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Muppets Gone Missing: Jan Nelson Discusses Jerry Nelson

Roger Langridge - Muppets Gone Missing

Jerry NelsonJosh Green: Welcome back to “Muppets Gone Missing”. This column focuses on the hidden treasures of The Muppets, Sesame Street, as well as any projects involving Jim Henson. Examples of this will consist of segments or characters that wound up on the cutting room floor, or were used, but not to their fullest extent. It has been a true honor getting to know and interview the wonderful Jan Nelson, the wife of the late-great puppeteer, Jerry Nelson!

Jerry Nelson was an American puppeteer, best known for his work with The Muppets. Renowned for his wide range of characters and singing abilities, he performed Muppet characters on Sesame Street, The Muppet Show, Fraggle Rock, and various Muppet movies and specials.

Josh Green: Thank you so much for giving me your time to talk about Jerry, Jan. Can you tell me the story about how you and Jerry met? Was he already involved with puppeteering with Jim Henson and The Muppets?

Jan Nelson: Yes he was. Jerry and I met in 1982. He had just come back from England where he did The Muppet Show for 5 years. He had worked with Jim Henson even before Sesame Street in the late ‘60s.

We met at the apartment of mutual friends in my building in Hoboken, NJ. He had come over to go out with my friends, and I asked if I could go along. That was kind of our first date. I didn’t hear from him for over a week after that, but when he finally called he asked me to go on vacation with him for a couple of weeks in Key West and Coconut Grove. That was our second date. We had a wonderful time and I fell in love with him. I don’t know if he fell in love with me as early as that but he later told me that it didn’t drive him crazy to be with me day and night. Evidently that was some kind of a first for him.

Right after our second date he started doing Fraggle Rock in Toronto.

Jerry and Jan’s wedding on the beach. 1984 Truro (Cape Cod) MA

Jerry and Jan’s wedding on the beach. 1984 Truro (Cape Cod) MA

JG: And how closely were you involved with The Muppets?

JN: I loved the whole Muppet family and it is and was a family. I have never met a funnier and more wonderful group of people. I loved the parties and loved being on the set. Jerry and I got married in 1984 when he was 2 years into Fraggle Rock. I spent the next two years in Toronto, hanging around the set. Some people assumed that I worked there. Those were great times. Jerry’s characters were all major characters; Gobo Fraggle, Pa Gorg and Marjorie the Trash Heap.

I never missed a Monday morning read-through. There was a lot of improvisation and playing around. It was extremely funny. Sometimes the puppeteers would come up with something that would get written in. Everyone worked together so well. It was magic!

Jerry and I took lots of great vacations when he wasn’t working. We spent a lot of time in the Caribbean islands and summers in Truro on Cape Cod.

Jerry was so creative. Besides music he also did all kinds of art … like the above seashore art, carved driftwood and found shells put together – Cape Cod

Jerry was so creative. Besides music he also did all kinds of art … like the above seashore art, carved driftwood and found shells put together - Cape Cod

Jerry was so creative. Besides music he also did all kinds of art … like the above seashore art, carved driftwood and found shells put together – Cape Cod

JG: Jerry is responsible for performing many iconic characters on The Muppets and Sesame Street, most notably The Count. But I’m sure that there are characters written for him that didn’t last for whatever reason. Did Jerry ever recount any of these characters to you, wishing he’d had have the opportunity to do more with them? And by the same accounts, were there any truly bizarre characters that Jerry didn’t have an affinity to perform that was also performed infrequently?

JN: Jerry had a lot of “one off” characters but that was understood from the beginning. I know that his character, H. Ross Parrot became acclaimed and was interviewed on a network TV show. However, outside people wanted to take the conversation towards politics (this was when H. Ross Perot was running for president) and Jerry (H. Ross Parrot) was sticking to the alphabet. Jerry didn’t like being pushed and certainly didn’t want to talk politics. H. Ross Parrot was Jerry’s imitation of H. Ross Perot and it was a funny character.

I don’t think there was any character too bizarre for Jerry. I loved to hear about how he used a “bad” (his word) imitation of some actor to get the puppet’s voice. For example Marjorie the Trash Heap was a bad imitation of a Russian actress from old films. He said that Count Von Count was based on a rough interpretation of the old “Dracula” movies except Count Von Count has a compulsion to count. He has to do it.

The Muppets did a Christmas Special for Kraft called The Christmas Toy. Jerry played Balthazar, an old teddy bear that was the oldest toy in the nursery. He used a rough imitation of Colonel Sanders who used to say “Buy one get one free” in a KFC ad of the time.

