Samantha Newark

Singer/songwriter Samantha Newark is no stranger to entertainment. As a teenager, she was best known as the speaking voice of Jem/Jerrica, central character of the insanely popular 80's cartoon "Jem". She's all grown up, but still just as loyal to her fans as they are to her. And now she's recording a new album. Her "truly outrageous" voice matches her genuine nature and an honest love of music.

When did you first realize the scope of Jem’s popularity? 

I’m discovering it’s reaching more and more every day, especially now that the show is back on TV again and is generating an even bigger fan base. But initially it was around 2000 that I started going online and saw all the Jem web groups and fan sites and Jem doll collector sites. I was pretty blown away that so many people were still so passionate about the show and keeping it very much alive.  

Did you watch the show?

I watched it a few times during its initial run but I have to say I am having such a great time watching it this summer on “The Hub”. I’m often up early in the morning, so it’s been kind of a fun little ritual to have my cup of coffee and watch a Jem episode. It’s a great way to start my day and also do my homework as I’m asked so many random questions about the series by the fans that it helps to be up on my Jem knowledge.

When did you first start singing?

I have always loved music and loved to sing from the time I was teeny tiny but I did my first professional show when I was 7 with a 4 piece band and was quite a busy little performer from then on.  

You didn't start writing songs until adulthood. What finally inspired you to start writing?

It was Tori Amos. I bought her first album “Little Earthquakes” and it ignited something really deep on a soul level that made me truly and authentically want to express myself as a songwriter as well as a singer. That record changed my life as an artist and really set me on the road.

Have you created songs for any other medium, like television?

I have been fortunate to write and sing original music that has been licensed for film and TV shows. I’ve had the wonderful opportunity to be invited to sing on video games like “God Of War”, “Twisted Metal Black”, “Everything or Nothing”, “Wild Arms 3” and would definitely love to have some of my original music featured in some high profile games.

What inspires you to sing and write?

It’s really no less than an insatiable pull to express myself with melody and lyrics and sound.  I’m really just one of those people who can’t not do it. Like people who have to exercises to feel normal, I have to be writing and swimming in music to feel like I’m connected to myself. 

What inspired your upcoming single “I got everything”?

With my single “I got everything” it was just such an in your face kind of feel that lyrically it had to be the same. I wanted the song to just be all attitude and simple and hooky and sexy; it was a fun track to write. I was looking on this record to really push myself to write a lot of up tempo material. A musician friend in the business used to tease me that my songs were always around 85 bpm. I was struggling to write up tempo songs on the guitar because I’m not a good enough guitar player but I was dying to go there. Working with loops helps me write from a percussive place and work with any tempo that moves me, and it has opened up a whole new world of possibility for me as a writer that I am really, really loving.

Why did you start the "I got everything" CD cover contest?

There was going to be a lag in the time I released “I got everything” and when I shot new photos for my brand new album. I didn’t know what photos I was going to use for artwork for the single that would be new and fresh and feel like this new record. Then I thought of all the amazing artists that are a part of the Womanthology project and artists that I have been able to meet at the fan conventions and thought “Why not have someone illustrate me for the CD single?”.  I thought also that it would be fun to do a contest with prizes. “Jem” is always doing contests, so that is where the idea came from. Thanks to Renae for championing the idea, to Amanda Deibert for all her help administrating this contest, and to all the wonderful artists that have taken the time to create and share their artwork for this.

How did you learn about Womanthology? Why did you want to become involved?

I had the pleasure of meeting Renae at a few convention appearances for my work on “JEM”. I was really honored to be asked by Renae to participate in Womanthogy...I said yes initially because Renae is such a cool girl and I wanted to help in any way I could. I honestly had no idea what an amazing project this would turn into and the levity of it.

What song did you choose for the comic?

I chose three songs off my new album that I thought would be a possible fit for the theme and sent them to Renae to listen to with lyric sheets. She then passed them on to the team. I’m not sure who made the finally decision but I’m thrilled that my song “Blue Sea” was the song they chose. 

Who is working on turning your lyrics into a short comic?

