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05.29.09 - HERMITS, OUTLAWS, NOVELS, AND WELCOME LILY
With the school year almost over, it was an insanely busy week -- grades, exemptions, TAKS scores, staff meetings, text books, the review, the final, and a thousand other administrative tasks. There were a few highlights to my week:
I was added to the guest list for Dallas Comic Con, August 15-16. I'm working on a new banner for my booth, maybe also some 1" buttons and a finished preview of ASTRONAUT DAD, FRONTIER, and HOW TO LOSE BIG. Nate Bramble asked me to write the foreword for HERMIT HILL. It's an incredible web comic, and he's compiling the first year of strips into book format. It should be available in time for Dallas Comic Con. The editor approved my story idea for OUTLAW TERRITORY Vol. 3. Now, I need to work on the script. I'm not going to reveal much, except it involves Judge Roy Bean. Between this anthology, POPGUN Vol. 3-4, and JAM! TALES FROM THE DERBY GIRLS, I've been fairly active with short stories. I may write BOLIVAR (remember?) as a novel. What I want to accomplish with this story could be too massive for a comic book. And no, I'm not suggesting that a comic can't be epic in scope. However, with a novel, I have more control -- and that's what I need with this story. I may change the title and rethink the entire plot. I don't know if this novel is going to happen, but it's been fun to daydream. Most importantly! Congratulations to my friend Jeff and K-10 on the birth of their daughter Lily Anna Elden, 7 lbs 15 oz and was 20 and 1/2 inches long.
The June issue of D Magazine is now available. It looks awesome. On page 24 of the "Pulse" section, Paul Milligan and I have another SOUVENIR OF DALLAS comic (click here). For some reason, the webpage is there, but the comic is not. It should be loaded soon...? I don't know.
If you are particularly impatient and you love SOUVENIR OF DALLAS, you could go to the D Magazine Frontburner blog -- hunt down the email address of either Tim Rogers or Eric Celeste. Tell them how much you love this comic, how much you need it, and that the latest isn't online. Be nice. These guys give me money. Or you could just buy a copy at any local grocery store or bookstore. **UPDATE (06/10/09)** The comic is finally available on the D Magazine site.
My friend and fellow teacher Lisa McWain retired a few years ago. (I took her room when she left. My previous room had no windows and a flimsy partition dividing my class from the one next door. It was a nice step up.) Last year, Lisa took some college courses, one of which was on comic books. She interviewed me for a project. I stumbled across the interview while organizing my desktop, and thought I'd post it here.
Your blog is really interesting; my favorite part is the Kennedy poop story. Thanks. I probably spend too much time on my blog. I've been blogging for six years. It's a terrible distraction from actual writing. The Kennedy poop story was hilarious. She’s at an age where she says the funniest stuff without realizing it. A few days ago, she told me I should buy a Toyota Spyder. I told her I didn’t have enough money, so she said April, my girlfriend, could buy it for me. The comic in D magazine – great! That's been a good deal for me and the artist, Paul Milligan. I got involved with D Magazine through Trey Garrison who read my Superman essay with the Man from Krypton Smart Pop Book and thought I had some potential. The comic idea was proposed one afternoon, and I made a good impression on their editor Tim Rogers. Our fifth installment of Souvenir of Dallas should be in the August issue. (UPDATE: We're on our 10th installment as of June 2009.) The Art Conspiracy idea is wonderful. Sarah Jane Semrad and Jason Roberts are the two people behind Art Conspiracy (http://artconspiracy.org). I’m proud to have been involved with it over the years. Recently, I was asked to contribute a journal to auction for their summer fundraiser. That has taken most of my time recently, working on the journal. Have you ever done any work in KC? Not in Kansas City, but Lawrence, Kansas is one of my favorite cities. I’ve been there. I have some friends who live in Lawrence, and I did a store signing at Astrokitty Comics. Great store. My dad worked as a mechanical engineer for the space program; we lived in Hunstville, AL during the late early sixties, and followed all of "his" launches. That's really cool. The NASA space program had to be one of the proudest moments in U.S. history. We attempted something great that didn’t involve killing lots of people in another country. However, it was still part of a "war" I guess, the Cold War. I speak through Jimmy in chapter two about that. We’ve been better at bombs than rockets. I was born in 1977. Our last moon landing was in 1973. I hope I live to see us attempt another moon landing. If we wait too long, no one from the original Apollo program will be around to assist. That would be a mistake. Background Questions: When and how did you start? About six years ago, my friend Aja invited me to write a stage play for a production opportunity she had at UTA. I thought I’d need a few months. She gave me a few weeks. While writing it, there were many nights that went until four in the morning. In the end, I spit out a semi-decent play. Opening night was a proud and awkward moment. I wore my wedding suit, which felt oddly symbolic. The play itself was a difficult experience to watch. Afterward, I went to my apartment, determined to never write another stage play. However, I had been bitten by an urge to write and comics seemed like a natural fit. It took me awhile to get comfortable with the format and the medium itself. I want to say the more you write the