At the beginning of the shoot the puppeteers would assemble on the set in place. In the quiet minute before they started, I would hear Jerry softly say “buy one – get one free” to get his voice.

JG: I’m also curious if Jerry himself had ideas for certain characters that he wanted to do that never got off the ground beyond a conceptual level? And by the same account, were there any truly bizarre characters that Jerry didn’t have an affinity to perform that was also performed infrequently?

JN: I don’t think so. As far as truly bizarre characters, I think that Jerry never had a character that he didn’t want to do. I can’t imagine anything being too bizarre for Jerry. He did a terrific job with every character he had.

JG: Who decided which puppeteer would do a character?

Dave Goelz

DAVE GOELZ has been one of the lead Muppet performers for over 40 years, performing Gonzo, Beauregard, Dr. Bunsen Honeydew, Zoot, Boober Fraggle, Uncle Traveling Matt, as well as succeeding the role of Waldorf from Jim Henson.

JN: I think that the writers sometimes had in mind who they wanted to perform the characters. I emailed Dave Goelz this question and here is his response:

“For a long time I accused Jerry Juhl of creating the Fraggle characters for specific performers, and he denied it. Then many years later, he finally admitted that he, Jim, Jocelyn and Michael had indeed done just that. They did ask us to play around with all the characters in the fifth floor rehearsal room at 201 East 67th street just before heading to Toronto, which we all did. But we all ended up doing the characters that had been created for us. That said, I think the writers sometimes had a performer in mind when writing, but Jim always had the final say.”

JG: It would be remiss of me to not ask you about…you. Can you please tell me about yourself, your life experiences, and your passions? I know for certain that you are an accomplished painter, having drawn the cover to Jerry’s solo album, “Truro Daydreams”.

Jan Nelson’s cover painting on Jerry Nelson’s album, Truro Daydreams.

Jan Nelson’s cover painting on Jerry Nelson’s album, Truro Daydreams.

JN: Thanks! I studied fine art in school but was a graphic designer all of my adult life. When I left my last full-time freelance job, I went to the Art Students League in NYC to study painting. I still go during the school year. I paint in oils. Still life and model during the winter and plein air landscape during the summer in Cape Cod.

I designed and used my own paintings in the fold-out jacket for “Truro Daydreams.” I chose the photos that are in it, and made sure that I was in one. Also the kid that’s with Jerry in one of them is our grandson Tolin. I only wish that I had made my name bigger in the credits.

I consider myself a lucky person. I have a wonderful family, my daughter Lovisa and grandson, Tolin. I raised Lovisa as a single parent but had a good full-time freelance gig at an Advertising Agency that was easy-going about hours as long as I made the deadlines. I also raised her in Greenwich Village, which was a real neighborhood in those days and safe enough so she could play on the street from an early age. I had a couple of close friends who were also single mothers and our children grew up together. We took turns looking after each other’s kids, which enabled us all to have lives.

The greatest luck of all was meeting Jerry.

JG: Which characters do you think represent Jerry best?

JN: All the Muppet characters reflect an aspect of the puppeteers’ personality. Jerry had a great deal of the Boy Scout in him – like Gobo Fraggle. He was also the hippest of the hip, like Floyd the Bass Player.

JG: What was outstanding about Jerry Nelson, the man?

JN: He was so good at comforting people in their time of need. He said what was in his heart about the person. After so many of the people he loved had died, Christine his daughter, Jim Henson, Richard Hunt, Jon Stone, Matt Caldwell (a close friend), he wrote an angry song called “Eye of the Storm”. Then Jerry Juhl died (head writer for the Muppets) and Jerry sang it at his memorial celebration. I was uncertain about this because it was supposed to be a celebration, but everyone was moved by it.

He was very wise and had a Zen attitude towards life. He was a gentle man yet watched some of the most violent shows on TV.

He was always writing “be happy” songs but he could be really pessimistic sometimes. He did consider himself very lucky in life so I told him that he should write a book, “The Power of Negative Thinking.”

We had fights of course, but they always ended in laughter. One of us would make the other laugh and then we would both laugh and it was over.

He cared about his fans. He never felt famous. We both had the capacity to walk into a bar and make friends with everyone there in ten minutes. His personality was larger than life. He walked into a room and had everyone enchanted right away, with his stories and music. He was very much loved.

He said in Muppets he was always the “straight man.” He said he married me because I was HIS straight man (the person who sets up the joke.)

JG: It has been just around three years since your husband’s passing. Knowing him best, what do you think he’d want to ultimately be remembered for?

JN: He wrote his own memorial speech. I’ll quote from it: “I am above all else a Professional, so I like to be on time (or maybe even a little early) and prepared.”