Bonnie Burton is the writer that is adapting my song “Blue Sea” to comic form and I have since had the chance to read her treatment. I’m totally blown away; it gave me goose bumps and I can’t wait to see the Illustrations by Jessica Hickson. I’m thrilled to be working with these amazingly talented women. I've never had the chance to be involved in anything like this. It's so cool!! 


What would you say to any nervous up-and-coming creators?

The Creative industry is definitely one with many unknowns. There is not really a formula like a regular career where you work your way up in a pretty predictable way. It’s the big unknown for sure but when you are willing to just show up and learn from people who have what you want and be willing to make mistakes and grow and get better every day at your craft.  If you have a passion and talent for something artistic I really feel you need to find a way to honor that in your life, be it pursuing it as a full time profession or simply making sure that you take time in your day to create and use your gifts and share them. Life is so short and so full of beauty so don’t be afraid to add your unique and wonderful talents and beautiful gifts to the mix. The old sayings of “Feel the fear and do it anyway” and “Dance as if know one is watching”, they are cliches for a reason: They are true and have stood the test of time. So get out there and dare to dream big dreams, and then live them. 

In honor of the show that inspired this blog, we'll end with the questionnaire developed by Bernard Pivot:

What is your favorite word?

Yes

What is your least favorite word?

Hate 

What turns you on? 

Passion

What turns you off? 

Mean people

What sound or noise do you love?

Music and rain

What sound or noise do you hate?

Car stereos where the low end is so loud it distorts and assaults you when you are driving and people chewing with their mouths open

What profession other than your own would you like to attempt?

Paranormal investigator or Kindergarten teacher

What profession would you not like to do under any circumstances?

Fire breather, sword swallower, undertaker

If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

Hey sweet girl, we missed you, come give us a hug

Want updates on Samantha's upcoming single and album? Check out her official website! http://www.samanthanewark.com/home.cfm 

Can't wait to hear her sing? Her Reverbnation page has videos of some previously released music! http://www.reverbnation.com/samanthanewark

Truly, Truly, Truly...

Greetings Womanthology fans and newcomers alike!

The past few weeks have been incredible and hectic. Writer and drawing deadlines have come and gone for the 140 women working on the Womanthology stories. Our Kickstarter ended and we earned a whopping $109,301 toward the project. All thanks to you!

All this activity has lead to a lull for the Studio page (as I'm sure you're aware), but things should be picking up again soon. And with our second wind we're bringing in a huge name from television and music! You'll have to check back later for an actual name, but I can tell you it will be "truly outrageous"!

~ Jennifer V ~

Fiona Staples

Brilliant, talented, and just a bit twisted, Canadian artist Fiona Staples is best known for her work in the horror genre. It's easy to recognize her distinctive style, especially her work for Wildstorm. Scott Peterson, editor for Wildstorm, said it best: 

"Fiona Staples is a woman of mystery. She cannot be pinned down. She is the shadow of a myth." 

You went to art college without knowing what you would do with your training. Did it scare you to think of the future?

I'd been working on comics in my final year of school, but still wasn't sure if it would be worth it to try to do it full-time. The idea of making a living doing comics seemed pretty far-fetched to me, so I thought I should try to find some other kind of work, maybe in games. Bioware came to my school to crit our work and asked me to apply. So I applied at Bioware, didn't get hired, and thought, "What the hell, might as well just try to do comics!"

After that point I don't remember feeling too worried about the future, but maybe that's because I didn't have any specific goals to hang all my hopes on. I just thought I'd do what I could and see what happened.  

  

Do you alter your style depending on the project you’re given?

I think I alter things like the appearance of characters and the colouring, but my style stays more or less the same. It's pretty hard to consciously alter your style; I think it just has to evolve on its own over time and experience.

You once said you “may not be ultimately suited to mainstream stuff”. Do you still believe that?

Well, if we take "mainstream" to mean "superheroes," then yeah, I think it's still true. I always enjoy a good superhero story, but I don't have a particular affinity for them. I'm more than happy to dabble in them but ultimately, other genres like horror, fantasy, sci-fi, and mystery are more appealing to me. Maybe someday those types of comics will be mainstream again!

