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10 Questions: The Gathering Edition – Victor Gischler

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

Check out our previous interviews.

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

Up next is writer Victor Gischler.

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

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

GP: Were you a fan of comic books before?

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

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

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

GP: How did you get involved with The Gathering?

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

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

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

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

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

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

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

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

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

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

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

GP: What can we expect from you next?

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

10 Questions: The Gathering Edition – Nathan Lee James

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

Check out our previous interviews.

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

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

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

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

GP: Were you a fan of comic books before?

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

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

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

GP: How did you get involved with The Gathering?

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

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

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

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

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

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

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

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

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

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

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

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

GP: What can we expect from you next?

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

10 Questions: The Gathering Edition – Gary Hogan

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

Check out our previous interviews.

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

Up next is writer Gary Hogan.

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

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

GP: Were you a fan of comic books before?

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

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

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

GP:  How did you get involved with The Gathering?

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

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

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

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

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

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

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

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

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

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

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

GP: What can we expect from you next?

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

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

10 Questions: The Gathering Edition – William Levert

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

Check out our previous interviews.

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

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

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

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

GP: Were you a fan of comic books before?

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

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

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

GP: How did you get involved with The Gathering?

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

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

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

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

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

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

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

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

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

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

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

GP: What can we expect from you next?

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

10 Questions: The Gathering Edition – John M. Coker

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

Check out our previous interviews.

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

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

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

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

GP: Were you a fan of comic books before?

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

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

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

GP: How did you get involved with The Gathering?

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

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

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

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

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

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

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

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

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

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

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

GP: What can we expect from you next?

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

10 Questions: The Gathering Edition – Nick Francis

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

Check out our previous interviews.

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

Up next is penciler Nick Francis.

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

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

GP: Were you a fan of comic books before?

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

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

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

GP: How did you get involved with The Gathering?

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

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

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

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

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

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

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

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

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

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

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

GP: What can we expect from you next?

NF: Hopefully big things!

10 Questions: The Gathering Edition – Sam Tung

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

Check out our previous interviews.

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

Up next is artist Sam Tung.

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

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

GP: Were you a fan of comic books before?

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

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

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

GP: How did you get involved with The Gathering?

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

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

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

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

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

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

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

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

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

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

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

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

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

GP: What can we expect from you next?

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

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

GrayHaven Phase Two Announcements

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GrayHaven Comics has been hinting about their Phase Two for a while now and we got the first of their announcements last week.  Over the weekend they announced more projects, further diversifying their projects and showing why they’re an independent publisher to keep our eyes on.

GrayHaven Comics will be aggressively expanding their publishing line. New One Shots, Mini Series and Ongoings will begin to roll out over the next few months through New York Comic Con and into 2013

In addition to print collections of several of their popular web-comics there’s also the one-shot Sparks, a hard boiled detective drama by Glenn Matchett and Cassandra James and My Geek Family, a heartwarming slice of life tale by Doug Hahner and Dober-Man, a love letter to the Silver Age of comics by Travis Holyfield and Ed Whatley.

They’re also releasing 5 major projects in the first quarter of 2013:

Mini-series:

Chronographer– a time travel mystery by Erica Heflin, Fabio Pio, Edson Alves and Carlos Paul
Tomorrow– sci-fi superheroic epic mini-series by Jason Hissong, John Coker and Devin Taylor
Run Like Hell – the comic adaptation of the hit YA Thriller by Elena Andrews and George Amaru

Ongoing Series:

11:59 – a post-apocalyptic horror series by Andrew Goletz and Nick Francis
Titanium Star a Sci Fi/Western series of mini series by Victor Gischler and Sam Tung

10 Questions: The Gathering Edition – Chris Page

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

Check out our previous interviews.

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

Up next is artist Chris Page making it a dozen interviews!

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

Chris Page: I first started by self-publishing a comic book back in 2007 called FEUCH! with Adam Witt, who is a frequent collaborator of mine. I co-wrote the book with him, and did the pencils, inks and lettering. After that, it was a matter of getting in touch with the guys from GrayHaven. I pitched my first story to them for the second Horror issue (Volume 6), and things took off from there. I was also able to contribute a second story to that same Horror volume that was my first collaboration with Travis Holyfield, who I hope to work with again in the future.