My own feeling is that he would want to be remembered for everything that he was, including being a professional. For being hip and funny, for caring about people, for being stubborn and hard-working while still being “the laziest man on earth” (my words) and proud of it.

I’d like to mention that along with the memorial speech, he chose two songs to be performed. One was “Tides” – everyone’s favorite, and one was “In My Life” by the Beatles. At the time I was not thinking straight. I remember being puzzled by the choice. Yes, he liked the Beatles but he had written so many good songs himself. It was only a year later that I realized that that song was for me. I still tear up, thinking of that.

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josh-lauren-caroll-spinney-and-oscar-the-grouchJosh Green lives in Philadelphia, PA with his lovely wife Lauren. Having worked at Dynamite Entertainment and TV Guide, Josh is now a freelance writer for Graphic Policy and the creator of the “Muppets Gone Missing” column, so that he can still dabble in pop culture. While he is not dabbling, Josh lives a simple life, where his main enjoyment is spending as much time possible with his wife, whose very existence gives Josh purpose for everything.

Preview: Jim Henson’s Fraggle Rock: Journey to the Everspring HC

Jim Henson’s Fraggle Rock: Journey to the Everspring HC

Imprint: Archaia
Writer: Kate Leth
Artist: Jake Myler

When the water supply of Fraggle Rock mysteriously runs dry, Gobo, Red, Mokey, Wembley, and Boober will have to journey deep into the caves of Fraggle Rock to find the fabled Everspring. Along the way, they’ll encounter spooky creatures, discover the Crystal Caves, and meet a never-before-seen colony of Doozers! Collects the complete miniseries, issues #1-4.

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Preview: Jim Henson’s Fraggle Rock: Journey to the Everspring #3 (of 4)

Jim Henson’s Fraggle Rock: Journey to the Everspring #3 (of 4)

Imprint: Archaia

Author: Kate Leth
Artist: Jake Myler

Deep in the Crystal Cave the Fraggles find…Doozers?! Gobo, Red, and the rest of the gang meet a whole new, never-before-seen colony of Doozers with a bit more artistic flare than they’re used to. But will they be able to help the Fraggles get water back to Fraggle Rock?

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Preview: Fraggle Rock: Journey to the Everspring #1 (of 4)

Fraggle Rock: Journey to the Everspring #1 (of 4)

Imprint: Archaia

Writer: Kate Leth
Artist: Jake Myler

When the water supply of Fraggle Rock mysteriously runs dry, the Fraggles have to journey deep into the caves of Fraggle Rock to find the fabled Everspring where adventure awaits and no Fraggle has gone before! It’s the beloved characters of Fraggle Rock in their biggest story yet!

Whether it’s Adventure Time, Amulet, or Mouse Guard, comics fans are coming out for all-ages stories. No one mastered that art form quite like Jim Henson, and the characters of Fraggle Rock remain some of his most beloved creations. New York Times bestselling author Kate Leth (Adventure Time: Seeing Red, Bravest Warriors) and artist Jake Myler (Fraggle Rock, Orphan Blade), have spun a hilarious, super fun story for longtime fans and comic readers of all ages who’ve yet to meet this lovable gang of Fraggles.

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Archaia Announces New Fraggle Rock Limited Series

Archaia and The Jim Henson Company invite you to “dance your cares away” with the all-new, comic book limited series Fraggle Rock: Journey to the Everspring. Ever since publishing two Fraggle Rock anthology collections of short stories with The Jim Henson Company several years ago, the publisher has been eager to tell one big, epic, Fraggle-tastic tale. New York Times bestselling author Kate Leth teams up with Fraggle Rock veteran artist Jake Myler for a fun story that new and longtime fans alike can enjoy.

The Fraggles will adventure to places they’ve never been before, places where Gobo, Red, Mokey, Wembley, and Boober will meet brand-new friends, sing brand-new songs, and dance their cares away! No one mastered the all-ages art form quite like Jim Henson, and the characters of Fraggle Rock remain some of his most beloved creations. Leth and Myler have spun a hilarious, super fun story for both longtime fans and comic readers of all ages who’ve yet to meet this lovable gang of Fraggles.

When the water supply of Fraggle Rock mysteriously runs dry, the Fraggles have to journey deep into the caves of Fraggle Rock to find the fabled Everspring where adventure awaits and no Fraggle has gone before!

Archaia’s Fraggle Rock: Journey to the Everspring #1 (of 4) arrives in comic shops on October 8th with a cover price of $3.99. The main cover will be illustrated by series artist Jake Myler, with a retailer incentive cover by Jake Myler and The Jim Henson Company Archives.