What would be your dream assignment?

Probably to join an archaeological dig someplace exotic and document the excavation in comic form. 

Do you work better as an independent artist or do you prefer contracted work?

For right now at least, I like working under contract with a publisher and writer and editor. If I was left on my own to just do personal work, I don't know what the quality would be like and I don't know if it would ever get finished. 

Can you tell us about any projects coming out soon that we can look forward to?

I've got a big creator-owned series coming up at Image, and we're announcing it at SDCC!

How did you hear about Womanthology?

Renae just emailed me about it one day, and I was interested right away! 

What writer have you been paired with and what story will you be working on?

I'm teaming up with artist Adriana Blake on a six-page fantasy story written by Jody Houser. 

Is it surreal being a mentor and inspiration for so many people?

I've never really mentored anyone, but it's pretty cool to be involved in a project of this scale, that could potentially inspire and encourage lots of new creators!

Finally, what would you say to all the young creators trying to get into comics?

Focus on your craft- getting better at what you do should always be your top priority.

In honor of the show that inspired this blog, we'll end with the questionnaire developed by Bernard Pivot:

What sound or noise do you love?

The chime when you solve a puzzle in a Zelda game.

What sound or noise do you hate?

Children pretending to cry.

What profession, other than your own, would you like to attempt?

Pastry chef, maybe!

What profession would you not like to do?

Being the person who holds the "slow" sign on a road crew.

Want to see some more incredible art by Fiona? Check out her blog: http://fstaples.blogspot.com/

Fiona won the 2011 Joe Shuster award for Outstanding Comic Book Cover Artist! You can see the categories and other winners at: http://joeshusterawards.com/

Devin Grayson

Devin Grayson fell in love with superheroes after seeing Batman: The Animated Series. Soon after, she made friends with some of the biggest names in comics (names like Denny O'Neil and John Bolton) and was offered the chance to write. Confident, intelligent, charitable, and talented, Devin accepts all questions with grace and answers them with vigor.

Your very first published script was a short in The Batman Chronicles #7 featuring Nightwing. As a fan of Dick Grayson, how excited were you to write for a character you loved?

Beyond excited! Excited to the nth degree! In addition to being one of the greatest gifts and privileges I have ever received, it was the second or third time in my life that I’d been able to essentially will something into being. And that’s not just a heartening, gratifying experience; it’s a spiritual one, too. You reach out to something in the universe and you make a connection with it. The thing I was reaching for was a fictional entity, and to be able to take the obsessive energy of fandom and turn it into such an amazing opportunity and vocation…well, I still think about that moment when I’m down and it never fails to revitalize me. I remain overwhelmingly grateful. 

How has your experience as a stage actor influenced your writing? 

I would highly recommend acting lessons and experiences to anyone interested in fiction writing. Characterization in acting tends to be a physical undertaking, whereas in writing it tends to be a cerebral exercise—but the differences pretty much end there. Both jobs demand an ability to inhabit fictional spaces and beings and bring them to life. In theater, you learn to think in terms of motivation and scene beats; what does this character want and how is he or she going to try to get it? If you can stay close to those elements in writing, you give your characters the chance to move and speak and act in recognizable, relatable ways. Theater really nurtured my interest in and love of fiction as a tool for exploring truth. I no longer have a desire to be on stage, but I still play with fictionalized aspects of the human experience every day.

Do you feel your writing is more focused on characters or events?

Characters, definitely. Sometimes to my detriment. Characterization is the part that comes naturally for me. I have a good ear for human speech and an innate talent for seeing the circumstances and motivations that shape people—my friends joke that my super power is the ability to sit with someone for two minutes and have them immediately confess their darkest secrets. Events for me are often just vehicles to force new reactions out of characters, and I’ll admit that I have trouble ending stories sometimes, because in real life I have no sense of anything ever really ending. In other words, I understand what people do and why they do it, but the forces that shape events—or plots, as we’d refer to them in fiction—are much more mysterious to me. This is a weakness in my writing that I have had to work very hard to overcome. Carefully studying story structure has been tremendously helpful, as has working on monthly comics in which you have to constantly begin and satisfyingly end events. When talent can’t help you, you have to build a skill set.