GP: Were you a fan of comic books before?

CP: Absolutely. I’ve been a huge fan of comics for as long as I’ve been able to read. I have always loved that comics allows freedom of storytelling, where you aren’t constrained by a budget, while allowing the characterization that comes best with long form narratives.  I think the first series I that I collected regularly was Uncanny X-Men around the Fall of the Mutants crossover. Once I figured out, as a kid, that there were ongoing stories in the books, I spent most of my time bugging employees at convenience stores and book stores about when the next issue would be in. Eventually, I found myself a local comic shop that I was able to go to every month. I spent hours there going through back issues to find all the stories that I had missed.

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

CP: I’ve never stopped reading comics, although there was a stretch in the early 2000s where I had to switch to trades for most of my books due to finances. However, Ed Brubaker and Sean Phillips’ work on both Criminal and Fatale is amazing, and both books will get me in the comic shop whenever they come out. The Mice Templar by Bryan Glass, Mike Oeming, and Victor Santos is another favorite book, as is Eric Powell’s The Goon. Brubaker’s run on Captain America is also brilliant, as is Gail Simone’s work on Batgirl  and Secret Six (which is a book I miss dearly).

GP: How did you get involved with The Gathering?

CP: I had been tangentially aware of the the book when it first came out due to time spent on the Brian Michael Bendis forums on the Jinxworld Message Board. There was a point where they opened up submissions, and I remember thinking that it sounded like a really cool idea. I did a story for them called The Knocker that was an adaptation of a short story I’d written earlier. At the same time, Travis Holyfield needed an artist for his story Jack, Unblinking. The script was, in all honesty, one of the best ones I’ve read, and I jumped at the chance to draw it for him. From there, I had more work with The Gathering in the Sci-Fi volume (including another collaboration with Travis), and have several more stories with them in the future.

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

CP: The theme and the page limits both contribute to the challenge of telling the stories, but they also make it more fun to work on the projects. I think it actually contributes to making people excited about the books, because there are such a wide range of stories. Selling copies of all of the books that were available at Emerald City Comicon this past year, I got to see first hand how people reacted to something different from the usual super-hero type stories. It’s given me great hope that there’s room for all kinds of stories in comics.

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

CP: It’s an extremely difficult business to break into. Persistence is key to getting things done. Always keep an open mind, and listen to your editors. They have an extremely difficult job, and they want what is best for your book. Take any and all feedback seriously, and be adaptable. Make sure that you make your deadlines. If you can’t make a deadline, let your editor know as soon as possible, and never put something off to the last minute. I had a bad habit for a long time of pushing things up to the deadline, and I’ve since learned that anything that can go wrong at that point will go wrong. Better to be done with plenty of time to spare, to allow for mistakes, especially on anthology books like The Gathering where you could be holding up production for several people. Also, a sense of humor about things will carry you a long way and make the rejection letters that much easier to take.

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

CP: Try a little bit of everything. If you can see things from an artist’s perspective, or a letterer’s perspective, it can change how you write a script. Self-publishing FEUCH! taught me so much about how much dialogue will work on a panel, and how to properly letter something. The best writers I’ve worked with are ones that have taken into account the artist’s perspective, and not asked for impossible drawings. (i.e. drawings where the action would not work because of the necessary angles) Also, as a writer, it’s important to be flexible with your scripts. Because the artist may change something later, and improve the story by doing so. It can be as simple as a character’s facial expression that eliminates the need for dialogue, but when it happens it’s magic.

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

CP: I think in many ways, yes it is easier compared to even five years ago when I started self-publishing. Web comics are even more widely accepted today than they were a short period of time ago. That said, it does still take a lot of commitment and hard work to get published nowadays. Certainly, drawing/writing comics is not for everyone, but the people that keep at it and work to constantly improve their craft are the ones that get noticed.