FRAGGLE ROCK JOURNEY TO THE EVERSPRING #1 Incentive Cover by FRAGGLE ROCK JOURNEY TO THE EVERSPRING #1 Main Cover by

Interview: Women of BOOM! – Nichol Ashworth

Upside-downIt’s Thursday which brings us a new interview and our 25th “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.

Nichol Ashworth is a writer and artist who has worked on Fraggle Rock volume 1 and 2 for Archaia.

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

Nichol Ashworth: My degree is actually in animation. Though I LOVE animation, I found it (surprisingly) monotonous to illustrate 24 pictures per second. I turned to comic books as a way to still tell wonderful stories – just without so many in-betweens.

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

NA: Not until I was in college, actually. From then on I became addicted! My poor fiancée looks upon our home (that is becoming ever-crowded with more and more bookshelves) with a deepening resolve to read less books to make up for my over abundance.

Fraggle Rock v2 003 Cover AGP: How did you come to work with BOOM!/Archaia? 

NA: I had prior relationships with the magnificent Tim Beedle, who edited the Fraggle Rock title for Archaia. We met each other when I was submitting/doing work for Tokyopop and got along quite famously! He knew that I was a true Fraggle fan, down to my tootsies, so he gave me a shot to pitch for the series. I was able to write for a story of volume one and do artwork for a story in volume 2. I laughed, I cried… and then I danced my cares away. :)

GP: How would you describe your job for people? 

NA: It’s a little like giving birth, a little like being an overachieving successful communicator and a little bit like being lost in self-depreciation. I guess what I mean to say is that, the process of creation comes with highs and lows – and you need to embrace that as a part of the process. It is really fun to tell people what I do, though. It’s not something you hear from people every day… and it may or may not be cooler than being a proctologist.

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

NA: Never give up. Your successes may be nil at first, or may come more slowly than you wish… but never stop trying. Also, never stop giving yourself the opportunity to learn from others. Listen. There’s a saying that “God gave you two ears and only one mouth for a reason”… but I think I also like the one that says, “The more you talk, the more you’re re-hearing what you already know. The more you listen to successful people, the more options you’ve now found for new success.”

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

NA: Again, I must bow to the almighty Tim Beedle. More than a mentor, he is also now my very good friend. He helped me break in, helped me stay in and is always there for some good feedback and a swift kick in the ass, when appropriate. While mentorship is a huge word and I wouldn’t be comfortable putting myself in that position of godlike power, I will say that I have paid it forward. I’ve helped people make industry connections, gone back to my high school and college to teach and even currently work together with an aspiring teenage writer to help her stay focused and motivated.

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?  

NA: I think that one of the reasons that breaking in/staying in has worked well for me is that I haven’t tried to be a part of the Marvel/DC creator world. Smaller publishers seem more open to creating relationships with women, in my opinion. That being said – I’ve never actually tried for a Marvel or DC job… so perhaps I would get one, if I tried hard enough! :)

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? 

NA: My work relationships with these lovely human beings has always been very positive, productive and personable. I’m treated like an equal. In fact, the people I’ve been blessed to work with have all seemed just as excited to work in the industry as I am, so there’s a great energy and synergy that comes from that. Except for reading about other women’s struggles in the industry, I wouldn’t have known there was an issue!

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?  

NA: In this particular industry, I’ve personally had no issues… but I also work in the Real Estate Investor industry and the Software Security industry. Both of those can get intense. Discrimination and harassment both abound.

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

NA: My advice is the same as the answer to question #5. Plus, an added push to “prove them wrong”. If someone is a misogynist, that’s not your fault – don’t put any added stress or self-hate on yourself. That being said, don’t let it stop you, either. Don’t use it as a crutch that helps you explain away why you’re not getting what you want. Just make your work. If the work is good and you’re a good person to work with, the rest will come. Like anything, it just takes time and also, like any modern business, it’s partly about who you know. So, NETWORK, ladies! Make friends! Be responsive when called on and do your work well / on time. If people like to work with you once, they’ll usually work with you again! (And brag about you to others!)

 

Interview: Women of BOOM! – Leigh Dragoon

Fraggle Rock Vol 001 HC CoverIt’s Thursday which brings us a new interview and our 24th “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.

Leigh Dragoon is a writer and artist who has worked on Fraggle Rock for Archaia, Scholastic Canada’s Timeline Series, and adapted the Vampire Academy series into graphic novels, among numerous other things..