easier it gets, but that's not true. You learn how to be challenged at a higher level than you were before. Hopefully. Your biggest influences: I don't know if these influences are all that obvious, but novelist Douglas Coupland and director Wes Anderson have made a huge impact on me. And hey, Wes Anderson and I share a birthday. The influence question is a tough one, because in the end, people are influenced by so much more than the sum of their favorite books, films, and songs. I would love to be called "Coupland-esque," but I never sit down in front of my computer trying to figure out how to write like him. I struggle enough as it is to find my own stories; let alone figure out a way to channel other writers. I like what Alan Moore once said in an interview about being influenced by hundreds of writers, instead of just one. Advice to future writers: The best advice isn't all that new. I've heard people say it over and over again: Writers write. They don’t sit around talking about what they want to accomplish some day in the hypothetical future. They do it. Because while you are sitting around thinking about it or attending conferences on how to do it, someone else is out there working harder than you, stealing your dream job. Lots of people want to be writers or say they have a "million dollar idea," but they don't do anything. Start today or don't do it all. People need to stop romanticizing the writing profession, and just put words on paper. On your site, I see at least 6 different publishers as well as at least 2 works that are self-published. How do you work with the different companies? All those companies are small operations. Often, you build a professional relationship with those people through mutual friends. I got involved with Viper and Silent Devil via some short stories I contributed to their anthologies. Over the years, I've become good friends with the editors. As their company grows, they stay loyal to the talented peopled they've worked with along the way. That's ideally what happens. Of course, comic book conventions tend to be the place where everyone meets everyone. I have dipped into the SmartPop books before, the Harry Potter one, the Grey’s Anatomy one, etc. I read the beginning of your essay on Superman – good stuff. How did you get involved with them? Do you like writing essays? Actually, I hate writing essays. Hate it. It does not come naturally at all. Whereas I've developed a certain pace with script writing, those essays feel like pushing a boulder uphill. I cringe when I re-read what I've written. It’s a skill I need to develop, so I force myself to get better. From a freelance perspective, the pay is much better than comics. I made more money with one 500 word essay for D Magazine than five years worth of comic book publishing. Sad and true. Essay writing can pay a few bills. I got involved with Smart Pop, because I was a friend in high school with one of the editors. We touched base when I lived in Dallas. She gave me a shot at the Superman essay, and her boss gave me the green light. Do you share your work (and/or its process) with your students? I think they would be fascinated to hear from a real writer. Rarely, if ever. I like to keep the two areas separate. I’ve never wanted to be "that teacher" who is continually trying to impress the students. I mean, just because you play guitar does not mean you should perform camp songs for your students. If the students discover my work on their own, that's cool. Otherwise, my writing wasn't intended to cross over into my teacher career. Although in my Creative Writing class, I will talk more openly about my process, because there is a logical application. Why is your site named as it is? www.davidhopkins.com was taken. I like the term "antihero." It does tend to fit the majority of my characters, especially in Karma Incorporated. How did you become associated with the Zeus Comics Store? (and its prestigious Eisner Award) When I lived in Dallas, Zeus was the comic book shop I frequented. It's a really well run, indie-friendly store. I wrote the nomination letter for Zeus. Lo and behold, they won the Eisner Award for best retailer. It was a proud moment -- and well earned. When did Amazon begin selling your books? Amazon sold my books whenever Emily Edison first came out. Viper Comics manages all that. The book has its ISBN number, which makes it easier to distribute to regular bookstores. Without much promotion, the bookstore orders were almost as high as with the comic book stores. Which book is your favorite so far? I like them each for different reasons. That's the diplomatic parent response, and it's true. I most enjoy writing Karma Incorporated. If the audience were there to support the series, I could keep writing about those characters indefinitely. When book two of Astronaut Dad comes out, collectively, I think that's my best written story. How well do you draw? Do you ever send sketches with your story ideas? Do you “see” the story as you write your idea? I used to be a good artist in junior high, but not anymore. No, I never send sketches. If I can’t use my words to describe a scene, then I've done something wrong. Plus, it’s the artist's task to create the visuals. I don't want to micromanage his or her process. I always see the story in my head as I'm writing, but it doesn't always look the way I thought it would, whenever it's all finished. And that's part of the fun. Antigone -- You are right that I probably would not be able to use it for school. You said your illustrator took some liberties with your script. Could you tell me more about that? The artist should take some liberties with the script. That's not a bad thing. It's part of the collaborative process. In the