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

CP: I think that social networking is a significant tool in comic book publishing. It allows creators the chance to interact with their fans in real time, and the opportunity to promote their work on a much higher scale than may have been possible before. I do believe that crowdfunding sites, when used properly can be absolutely vital for publishing comic books. Without crowdfunding, I don’t believe that projects like The Gathering would be nearly as successful as they have been. I think, looking at the success that people like Amanda Palmer have had with Kickstarter, crowdfunding has been shown to be a viable alternative to traditional publishing for entertainment.

GP: What can we expect from you next?

CP: I have work in several more volumes of The Gathering coming out in the next year, notably stories in The Dark Anthology and a story I have drawn for Ray Goldfield in the upcoming Horror volume which is a great piece of horror fiction and probably some of the best art I’ve done yet. I will have stories in the upcoming True Ghost, War, and Crime volumes that I am excited for people to see, as well as several more personal projects that will hopefully be out in the next year or so. I will definitely continue to put out work with GrayHaven for as long as they’ll have me.

10 Questions: The Gathering Edition – Jason Snyder

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

Check out our previous interviews.

George Amaru Doug Hahner James O’Callaghan
Elena Andrews Erica J. Heflin
Arcadio Bolaños Travis M. Holyfield
Marc Deschamps Marc Lombardi
Andrew Goletz Glenn Matchett

Up next is artist and writer Jason Snyder making it a dozen interviews!

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

Jason Snyder: Well, I’ve been writing since I was very young, mostly prose, poetry, script-writing, and so on that I mostly did for myself or for various classes from junior high to college. I took several     creative writing courses as well, but again, that was mostly for fun and my own self-fulfillment.

GP: As for actually trying to get into the comic book industry, it was initially mostly failed attempts at submitting. I think at one point I sent an inquiry letter to Marvel for a Spider-Man story in its then-published Tangled Webs series. Also, when Marvel made its short-lived revival of the Epic line (around 2003, I think), I put together a pitch and first-issue script for an original series; I did submit it, but the imprint died before I ever heard back. It wasn’t until GrayHaven Comics that I had my first published comic work, but more on that later.

GP: Were you a fan of comic books before?

 JS: Oh yeah, most definitely, though not right away. I did pick up a few random comics here and there in the ’80s. My first comic was Marvel Superheroes’ Secret Wars #4, with the cover where the Hulk is holding up a mountain in order to keep it from crushing the rest of our heroes. Great fun, and I think I picked up a few issues after that in the local grocery store, but didn’t finish collecting the series until years later. I also picked up the random X-Men or Archie comic, and at some point, I started collecting the Teenage Mutant Ninja Turtles Adventures series that was published by Archie.

It was probably around 1991, when I was twelve, when my true love for comics began, and I started collecting Fantastic Four, then Amazing Spider-Man, Batman, Superman, and it just snowballed from there. More than twenty years later, and I’m still here!

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

JS: I read too much, if I’m being honest. I’m almost embarrassed to discuss my monthly comic budget, so I won’t! I will say, though, that I read a ton from the Big Two, as well as from Image, Valiant, Dark Horse, IDW, Dynamite, Boom!, and some of the other small press companies.

Some of my favorites right now are Daredevil by Mark Waid; Batman, Swamp Thing, and American Vampire by Scott Snyder (no relation!); Locke & Key by Joe Hill; Fantastic Four, The Manhattan Projects, and Secret by Jonathan Hickman; Ultimate Spider-Man by Brian Bendis; X-Factor by Peter David; Uncanny X-Force, Secret Avengers, and Venom by Rick Remender; Animal Man and Sweet Tooth by Jeff Lemire; The Unwritten by Mike Carey; and Captain America and Winter Soldier by Ed Brubaker. I’m probably forgetting a lot, because let’s face it, there’s a ton of great stuff out there right now!

GP: How did you get involved with The Gathering?