You’ve written for some of the biggest titles and characters in comics. Is it daunting to take on characters that people know so intimately and have grown up with?

Absolutely. And you go into it knowing that by virtue of some of the simplest decisions you make, you’ll be alienating some of those fans. There is literally no way to make everyone happy, so that’s not what you try to do. I think when we’re at our best, we can hope to use our work on those kinds of characters to emphasize and draw out the qualities we find most engaging in them.  It’s great to hear someone come up and say, “You nailed that character, that’s exactly how I see him.” But it’s even better to hear, “you know, I’ve loved that character my whole life, but I never really thought about [insert character quality here]. That really added a new layer for me.” With such well known characters, too, I think it’s a mistake to take on any to whom you don’t have a personal attachment. For example, I’ve been asked to work on Wonder Woman several times, but I don’t have a personal take on her. And until I do, I think it would be a mistake to engage with her professionally, even though it would, of course, be a terrific honor.

Do you prefer writing for established characters or original worlds?

There’s not much of a difference in my mind. When I’m writing characters of my own invention, by the time I’m committing them to the page I already know them inside and out, and so although I don’t have external editors or proprietary parties telling me what I can and cannot do, I’m still restricted, to some extent, by my understanding of who that character truly is. And as I stated above, I don’t approach established characters until I have that same kind of take on them. Obviously licensed, iconic characters enmeshed in merchandising arrangements come with their own special kind of baggage, and there’s way more wiggle room in your own fictional playing fields. But once you’re deep in the actual writing, the two experiences aren’t that dissimilar.

Several comic book writers transition over to gaming and I’ve read a rumor that you may have done the same?

I was actually a gamer way before I read, let alone worked in, comics. RPGs are another great way to explore fictional characters and I’ve been crazy about them from childhood on. But yes, in the last several years I’ve found myself doing more and more work for the gaming industry.  The script for a game plays out very much like a comic book script, except it’s even easier in the sense that you don’t have to create panel descriptions or even environment most of the time. Level venues are handled by a different team. At least in the work I’ve done so far, I’ve come in pretty late in the process, mostly just putting words in the mouths of characters that are already fully rendered visually. Sometimes all I get is the string files of the game text, and in those cases it’s more a matter of editing than writing. It wouldn’t be enough for me on its own, but it’s a great addition to the rest of the work I do.  

If you had complete freedom to write whatever you wanted, any genre, any format, carte blanche, what that would be?

I really want to do more novels. All my original training is in prose and I feel like I haven’t had the chance to push myself in that format yet. The three books I have written were all licensed characters and done on incredibly tight deadlines—fantastic experiences but not wholly satisfying on their own if I don’t get the chance to do more. I do have several sagas in my head that I’m dying to get down on paper; characters I’ve lived with for a long time whose stories I’d love to tell. In fact, I’m working on a proposal for a group of them right now.

My favorite genre to read is magic realism, but I think I’m probably better suited to straight drama or even YA. I’m actually not very invested in the kind of allegory that goes into super-powered characters and some sci-fi—I don’t think it’s necessary in explorations of the human condition. That said, the proposal I’m currently working on would technically be labeled horror genre so who knows? I just go where the characters take me.  

How much research goes into your scripts?

It depends on how much I’m making up! 

If I’m including an element from the real world—mental illness, for example, or some aspect of science—then I’ll generally do as much research as I need to be able to accurately explain the elements in the script to another layman. Unless my character is supposed to a professional; that’s harder. I’m taking an online course in herbology now, for example, because I’m working with a character who’s supposed to be very good at it. I also have experts check my implementations whenever possible. One of the challenges of writing a character like Batman is that he’s devoted years to intensive study in a wide range of topics…as brainy as some of them have been, I guarantee you that not a single one of his writers has ever known as much about the work he does as the character himself. But you do your best.