Antigone script, I never mentioned Eurydice being topless in her death scene. Tom Kurzanski added that, and it's chilling in its own way. However, that along with some other things made it not appropriate for a younger audience. Personally, the violence is more objectionable than partial nudity, but I'll admit I asked for Tom to make it brutal. And he did. How do you resolve disputes like that? Do you ever have to completely change your ideas? We were under such a tight deadline with Antigone I couldn't ask Tom to make those changes. And even if we had more time, I still probably wouldn't say anything. The artist has a right to his own vision too, and sometimes the best writers step out of the way. Very rarely is a dispute so extreme that it means completely changing or compromising your ultimate vision. There's always some wiggle room for disagreements, you just have to pick your battles. A good artist will honor your story as best they can. In the end, the goal is to have the best story possible. I loved the opening page and the final quotes last. I thought you did a great job of using Sophocles' words. You skillfully employed all the important lines and really did justice to the work, one of my favorites. Thanks. I tried. It was a tricky copyright issue. Antigone is public domain, but the translation itself is not. Even then, I wasn't using the entire Dudley Fitts and Robert Fitzgerald translation, only excerpts – sometimes out of order and sometimes tweaked slightly. We concluded that comic book constituted as an adapted "performance" of the text. Where did you get your idea for opening 4 panels? I wanted a contemporary parallel to big mythic events in a culture, just as the Oedipus story was part of the cultural consciousness of Greek society. As far as the dialogue goes, who makes the decisions as to how to punctuate and which words to bold in the speech bubbles? I make the decisions on punctuation. Very rarely do I use bold or italics to emphasize a particular word in the dialogue. I try to leave the emphasis to the reader. Occasionally, the artist will take that liberty and that's okay. The epilogue was interesting. Who is that writer? The epilogue was written by my friend Aaron Thomas Nelson. I needed a Greek scholar to double check my adaptation, make sure it would stand up to any academic scrutiny. Aaron's notes were helpful. I asked him to write an epilogue to give an opportunity for a deeper look into the story. Astronaut Dad What a great idea! The story is wonderful. I think your characterization is especially strong here. Having lived in the times (albeit barely!), you captured them well. I'm happy with how the story came together. With both volumes one and two, I think it's the best comic I’ve written. When in 2007 did it come out? It came out in November 2007. When did you start it? I wrote the first draft in the summer of 2003. This is one of those scripts that gathered dust for a while, because I couldn't find the right artist until Brent Schoonover was available. He was exactly what I wanted. The script went through two complete re-writes. Nunzio DeFilippis and Christina Weir came onboard as story editors. In exchange, I helped design their website. Nunzio and Christina are very talented career writers. Their feedback has made me a better writer. How many volumes do you anticipate? It's a two-part series. Do you already know the ending? (a la J.K. Rowling and the Lost creators) Yep, it's already written and everything. I love the ending. Which character is your favorite? I love writing the mom characters, especially Faye. She goes through a lot in this story and it's interesting to watch as a reader. The voices for the mothers came easily, so dry and cynical. Did the illustrator do the lettering as well as the art work? Justin Stewart lettered Astronaut Dad. Do you plan to keep the same illustrator throughout the series? Definitely. He's finishing it right now. What does Miss Kennedy think of your work? I don't know if she really cares one way or the other. Once she realizes I dedicated Emily Edison to her, someday, she'll read it a little more closely.
Here are the comics I ordered this week from Zeus Comics.
INVINCIBLE, VOL. 10: WHO'S THE BOSS by Robert Kirkman and Ryan Ottley (Image Comics). I've said this before, but INVINCIBLE is my favorite super hero comic. Actually, nowadays, it may be the only super hero comic I read -- unless you count UMBRELLA ACADEMY. Kirkman's work is always enjoyable. I love how he sets up future storylines and slowly builds the plot over several issues. I love how his characters truly talk to each other. They work stuff out. They have mature, sensible conversations. Read most comic books (mine included) and the interactions sound like bad community theater. "Stop that!" "I will not!" "You better or you'll be sorry." "You're acting like Dad." "How could you say such a thing!" Ugh. In contrast, Kirkman's dialogue is patient and intelligent -- note the beautiful scene between Mark and Eve during their first real date. PLUTO: URASAWA X TEZUKA, VOL. 3 by Naoki Urasawa (VIZ Media). Between PLUTO and MONSTER (I'm on vol. 6 right now), I absolutely love Naoki Urasawa. This guy can tell a story. Every chapter is a seminar on how take your reader by the throat. I'd consider Urasawa a perfect recommendation for people who swear they don't like manga. And yes, 20TH CENTURY BOYS is next on my reading list.
I'm working on my curriculum for next year's Creative Writing class. It's one semester spread out over three six-week periods. Since I started teaching this class, I've been able to do whatever I want. Thank god, no state-mandated text book. Someday, I'd like to develop my approach into a college course or a writing seminar.