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

Leigh Dragoon: I started my own webcomic, By the Wayside, in the early 2000s. Shortly afterwards, I stumbled across Girlamatic. I prepared a pitch, and as soon as they opened their site for submissions that year, I sent it in!

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

LD: When we were kids, my sister and I read the covers off my dad’s old Little Lulu and Disney comics at our grandmother’s house. Then we unearthed our uncle’s complete set of original, mint-condition Elfquests, and read the covers off of those, too.

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

LD: I had worked with Tim Beedle on a few projects while he was at Tokyopop. He thought my writing style might be a good fit for Fraggle Rock, so he gave me a chance to pitch a story.

GP: How would you describe your job for people?

LD: I tell people I’m a sequential artist. It sounds really fancy, and by the time they figure out what that actually means, I’m long gone.

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

LD: Get a really good dayjob. With health benefits and paid vacation time.

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

LD: I’m extremely lucky to have Sam Kieth as a mentor. He’s an incredibly gifted artist, literally one of the nicest people I’ve ever met, and he gives wonderful advice.

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?

LD: I think women do have a more difficult time, at least as far as mainstream publishing goes, but I’ve seen things change quite a bit in the past ten years, and I’m hoping they continue to change.

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?

LD: I think Archaia’s done a good job offering a wide range of titles, instead of focusing on just one age group, gender, or genre.

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?

LD: Personally, I have not; however, I know that I’ve been very, very lucky in a lot of ways, especially when it comes to the projects I’ve been chosen to work on, and the editors I’ve worked with on those projects.

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

LD: Get a really good dayjob. With health benefits and paid vacation time.

Interview: Women of BOOM! – Katie Cook

Katie CookIt’s Thursday which brings us a new interview and our 23rd “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.

Katie Cook is a writer and artist who has worked on Fraggle Rock and Mouse Guard: Legends of the Guard for Archaia.

Graphic Policy: How did you get involved in the comic book industry? Did you read comics growing up? Do you read them now?

Katie Cook: These two questions go hand in hand… I have had a love of comics since I was old enough to have an opinion that Archie couldn’t possibly see anything in Veronica when he has someone like Betty. I’ve never wanted to be anything BUT a cartoonist since I was in kindergarten, so a career in comics was really my only option!

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

KC: When Archaia announced they’d be doing Fraggle Rock comics, I became an immediate pest and sent Fraggle sample after sample. Fraggle Rock is something I have a DEEP love for and i WANTED the comics. Luckily, the folks at Archaia agreed I should be a part of the book.

GP: How would you describe your job for people?

KC: I get to wake up every day and do what I love for a living. I draw, I write and I hang out in my pajamas with my kid. It’s great.

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

KC: Making comics is WORK. More work than you’ll ever think it is.

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

KC: I consider my comic peer group my mentors… all the folks in the same position I am in the field, who I’ve known through comic conventions and online for years, are who I look up to. When someone I know sees a great success, it’s a proud feeling of “I’ve been watching their career for XX number of years and NOW look where they are! Wow!”

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?

KC: I think the spot where you run into “women don’t work in comics” talk is when you talk about the “big two”. DC and Marvel don’t have a lot of female creators and that’s a sad thing… but step outside of them and the comic world is FULL of female creators that are kicking ass at what they do. There’s also a slew of indie creators that are women who are doing amazing, unique comics that make me slap my forehead and yell “why didn’t I think of that?!”.

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?

KC: When you have a great editor or team of editors looking for creators… It’s about talent, the art, the storytelling and turning in work on time. When you hire the right person for the job, gender isn’t an issue!

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?

KC: I’ve got a lot of weird stories from almost 10 years in illustration.. I think the one that I’m finding now that I’m a woman AND a parent is the question “Well, you’re a mom? Does that mean you can’t make a deadline anymore? We can get someone else…” This question just makes me MAD.

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

KC: Work hard, be good at what you do and be professional. It’s the same rules for any other job… you just get the bonus that you get to make comics.

Related:

Interview: Women of BOOM! – Grace Randolph

Supurbia_01_rev_CVRIt’s Thursday which brings us a new interview and our 17th “Women of BOOM!” feature, spotlighting the many kick-ass women that work at BOOM!, Archaia and KaBOOM! We’re focusing on everyone, editors, designers, writers, artists, you name it! We’re making sure to include the hard-working folks whose contributions are often overlooked in the process.

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

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

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

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

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

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

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

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

GP: How would you describe your job for people?

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

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

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

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

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

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

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

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

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

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

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

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

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

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Interview: Women of BOOM! – Chandra Free

Chandra Free 2It’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.

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.

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!)

The God MachineGP: 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.

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?

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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