Low budgets mean more risk taking, and more marginalized groups of people with no other options. Countless of my friends, women and people of color, have taken pay that would be way less than we would normally have taken with hopes of some kind of way to break into the industry because there are no other routes for us. “Hey, this is probably gonna be our only chance to break in, so I should probably give it a shot!”

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

PG: The horror stories are NOT about the overt sexism. If you’re a woman, you deal with overt sexism in your life every single day. It’s the tiny signals in every corner of your life and in the comics industry that say ‘you don’t belong here’ ‘you don’t draw well enough’ ‘your art isn’t what this company wants’ and ‘your art isn’t worth paying a living wage for’ that really get to you.

That is how discrimination works. It’s not someone telling you your ass looks perky- it’s someone telling you your work is a little too ‘childish’, it’s a seasoned professional telling you that you ‘shouldn’t expect to be paid more than $10-20 a page to start out with’, it’s an editor telling you maybe you could try working for $25 a finished page IF ONLY you worked a little faster or that they can’t offer you a contract because ‘that’s just not how we do it in comics.’ Everything adds up.

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

Don’t take crap or false words of inspiration. Your work is worth fair pay, and most people out there aren’t even willing to give you a living wage.

Related:

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Interview: Women of BOOM! – Yasmin Liang

Posted on February 27, 2014 by Brett

It’s Thursday which brings us a new interview and our 18th “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

Yasmin Liang is an artist, who has worked on Steed and Mrs. Peel for BOOM! and Star Trek for IDW.

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

Yasmin Liang: My first contact with the comic book industry was when I interned for Marvel during my senior year. I was lucky enough to be placed in the Digital Comics department where I received invaluable advice from the editors and my supervisor, Tim Smith III. I wasn’t sure I wanted to be involved with comics after I graduated though, due to the seemingly anti-woman climate until I met Matt Miner at MoCCA in NYC who convinced me otherwise. His dedication and passion for his book LIBERATOR really reminded me of what I wanted to do and my original passion for story-telling. I did some work for him before then doing short stories for anthologies like SHATTERED: THE ASIAN AMERICAN ANTHOLOGY (SECRET IDENTITIES) and BEFORE, AFTER AND IN BETWEEN: A COMIC ANTHOLOGY.

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

YL: I’ve been reading comics since I could hold the book up myself. I read Tin Tin, Asterix & Obelix and Calvin & Hobbes for the most part. I vividly remember discovering an issue of 1993 Catwoman for the first time. I read a ton of DC and Marvel up until college when I couldn’t really afford to read/buy as much.

I do read comics now, though. Not as much because of time constraints but I try to pick up books that really interest me. I am very much enjoying Saga and Mara currently.

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

YL: Chris Rosa sent me an e-mail one day! I’m not sure what or how my work caught his attention but that was pretty much it. I was lucky enough for Steed and Mrs. Peel to drop in my lap once I had tested for it successfully.

GP: How would you describe your job for people?

YL: There are days when I have no idea when or how I’m going to get the page done but a deadline is a great motivator. It’s tiring and requires the kind of dedication I didn’t think I had in me but it’s an incredibly rewarding endeavor. I wouldn’t give it up for anything.

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

YL: Practice through creation and get your work out there in any way or form. Ignore the little voice in your head that says you’re not good enough. Surgically removing your social life will also assist your development as an artist.

YL: I feel that BOOM! /Archaia subscribe to a simple theory of openness to the new and unknown. It’s an exciting landscape once you expand beyond what has already been explored. They don’t seem to be afraid to put new people on their books and for that I am eternally grateful. With the surge of women artists coming into the spotlight on Tumblr and other websites, it seems only logical for publishers to take notice of them and give them the attention they deserve.

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

YL: I have been fortunate enough to have not personally experienced any discrimination or harassment. The affect of hearing about stories from friends or other creators was enough to discourage me almost entirely from pursuing a career in comics though.

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

YL: I’m still trying to figure it out for myself but I would suggest the same basic principles for any professional artist: Be polite, meet deadlines and develop your craft.

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Interview: Women of BOOM! – Grace Randolph

Posted on February 20, 2014 by Brett

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

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

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

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

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

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

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

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

GP: How would you describe your job for people?

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

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

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

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

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

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

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

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

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

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

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

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

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Interview: Women of BOOM! – Danielle Corsetto

Posted on February 13, 2014 by Brett

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

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

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

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

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

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

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

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

GP: How would you describe your job for people?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Interview: Women of BOOM! – Corinna Bechko

Posted on February 6, 2014 by Brett

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

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

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

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

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

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

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

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

GP: How would you describe your job for people?

CB: I simply say that I write comics.

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

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

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

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

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

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

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

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

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

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

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

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Interview: Women of BOOM! – Chondra Echert

Posted on January 30, 2014 by Brett

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

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

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

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

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

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

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

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

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

GP: How would you describe your job for people?

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

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

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

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

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

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

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

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

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

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

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Interview: Women of BOOM! – Chandra Free

Posted on January 23, 2014 by Brett

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

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

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

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

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

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

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

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

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

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

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

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

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

GP: How would you describe your job for people?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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