Here's what I have so far. Please excuse any errors or awkward wording. First draft. PART I: THE CHARACTER AND THE PLOT “Your characters move the story along.” Lesson 1: Creativity Purpose: To explore creativity as something innate in all people. Creativity is an act of synthesis. Creativity can be examined in three areas: influences, ideas, and experiences. A writer must immerse himself/herself with literary and artistic influences. A writer should understand that in order to come up with one great idea, they may need to first develop a hundred decent ideas and narrow it down. A writer finds ideas within their own experience and from the experiences of other people. A writer is an observer of the world. Lesson 2. Premise Purpose: To create good ideas that can be used to initiate a story. It may begin as a question, an intriguing image, an odd character, or a dramatic situation. A writer should learn to identify which ideas will work best. Lesson 3. Characters Purpose: To understand how writers craft a character-centered story. All stories connect with the human experience. The human experience is rooted in desire. A standard protagonist, or main character, desires greatly and takes risks. The writer needs to understand the role of a protagonist (passive or active) in his/her story. A story can have multiple protagonists or one that functions as an antihero. Lesson 4. Characterization Purpose: To develop traits in characters that enhances the overall authenticity and quality of the narrative. Characterization is not just a collection of revealed traits. It is a cohesive sense for who they are, and why they do what they do. A writer needs a workable system for how to get inside the head of their own creations. Lesson 5. Archetypes Purpose: To understand the function of various characters within a story. However, characters should not be simply tools to push the plot forward. They should be integrated into a believable world the writer has created. Lesson 6. Contrasts Purpose: To humanize a character by analyzing the contrasts within their nature or situation. Contrasts can exist as paradoxical traits, a relationship (odd couple), an environment (fish-out-of-water story), or an ironic event. A writer can create fascinating complex stories through skillful use of contrasts. Lesson 7. Dialogue, part 1 Purpose: To see dialogue as an extension of the character. Dialogue is not only what they say. It is a window into who they are. The writer needs to fully know the character in order to find his/her unique voice. Lesson 8. Dialogue, part 2 Purpose: To see dialogue as a way to negotiate desire. Dialogue in conversation is used for many purposes: establish rapport, persuade, and manipulate. Even in its most innocent form, dialogue is a game of power exchange. Lesson 9. Conflict Purpose: To use conflict as a way to reveal character. A story should take the protagonist and place him/her at the “end of the world” as they know it. Under such distress, the audience discovers what the character is all about. The writer should use conflict not only as an obstacle to be solved or fixed, but also as a way to further invest the audience in the life of the character. Lesson 10. Arc Purpose: To evaluate the purpose of a character arc. Some characters change during the course of the story as a direct result of the conflict (dynamic), while some remain unchanged (static) from beginning to end. In either instance, this arc may bring about fortune or ruin for the character. They may change into the person they need to be to overcome the obstacle, or their change may mark a downward spiral. The static character may be precisely the type of person needed to solve the conflict, revealed to the audience over time – or their stubbornness to adapt could lead to destruction. The writer speaks to the human experience through character arcs. Lesson 11. Plot, part 1 Purpose: To use meaningful plot points as a way to further the action of the story. The plot may consist of an inciting incident, progressive complications, turning points, a climax, and resolution. Each point presents a choice to the protagonist. The writer must find unique ways to integrate these points into the story without the structure being overbearing or formulaic in presentation. Lesson 12. Plot, part 2 Purpose: To understand the necessary aspects of a beginning, middle, and end. It may be helpful to begin with the end in mind. How might a twist ending or having the story come full circle be best set up? What can the writer do to move the story along and transition between acts? Lesson 13. Subplot Purpose: To integrate additional plot lines into a story. A subplot may be used to develop characters, add thematic depth, a new tone (complimentary or counter), and enrich the setting. The writer should examine the worth of any subplot to see if it benefits the overall narrative. PART II. THE EMOTIONAL IMPACT AND CONTROL “Your style will emerge naturally as you become comfortable with the writing process.” Lesson 1. Reveals Purpose: To choose what is revealed to the audience for maximum impact. The reader may know more than the characters (dramatic irony), the reader may know less than the characters (mystery), or the reader may know only what the character knows (empathy). All three levels of reveal may be used in a story. The writer controls a reader’s reaction to the story through what knowledge is revealed and when. Lesson 2. Subtext Purpose: To utilize the underlying meaning of any action or dialogue for greater impact. Subtext is a way to speak to the audience without saying anything. It can be also used to mislead. A writer adds layers by how the action or dialogue is presented. Lesson 3. Tone Purpose: To create a tone built on empathy, instead of cheap emotional clichés. Empathy is built when the audience is allowed to emotionally participate in the life of the characters. Audiences tend to like variations on familiar stories. These stories create expectations, which the writer can then control for intended effect. Lesson 4. Genres, part 1 Purpose: To know the purpose of a genre and the numerous genres available. A story falls in a particular genre, because of similar settings, plots, tones, themes, and motifs. The genre allows for boundaries that can be explored and tested. It offers the occasional guilty pleasure, which may be worth pursuing. The writer does not need to stick to one genre, but an understanding of how they operate is beneficial. Lesson 5. Genres, part 2 Purpose: To gain greater flexibility by mixing and reinventing genres. Genres are not fixed in stone, but are continually redefined. The writer should learn how to experiment in the genres to create new and fresh takes on timeless themes. Lesson 6. Impact, part 1 Purpose: To learn how to scare reader. Fear and horror are powerful emotions that require deep psychological understanding. Many readers enjoy the catharsis that a good scare can bring. Even outside of the horror genre, a fearful moment can add interest to a writer’s story. Lesson 7. Impact, part 2 Purpose: To learn how to make the reader laugh. Humor is difficult to do well, and many argue that such skills cannot be taught, i.e. funny people are born funny. However, there are basic principles behind physical, situational, and