I suppose I also gravitate toward subject matter with which I already have some familiarity. But actually, one of my favorite things about writing is that absolutely everything you learn in any context is usable. Research is one of my favorite stages of writing. Right after compiling the story sound track.

You’ve said you don’t follow the comics of characters you've written for after your run ends. Why is that?

As a professional, I do my best to keep current on the story continuity of all the major players, but from a bit of a distance. It’s a little bit analogous to your relationship with the new love interest of your former partner. You’re curious, you wish them the best because this is someone you really cared about, but you’re not exactly dying to go hang out at their new place with them. Losing a book can be emotional, especially one that features a character you have very strong ideas about. But it’s also part of the job.  

I may also have been commenting on the predicament fans find themselves in when they’re reading a story line they hate about a character they love. Usually, it pays to stick it out…the writer is probably going somewhere unpredictable. But sometimes it’s okay—more than okay, imperative—to just walk away from somebody else’s interpretation and stick with your own, even if it’s just in your head. Comics as an industry (rather than a medium) are designed to make money just like any other industry. The decisions that get made are not always in the best interest of character continuity or story structure or even audience engagement. So seriously, if you’re invested in a particular version of a character, don’t let the industry spoil that for you. 

Do you have any upcoming projects coming out that we can look forward to?

Yes, I’ve been working hard on a trilogy of graphic novels, the first of which should debut sometime next summer. I can’t share many details yet but will definitely be blabbing my head off about it as soon I get the go-ahead from editorial. What I’ll say now is that it’s for a company I haven’t previously worked for, and that they’re original scripts based on someone else’s (awesome) books. It’s been a really wonderful collaboration. 

How did you hear about Womanthology?

Renea De Liz contacted me directly by email and explained her vision for the project. Normally, I stay away from stuff that’s explicitly female-only, because normally the female part of it is done as a sales gimmick of some kind, and I think that can often hurt the cause of female creators more than help them. But three things about Womanthology jumped out at me right away: 1) the caliber and range of the people participating, 2) the clear objective of showcasing the work of new female creators by partnering them with experienced creators and 3) Renea’s obvious sincerity of purpose: she clearly and professionally explained what she was setting out to do and was intent on donating proceeds to female-friendly charities. That’s about as far from a sales gimmick as you can get. Later, when she sent me links to the artwork of some of the newcomers she was hoping to support, I was even more impressed. These young women are serious artists with real talent and developed skill sets. There used to be anthologies like this back when I was breaking in to the industry, and I’m delighted to be able to help support one now.   

Any hints about the story you’ll contribute to the book?

The theme of the story is “heroism,” so obviously that leaves a lot of room open for all kinds of stories! What Eugenia, my artist, and I have been discussing are the different perceptions of heroism…we all want to have super-powers and slay monsters, but the business of our day to day lives are also pretty heroic in many seemingly unremarkable ways. So the story explores and contrasts some of those perceptions.

As you mentioned before, you’ve been outspoken against banding women who work in comics together simply because they work in comics, having nothing else in common. What makes Womanthology different?

I think I answered most of this question in the response above, but I’ll add that there’s a huge difference between saying “women creators are cool!”—which doesn’t really mean anything except that you experience them as being a category unto themselves—and “these aspiring creators are cool, and I’d like to find mentors for them.” The first scenario groups us together because we’re supposedly “different” (separate but equal, anyone? I didn’t think so…). The second groups us together so that we can assist and celebrate each other and highlight new work from new creators. I remain deeply divided on the idea of whether or not there are predictable differences between male and female writers, but when it comes to social action, the idea of using your good fortune to help someone who has not yet had the same opportunities is something women band together to do the whole world over. 

Finally, is there anything you’d like to say to aspiring creators?

Believe in and commit to your dreams. Don’t be afraid to ask for help. Learn about the realities of the industry you’re aiming to join and develop your skills to suit that reality. And, of course, don’t let anyone tell you can’t do it. If you’re willing to put in the work and the energy, you are already ahead of the game.   

In honor of the show that inspired this blog, we'll end with the questionnaire developed by Bernard Pivot:

What is your favorite word?

 “Bursting.”

What is your least favorite word?