JS: Andrew Goletz paid me quite a large amount of money. Don’t tell any of the other contributors! Nah, not really. The real story is that I’d known Andrew for a while from our time on Brian Bendis’s Jinxworld Message Board, and at one point, Andrew posted in one of the threads there that he was wanting to self-publish a book for new creators, so as a writer, I submitted a short two-page story called “On This Day” for the first issue of The Gathering, which was the Hope-themed issue called The Thing With Feathers. The story focused on a father who had just lost his wife and now had the responsibility of being a single parent to his daughter. The shortened format was an adjustment, but I was pretty happy with the way it turned out. Obviously, at that point, the book itself was a gamble, and we had no idea how well it would do or even if we’d do more. Fast-forward three years later, and it’s turned into far more than I think anyone could have dreamed. Of the fourteen volumes that have come out so far, I’ve written seven stories: volumes 1, 3, 5, 7, 8, and 13. The latest, Volume 14, the third horror-themed issue, actually just came out this week.

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

JS: Factor into my story for that particular issue? A little bit in terms of tone, of course. Andrew basically gave us a broad theme to work with and left it pretty open to interpretation, so you really just had to have a basic idea that allowed for enough molding, if that makes any sense. I think the only story where I really molded the idea around the theme was for the Romance  issue. It actually turned out to be one of my favorite stories that I’ve done so far.

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

JS: Advice? I could still use some advice myself! [laughs] Seriously, though, I think breaking in works differently for each person. For me, it was just being in the right place at the right time and having a connection and the motivation to put myself out there.

However, I will say that you definitely need to build enough of a writing or art foundation before you attempt to publish. Yeah, your first work — or even first few works — won’t necessarily be the best work you’ll ever do, but you need to make sure that you’re putting your best foot out there, regardless, because you never know who’s watching or reading. Also, network, whether it’s online with other creators or in some other writing or art-centric community, and always make sure to be professional, especially because the comic community is a small world, and these may be the people you’ll be working with in the future. Most importantly, whether you’re    a writer, artist, letterer, or whatever, continue to hone your craft. Do it every day, because you’re not going to get any better if you don’t.

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

 JS: You’re not going to be perfect. Even after you’re satisfied with your work and send it off, you’re always going to find something later on that you’ll say, “I could have done this better” or “I could have done this differently.” And you know what? It’s fine. Everyone does it. Don’t get bogged down in the details. Just do your best work, and let that work speak for itself. Then move on to the next project. Wash, rinse, repeat. Most importantly, have fun. Enjoy what you do, and that will show in your work.

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

JS: In some ways, sure. Self-publishing and having your work be visible is easier today than ever, mostly due to the Internet. Is it easier to get in to one of the bigger companies? Probably no easier than it was in the past. However, if you go out there and do your own thing, and people like what you’re doing, the sky’s the limit. If your goal is to work for Marvel or DC, or one of the other companies, then there’s no reason to say that your work won’t serve as a doorway to getting hired there.

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

JS: It’s a huge impact, and a very positive one. If it wasn’t for Kickstarter, I doubt GrayHaven would be as successful as it has turned out to be. The use of Twitter and Facebook, and many of the comic websites (yours included), has also served in getting word out. Even the established creators are utilizing technology to either promote their current projects or do personal pet projects that they may not be able to do through one of the other companies. So yes, I think it’s a great thing, and it can only get better and help more creators, professional or up-and-comers.

GP: What can we expect from you next?

JS: As I mentioned earlier, The Gathering Volume 14 (Horror 3) just came out this week with a   story by myself and art by Michael Sumislaski, who has also done art for many of my other stories. I also have a two-page story in GrayHaven’s Dark anthology one-shot (with art also by Michael), which should be out sometime within the next month. After that, in 2013, I have a story in the Superhero edition of GrayHaven’s Hey Kids! series, which is a continuation of a story I did for Volume 13 (both with art by Charlie Robinson), and another story for the second Sci-Fi-themed issue. I’m also doing a story for Tales From the Abyss #4, which is now GrayHaven’s         ongoing horror title; the story is being co-written by my friend and GrayHaven contributor Gary Hogan, who also has a GrayHaven one-shot called The Bid coming out very soon. In addition, I’m toying with a few other side projects, but it’s too early to mention anything specific.

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