linguistic comedy. Even in the most serious stories, a writer should be open to honest and funny moments. Lesson 8. Impact, part 3 Purpose: To learn how to make the reader cry. Dramatic scenes are tricky, because they can easily fall into melodrama. Learning how to be subtle and forceful, and finding the range between the two, is a fine art. Drama cannot be simply inserted into a scene; it needs to grow over the course of the story. Lesson 9. Impact, part 4 Purpose: To learn how to inspire the reader. Stories that seek to celebrate the goodness of the human spirit and triumph over adversity can fall into formulaic patterns. An astute audience wants to be challenged, and such stories are more difficult than the writer might assume. Lesson 10. Oddity Purpose: To learn how to write “weird”. Many people enjoy stories that take a bizarre turn, that use inconsistent realities and flirt with coincidence. The distinction between quirky, absurd, and disturbing is the level of honesty a writer is willing to bring to the situation. Lesson 11. Imagery Purpose: To use image systems to enhance the narrative. A skilled writer can approach a story with a strategy of motifs, embedded imagery, and extended metaphors. Lesson 12. Exposition Purpose: To integrate necessary information into the story without it feeling forced. Exposition conveys or explains aspects of the plot. It can slow down the story in unwanted ways. The writer should learn how to “show not tell” to maintain the interest of his/her audience. Lesson 13. Devices Purpose: To understand various plot devices such as Chekhov's gun, deus ex machina, and the Mac Guffin. If skillfully used, the reader will not notice the device is a construction of the author. If poorly used, the reader will have trouble maintaining the suspension of disbelief. PART III. THE REWRITE AND THE BUSINESS “Your ideas are only as good as how you present them.” Lesson 1. Editing, part 1 Purpose: To objectively read a writer's own work. This is the first step in learning how to effectively edit. It can be difficult to read a story with a fresh and unhindered perspective, but editing requires good and sensible judgment. Lesson 2. Editing, part 2 Purpose: To improve a story by adding necessary scenes and beats. Sometimes, a story can be missing an important moment for impact. The writer should not inflate their prose with needless additions, nor should they take short cuts that leave the story flat. Lesson 3. Editing, part 3 Purpose: To improve a story by removing unnecessary scenes and beats. Editing is also a process of trimming the excess. Even a good scene can hurt the story if it’s inclusion cannot be justified. Lesson 4. Editing, part 4 Purpose: To improve a story by changing scenes and beats to better suit their intended purpose. Editing sometimes involves re-structuring the order of events, finding new emphasis, or combining scenes. Lesson 5. Editing, part 5 Purpose: To improve a story through line editing and fine tuning. Editing is both a telescope and microscope. As a story nears completion, the writer needs to go line by line to correct grammar and mechanics errors. They need to ensure every word is the best word for that sentence. All this fine tuning is to make the reading experience as seamless as possible. Lesson 6. Editing, part 6 Purpose: To improve a story by realizing when to stop editing. A story can be ruined, when a writer picks it to death. The task of any artist is to determine when the work is complete. Lesson 7. Presentation Purpose: To effectively explain a completed story to others. A writer must learn how to sell his/her ideas, to summarize the work in one or two sentences and make it as appealing as possible. Lesson 8. Allies Purpose: To learn the appropriate channels for networking. The writer needs to know how to find agents, managers, consultants, and writing peers, to write a query letter, and maintain a professional attitude. Lesson 9. Publishing Purpose: To increase a writer’s audience through publishing. Opportunities are available, but it requires understanding on how to best approach a publisher. Writers should also search other outlets for finding an audience. Lesson 10. Career Purpose: To explore the practical aspects of a writing career. The writer should know about intellectual property rights, fair use, public domain, and how to make ends meet. Lesson 11. Confidence Purpose: To gain assurance that there are many ways to be successful. Each path is different. Every voice is unique. In the end, a writer has to let his/her work speak for itself.
While Tom and Marlena were finishing the art on KARMA INCORPORATED, I kept myself busy by hunting down pin-ups to include in the back of each issue. I accumulated more than I could possibly use.
It's been a few years, so I thought I'd repost the art on Flickr. Click here to see the entire set.  Thank you to Joshua W. Cotter, Derrick Fish, Jim Lujan, Melissa Erwin, Martin Abel, Nicc Balce, Ryan Cody, Jim Crosley, Phillip Ginn, Ted Lange, Paul Maybury, Brent Schoonover, Sean Stephens, Scott Zirkel, Cal Slayton, Brock Rizy, Stephen Buell, Jamar Nicholas, Mike Young, Nelz Yumul, Jim Mahfood, TJ Colligan, and Wes Molebash for your contributions. There are other artists I'm missing. I can't find the jpg files. Once I do, I'll upload those as well. If any other artists want to add to my KARMA INCORPORATED Flick set, go for it. I wouldn't mind. At all. And just because, the video that started it all.
Yesterday, April encouraged me to organize the boxes where I keep my comics, the comics I sell at conventions and store signings. While "encouraged" may sound like a euphemism for "she told me to do it," April has good reason. Until then, I kept these boxes under my desk and scattered throughout the office -- with another box in the living room closet. Not a great system. Now, everything is conveniently stored in one location, and I was able to compile it as efficiently as possible. I have an entire box devoted to extras (copies of DEAD@17 ROUGH CUT VOL. 1-2, WESTERN TALES OF TERROR #2, SILENT FOREST TELEVISION PARODY SPECIAL, the two VIPER FREE COMIC BOOK DAY issues, and copious amounts of KARMA INCORPORATED #2-#3).
It was fun looking through these comics, stuff I haven't read in quite awhile.  It's encouraging to see what I've done since 2004, when I first printed SOME OTHER DAY. At the same time, I'll admit I have a few frustrations. Staying as vague as possible, due to events beyond our control, there are some books that should be here that never made it to print. There were some proposals that never got picked up. More than putting another comic in print, I hate the missed opportunity to collaborate with those artists. (Is that vague enough?) Also, while I've enjoyed writing short stories, I wish I had more full-length comics, more graphic novels. Lastly, I haven't been able to work with nearly as many publishers as I would like. I don't want to give the impression that I'm pessimistic. I'm more hopeful than anything, and just ready. I can't keep doing what I've done. I need to challenge myself, move forward, take the next step, the leap, the plunge, and all those other cliches. However, yesterday, I took some time to enjoy where I've been, and clear out some space under my desk in the process.