“Pre-existing.”

What turns you on?

Curiosity and imagination.  And a capacity for passion—about anything.

What turns you off?

Small-minded, hateful, self-aggrandizing, faux-religious, unrepentant, money-grubbing, blindly right-wing hypocrites.

 
What sound or noise do you love?

 Rain on glass. And music through good headphones.

What sound or noise do you hate?

White noise and hate speech. And an animal crying out in fear or pain. 

What profession other than your own would you like to attempt?

I’d love to be a botanist specializing in ecology.

What profession would you not like to do?

Any work that involves toxic components or an excess of biological liquids.

If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

Well, first of all, I’d be quite dismayed to find actual pearly gates.  And I also hope and believe that there’s not a god in any traditional sense of the word. If there is, I’d like him to say “okay, okay, it isn’t really working, you’re right, let’s talk.” What I hope about death is that whatever our spiritual essence turns out to be—quantum energy, star dust matter, or even just a conjecture of consciousness—it has some experience of cosmic re-consolidation as it passes out of our mortal frames.

Want more Devin Grayson? You're not alone! Check out her website www.devingrayson.com for other interviews, a comic checklist, and all kinds of tidbits any fan would drool over!


 True to her charitable form, Devin is attempting to collect donations for the EAC to help train new hypoglycemic-alert dogs. Help save a life by donating to the cause! http://wishes.causes.com/wishes/322612?bws=fb_stream_wish

Sarah Litt

"International Woman of Mystery" Sarah Litt is another of Womanthology's secret weapons. As an assistant editor at DC/Vertigo, this self-proclaimed bookworm has edited several titles, including Vixen and The Green Woman.

First thing's first: How did you end up the "International Woman of Mystery"?

HA! I think Will Dennis actually coined that term. I'm not quite sure what I did to earn it, aside from maybe just sitting at my desk quietly. But it's a good title. I think I'll keep it. 

How did comics first enter your life?

I used to read Archie comics when I was younger. Then, in high school, there was Sandman and stuff like that. I stopped reading comics for a while, and then I started working at Vertigo.

You’ve said you always knew you would end up in New York. Why’s that?


My parents grew up in NY; they followed my grandparents when they moved to Florida. So I grew up with what I guess you could call a New York temperament. The kids made fun of me because of the very slight accent I had, because my mother kept her accent. But yeah, I didn't really fit in in Miami, and NY was just a natural fit. I've been here sixteen years. Who knows where I'll end up next.

How would you describe what you do?

My official title is assistant editor. I work on the graphic novels that Vertigo started putting out about three years ago, under the purview of Joan Hilty and Jon Vankin. I oversee a lot of the art, the balloon placements, and of course making sure everything looks and reads the way it's supposed to. I also deal with all of the talent. I've made some very good friends this way.


Why did you get into editing?


I've always loved books and reading. Editing was just sort of a natural fit. It's funny, whenever I run into people who knew me growing up (which happens a LOT), they are never surprised that this is what I do.


Many editors also love writing. Are you one of them?


I used to be one of them. But I had this job as a literary scout, and we would get submissions all the time. And they were bad. Like, a new level of bad. And that's when I realized that maybe being a writer is not for me.


How closely do you work with the writers and artists attached to the titles you edit?


I like to think I work with them closely enough to really get the essence of what they want to do out of them, but still allow them to have their vision. Does that make sense? I call and email and discuss at great lengths various aspects of scripts. I want it to be perfect, but still be a reflection of the creative team. I mean, that's who it's all about. Well, and the readers, but you know what I mean.


Have you ever had to ask for a complete rewrite of a script?


Not a COMPLETE rewrite. But changes. Lots of changes.


How did you hear about Womanthology?


As with most things, I read about it on Twitter. Yay social media. It sounded like an awesome idea. I like awesome ideas. So I volunteered. 

I will only be editing. Unless they want me to draw stick figures. I draw a mean stick figure. 

Womanthology isn’t your first anthology; you also worked on Vertigo’s Strange Adventures. Do you prefer anthologies to standard comic books?