Here are the comics I ordered this week from Zeus Comics.
ECHO #12 by Terry Moore (Abstract Studios). I was a huge fan of STRANGERS IN PARADISE, and it's exciting to see what Terry Moore can do now that he is free to start over with a new story and new characters. Terry has always done comics his way without any restrictions. I'm curious to see where this cat-and-mouse thriller leads. I'll admit the "power suit" is a little Image '90s-esque, but he makes it work. THE UMBRELLA ACADEMY: DALLAS #6 by Gerard Way and Gabriel Bá (Dark Horse). I read the first issue, but I'm behind on this series. Next week, I'll sit down and plow through #2-#6. The debut series took a lot of people by surprise, inventive and disturbing. It's nice to see Gerard Way is here to stay. That rhyme was un-intentional. LEAGUE OF EXTRAORDINARY GENTLEMEN (VOL. III): CENTURY #1 by Alan Moore and Kevin O'Neill (Top Shelf Productions). Highly anticipated would be an understatement. Black Dossier was interesting, but not really the follow-up I was hoping for. CLOAK & DAGGER: CHILD OF DARKNESS, CHILD OF LIGHT HARDCOVER by Bill Mantlo and Rick Leonardi (Marvel). I'm most excited about this book. About freakin' time. This limited series is what hooked me on comics -- now collected in one lovely hardcover. Hopefully, it will allow others to appreciate how well Mantlo's story holds up.
Brock Rizy re-launched his site BEEow dot com. He plans to add new content on a regular basis -- CATBEAR TRAFFIC CONTROL, MINOR INVESTIGATIONS, OH NO POGO (that should look familiar to some of you), PYROTECHNIC PORNO BABIES, more EMILY EDISON, and KOO.
To start off everything, we have a brand new EMILY EDISON short story: EMILY EDISON STOMPS SASSY PANTS This story introduces a character Oscar Monkhouse who will play an important role in our next book. Yes, we are making plans for a second EMILY EDISON comic. Brock has been very patient, allowing me to finish the scripts for FRONTIER and HOW TO LOSE BIG before we jump into it. Brock and I already have a rough outline and some cool ideas floating in our collective brain-meld. If you could stare into the dark pit of our brain-meld and see what we have planned, you'd say, "Wow. I didn't see that coming." Then dark pit would respond: "Ha. Neither did we."
Here are some pages from our graphic novel FRONTIER, courtesy of Michael Shelfer.
   I've been busy on the script, and it's coming together insanely well. This story has floated in my head for so long -- all that time has helped, now that I'm finally writing it.
I'm a big fan of teacher/script consultant Pilar Alessandra and her weekly podcast ON THE PAGE. She sends periodic email updates, and I liked her Mother's Day commentary. I figured it would be okay to re-post as long as I mentioned her website (onthepage.tv) a few times.
"Don't talk with your mouth full."And one more time: onthepage.tv
We're celebrating my daughter's birthday on Saturday. She'll be five. Last night, April and I went shopping for clothes and toys. I don't know what it was, but I couldn't find anything. I went back today during my conference period and had the same problem. I know she likes High School Musical, Hannah Montana, and Jonas Brothers. I don't think she's outgrown Dora or Disney Princesses yet, so those might still be options. From my adult perspective, all the toys seemed boring. She might play with any of them for a few minutes and move on to something else.
Does she want a Hannah Montana doll, or does a Barbie suffice? How many Barbies does she need? She doesn't seem to be a "collector" in that she must have the whole set. Would she want a Hello Kitty walkie-talkie, or would it be a constant reminder that her friend Mikayla isn't hanging out at our house? (Our houses are close enough; they could be within range...) She already has five purses. Does she need a High School Musical purse? And Jonas Brothers. I'm not ready for Jonas Brothers. I thought maybe a Hannah Montana poster. However, Toys'R'Us didn't have one. They did have a Twilight poster, but those two kids look drugged out and depressed. The exact opposite of forever chipper Miss Hannah. And what is iCarly? I was looking for a toy that seemingly did not exist: Something age appropriate that would creatively engage her. Something different from what she already has piled in her room. Something I could afford. (I'm already buying her a bicycle. The gift I was looking for is an extra something. I know I'm spoiling her. Shut up. The rest of the year is me telling her again and again: "No, you can't have that. Wait until your birthday.") Then I saw an Etch-A-Sketch, invented in the late 1950s. Everyone needs an Etch-A-Sketch. Classic. Now here's hoping the weather holds out tomorrow, so we can have the party outside at the park.
I'm borrowing this questionaire from Stephanie Mangold.