Working as extensively as I have on the graphic novels, I like the break that anthologies give. Plus, it's a challenge for everyone: how do you tell an amazing story in a very limited number of pages.


Finally, what would you say to the aspiring creators trying to break into the comic book industry?

If you're really serious, don't give up. You will hear "no" a LOT. Take time to figure out what your problems are. Have other people read your stuff. Ask questions. But don't give up. It's not easy. But then, nothing worth doing in life ever is. 

In honor of the show that inspired this blog, we'll end with the questionnaire developed by Bernard Pivot:


What is your favorite word?
 
All of them.


What is your least favorite word?

I don't have problems with any words. I think that is key to being an editor.

What turns you on?

Intellect.

What turns you off?

Doucheyness.

What sound or noise do you love?

I have to have music playing all the time when I work. So maybe that?

What sound or noise do you hate?

Screeching children.

What profession other than your own would you like to attempt?

Baker or pastry chef.

What profession would you not like to do?

My mom always told us money's money. But I'd go with garbageman, due to my fear of rats.

If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

ummm. 


Can't get enough Sarah Litt? Check out her tumblr page at http://artandcookies.tumblr.com/


Secret Adventures is out in stores now and definitely worth a look! Get to it!

Mariah Huehner

One of the secret weapons of Womanthology is Mariah Huehner, editor and writer for IDW Publishing. She's worked on several titles, including The Last Unicorn and the upcoming True Blood. Best of all, she gets to hold up a comic in a comic book store and point out her last name on the cover.

 When did comics first enter your life?

Comics of some kind were around me most of my life. My father traveled to Japan a lot and he would bring back Manga, stuff like Lone Wolf and Cub. He would also take me and my brother to the local comics shop once a week where I kind of poked around, trying to find stories that I connected to. I tried out a lot of books: X-Men, Spawn, Wonder Woman. I liked aspects of them, but they didn't quite...click. 

At about 13, I was already a story nerd, reading several prose books a week, and I was wandering around the shop, all teen angsty, and looking for something different. And I found it with Death: The High Cost of Living. That's still one of the most influential works in my life, I think. The story and the art continue to be one of the most perfect combinations, and the character of Death remains one of my favorites.

How did your career get started? 

When I was in college, at SVA for Illustration, I saw a sign by the job office about internships at DC Comics. I was a sophomore at the time, and while I knew I wanted to be an artist, I also knew it was a tough field. I loved comics and I thought, well, Vertigo is there. Maybe there's an opening and maybe I can learn more about the editing side of things. As it turned out, there was and I did. I ended up interning there for a year, working on everything from Transmetropolitan to Preacher as it wrapped up. Some of my ballooning is in the final issue. Everyone there was really fantastic and I learned a ton. 

When the internship was up I thought that would be it, and I went about the business of my last year in college. After I graduated I went back to visit the folks I'd worked with there, and about a month later I got a call asking if I'd like to interview for an Assistant Editor position that had just opened up. It was a combination of luck, timing, and having made some kind of positive impression as an intern. And here I am now, 10 years later.
 

You’re known for your work as a writer and editor but you also call yourself an illustrator. 

Am I known? That's a strange thought. If I'm known for anything I hope it's for being a devoted lover of stories. 

Between editing, writing and illustrating, do you prefer one over another?

I don't think I have a preference. I love the collaborative aspect of being an editor, of helping a team realize a story, of basically shepherding it along. I love writing for all the moments you get to create with dialog, and being so hands on with a story. And I love illustrating, creating something strange and entirely visual. I see them all as being a part of telling stories, which is something I feel very lucky to be a part of.

 

Is it frustrating being a writer in such a visual medium?

Honestly, no. I've been incredibly lucky to work with the artists I have, who I can talk to in detail about the visual needs of the stories I've told. I try not to be a dictator, of course, and let them interpret the script how they see fit. You have to trust the people you work with. 

One of the biggest pleasures of working in comics is writing a script and "seeing" a page in your head, and then getting something that still has all the elements you wanted, but is completely different from what you pictured, and realizing the artist interpreted it so much better than anything you were thinking of. I love that. 