1. What author do you own the most books by? Douglas Coupland 2. What book do you own the most copies of? MISS WYOMING (U.S. hardcover, U.S. paperback, and U.K. hardcover) 3. What fictional character are you secretly in love with? Professor Grady Tripp from WONDER BOYS by Michael Chabon 4. What book have you read more than any other? I don't normally re-read books, even the ones I like. Since I teach high school English, I read A SEPARATE PEACE once a year. 5. What was your favorite book when you were ten years old? I read a lot of Sherlock Holmes when I was ten. 6. What is the worst book you’ve read in the past year? I don't know. I've read some crappy comic books this year, but I don't want to be mean. 7. What is the best book you’ve read in the past year? EXTREMELY LOUD AND INCREDIBLY CLOSE by Jonathan Safran Foer 8. If you could tell everyone you tagged to read one book, what would it be? ANGELA'S ASHES by Frank McCourt 9. What is the most difficult book you’ve ever read? THE AMAZING ADVENTURES OF KAVALIER & CLAY by Michael Chabon. I loved that book, but the South Pole scene dragged on forever. 10. Do you prefer the French or the Russians? French 11. Shakespeare, Milton or Chaucer? Shakespeare! 12. Austen or Eliot? Austen 13. What is the biggest or most embarrassing gap in your reading? I tried to read THE SOUND AND THE FURY by Faulkner, and quit after the first chapter. 14. What is your favorite novel? GIRLFRIEND IN A COMA by Douglas Coupland 15. Plays? RAISED IN CAPTIVITY by Nicky Silver (modern) or OTHELLO by Shakespeare (classic) 16. Poem? I like Langston Hughes. 17. Essay? HOW TO BE CREATIVE by Hugh MacLeod 18. Non Fiction? ON WRITING by Stephen King 19. Graphic Novel? Possibly too many to name, but if I had to pick one: FROM HELL by Alan Moore and Eddie Campbell 20. Science Fiction? THE HITCHHIKER'S GUIDE TO THE GALAXY by Douglas Adams 21. Horror? Stephen King. I was obsessed with King as a young teenager. I devoured everything he wrote. 22. Fantasy? Does AMERICAN GODS by Neil Gaiman count? 23. Who is your favorite writer? Douglas Coupland 24. What are you reading right now? THE SPORTSWRITER by Richard Ford, MONSTER by Naoki Urasawa, OF MICE AND MEN by John Steinbeck 25. Favorite Genre: Quirky family drama. Is that a genre?
I'm a relatively nice guy. I don't scheme or plot against people. For the most part, I don't wish anyone ill. I am concerned about what people think of me. (It's not anything superficial. At least, I don't think it is. A good reputation is the reflection of a life well lived.) My students would say I'm fair and level headed. However, I am an absolute bastard when people ask for advice about being a writer. I've blogged about this complex before. It's true. I have little patience in this area. I turn into the suck-it-up-and-deal-with-it drill sergeant father. I don't need anyone to reassure me that I'm not too bad. I'm the one inside my head, and I can tell you: It's bad. I got another email this week soliciting help from a wide-eyed aspiring writer. I over-stepped my bounds in my critique, once again.
Some people are naturally nice. I envy these people. The bastard Mr. Hyde is always lurking in my head. Ready to emerge anytime someone wants to know how to be a writer and they fail to use basic capitalization or punctuation in their email -- or if they ask me to give feedback on a script and the first page is absolutely unreadable. I want to help. I sincerely do. And Mr. Hyde pulls me down. April Wenzel's wisdom: "Don't give advice unless someone asks for it three times." Chynna Clugston's wisdom: "You'll get less glares at conventions if you don't give your opinion as readily. You're not a douche, but you're not creating good feelings. Stay neutral, I say. If they're smart, they'll figure it out sooner or later." Benjamin Hall's wisdom: "I normally focus on the things I like and if I have any nit picks I'll pick the least inflammatory and see how they respond to light criticism. If they take it, I'll go further. If they freak out, I let it drop." I hereby declare, for my own mental health, I'm going sober. Until I can learn to control my inner bastard and be a better person, I'm keeping my opinions to myself.
Trey Garrison called me on Saturday. He had a pass for an advance screening of the new STAR TREK movie. I got to be his "and guest." This would be our third date. Trey and I first met when he read my essay in MAN FROM KRYPTON. He liked it, and invited me to write for D Magazine. We had lunch at La Duni to discuss, and it just happened to be Valentine's Day. We had another meeting to introduce me to Tim Rogers, and set up the comic with D Magazine. The meeting happened to fall on my wedding anniversary. Obviously, the universe was telling us something. We arrived at the North Park AMC an hour early with Joshua Warr, his friend, and my friend (who I happen to see everywhere) Jennifer Meehan. Already, the line wrapped around the lobby. We had decent seats when it came time to rush the theater in an organized manner. Trey bought some snacks, while I saved the seats from the slower guests still looking for a place to sit. Trey and I shared nachos. While waiting for the movie to start, Mark Walters from bigfanboy.com gave out some free swag. Trey, Joshua, and I all got matching Star Trek ball caps.
Let's talk about the movie. First, the boring non-spoiler stuff: It's a good movie. Set your expectations as high as you want. J.J. Abrams did the seemingly impossible. He brought new life to the STAR TREK franchise. I'll admit a few years ago I was ready for the Trekkies to give up and go home. Your universe of spin-offs is over. But now? I'm ready for the sequel (more about that later). The characters are the selling point. They could've added another hour to this feature, and I would happily watch crew of the U.S.S. Enterprise play cards for that hour. The actor playing James T. Kirk gives us that "maverick action hero" without it feeling derivative. He's witty, flawed, and fun. He was the best part of the movie, which is good since he had so much screen time. Keeping things in perspective, this movie does not redefine the sci-fi genre. The plot is serviceable. It doesn't take many risks or offer any twists. If we're going to debate: "Which Star Trek movie is the best?" This movie may be the most entertaining, but WRATH OF KHAN is still the best written. There's plenty of wink-wink moments for the fans, and plenty of stuff to make new fans out of the formerly uninitiated. I always considered myself more of a STAR WARS guy. However, with George Lucas repeatedly crotch-stomping on the sacred trilogy with digital remakes, prequels, and Clone Wars merchandising, I may need to change my loyalty. I always liked the original STAR TREK series and the Next Generation. I would watch it, if I stumbled across an episode on TV. I liked most of the movies. I fell asleep during the first one in 1979, but I found out that was an acceptable response. The new STAR TREK makes me want to revisit the TV series. **SPOILERS** The opening scene is incredible. We witness the birth of James Kirk and get a sense for who his father was. The naming of "Jim" is particularly sweet. I got misty-eyed. The LOST-esque score by Michael Giacchino certainly helped push the emotion. I don't think it was necessary to tie it all back to Nero, but whatever. Hollywood thinks the villain needs to kill the protagonist's father or mother to personalize their rivalry, but it's been overdone. We get it. They really don't like each other. Speaking of LOST, I think the caption text is the same as the LOST font. My only WTF moment in the movie: Winona Ryder is Spock's mom? Why? Was there a reason they needed her? She looked odd in the old age make up, considering she has such a youthful face. They could've cast an older woman to play the role, and it wouldn't have taken me out of the movie. They smartly introduce the characters throughout the film, instead of all at once. Scotty doesn't appear until the second half, and it gives him a special, albeit convenient, role. (A better review than mine goes into more detail.) Scotty was great, and like most of the cast: I wanted more. My favorite moment was a simple one. Spock assumed the role of Captain. For reasons I won't reveal, Kirk isn't really supposed to be on the Enterprise at all. Spock walks the bridge, contemplating their situation. Kirk casually sits in the captain's chair. Clearly, he feels comfortable sitting there. Spock tries to maintain protocol like a worn-out parent: "Get out of the chair." Through the magic of black holes and time travel, the writers offer some logic for the re-boot. Anyone who is sensitive about continuity will be happy to know this is a whole new reality (an "Ultimate universe" for STAR TREK). We get Leonard Nimoy reprising his role as an older Spock. It was cool, but I was ready for him to exit stage left. J.J. Abrams, I think, was too intent to "pass the baton" with the franchise. For this reason, we need a sequel. Now that we've spent two hours re-introducing and rebooting, fans have been pacified; it paves the way for a better follow-up movie. Two things: (1) Let's hope Scotty's lovable alien friend (the Jar-Jar Binks of this movie) does not return. Thankfully, his role is small and does nothing. (2) Also, we could use a better villain than Nero. He's adequately menacing and villainous, but he doesn't grab us by the throat like Heath Ledger's Joker or Ricardo Montalban's Khan. **END SPOILERS** The STAR TREK reboot works for one important reason. The characters from the Original Series are iconic, while the characters from Next Generation (and the other spin-offs) are merely archetypal. You can go on and on with spin-offs: The Next Generation, Voyager, Deep Space Nine, etc. At a certain point, you're only banking on the good will and patience of your fans who love the universe. To find a new audience, you need to return to what made the original characters so appealing -- and something iconic lends itself more easily to re-interpretation. This movie does that skillfully. Thanks Trey for our date. Other upcoming movies that look good... My kind of flick THE BROTHER BLOOM So wrong, so right THE HANGOVER
I'm 32 today, and it feels good. My life in boring summation: Financially, things are still difficult, but it's getting better. I can see the end of the tunnel to my mountain of debt (intentional mixed metaphor). If things go well, I can be completely free of credit card debt and my car payments by the end of the year. I'm setting an ambitious goal to write full time by 2014, even if only for a few years. I'm certainly further along in my writing than when I first started. The short stories for PopGun Vol. 3 and 4, plus Oni's roller derby anthology are nice, but I'm anxious to get more full length graphic novels published. ASTRONAUT DAD, FRONTIER, and HOW TO LOSE BIG have my attention right now. After that, I can focus on some other projects. I was thinking about maybe taking a year to write a novel or screenplay. No ideas yet, but while waiting for the comics to hit the shelves (hopefully) it might be good to try my hand at other media. Our comic at D Magazine is in regular rotation. Next one is in June. I should probably get more magazine writing assignments to pay the bills, but it hasn't been a priority. It'd be helpful to have a regular gig with a magazine -- reviews, a column, something, even if the pay is minimal.
April, Kennedy, and I went to Putt-Putt last night. I had a great time. Kennedy had fun chasing the ball around. Very simple. My kind of birthday. So yeah, things are good. Nothing new to report really. I'm trying this post-to-my-blog-via-email thing for the first time. We'll see how it works. (UPDATE: It didn't work.)
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