You're very active on IDW Publishing's forums. Has fan input affected the series you’ve been involved in?

I personally care that the readers of a book I'm working on know that I care about the story as much as they do. That I respect how they feel and that, even if we do things they don't like, we're doing it for a reason. Other than that, you have to tell the story you believe is worth telling. No two fans want the exact same thing so you can't really let that influence you. That said, criticism is important and you have to be open to it if you want to evolve as a creator. 

I've had some lovely interactions with fans and I value their support. Without them, the stories would go unread. All I can hope is that I've created something, or been in involved in something, that they connected to. If I've done that, then I'll consider it successful, whether it's one person or 100.

Would you rather work with established titles, like Angel, or create original worlds?

At the moment, I've only worked on established works and it's been incredibly rewarding, challenging, and amazing. You are limited when you play in someone else's sandbox. But there's something really appealing about that, about trying to get as close to the original works tone and emotional moments that the audience "feels" like they're getting those same characters and stories in a different medium. It's hard as hell but worthwhile.

In some ways doing your own work is scarier, because you're responsible for every aspect of that world. You make the rules and, technically, you can break them all. That's a lot of freedom. You can't hide behind someone else's characters and rules, you have to build your own, set your own boundaries. I think some of the best work comes from having limits, and no matter what, you're putting something of yourself into any story you do.

I'm hoping to work on something that's entirely mine soon, but it's daunting. I've liked having the framework of someone else's world to keep me reigned in. Still, I have a ton of ideas bouncing around in here and I'd like the chance to explore them and, story deities willing, find an audience for them.

First Angel, now True Blood. What’s with you and vampires?

I've often thought the very same thing. How did I end up working on such iconic vamp tales? I mean, between the two you have a world created by Joss Whedon...and another by Alan Ball. That's kind of insane, when you think about it. 

I still don't know how I ended up working in both, with such important vampire characters. It's possible my gravitation towards the horror genre had something to do with it, though. We also don't seem to be able to get enough of vampire stories as readers, they continue to compel and interest us, and there seems to be an endless variety of stories we want to tell about them. To me, I think it's a way for us to work out our own existential dread. Vampires are beautiful and immortal...but they have to drink blood to do it. There's always a down side. And I like exploring that.

How were you introduced to Womanthology?

I had the privilege of working with Renae DeLiz on The Last Unicorn graphic novel for IDW, and she contacted me about the project. She'd already gotten a huge amount of feedback and interest, and since we'd worked together, she wanted to let me know about it so I could get involved. I was honored she asked me. I think the world of Renae. She's incredibly talented, sweet, and wonderful to work with.

What about Womanthology caught your interest?

Womanthology is about showcasing women creators with different levels of experience, from Big Names to unpublished newcomers. The goal is to show the breadth and variety of what women are creating, right now, and how important that is to this industry. Since all proceeds will be donated to charity, it's also a project being done out of a love for the medium and a desire to give back. That's a wonderful combination.

Will you be writing for the book, editing, or both?

Both. I have a story in mind that I may or not draw as well as write (my visual storytelling is rusty). I volunteered to edit along with two other editors, because it's such a fantastic project and I know how important it is, especially for those just starting out, to get positive encouragement and feedback. I've been very lucky in this industry and this is a way for me to encourage other girls and women to be involved, too.

Finally, is there anything you’d like to say to any writers struggling to break into the comic industry?

It's worth it. Whatever you're doing, if it's a story you feel is worth telling, then what you're doing matters. It's important. Don't give up, don't be too hard on yourself, and don't ever stop doing what you love. Life is too short. 

In honor of the show that inspired this blog, we'll end with the questionnaire developed by Bernard Pivot: 

What is your favorite word? 

Aardvark.

What is your least favorite word?

Ugly.

What turns you on?

 
Stories, stories, stories, with great characters and amazing arcs, that make you feel.

What turns you off?

Hate, especially the thoughtless, ignorant, bigoted sort.

What sound or noise do you love?

Ocean waves crashing on rocky shores.

What sound or noise do you hate?

The tense silence after someone has said something awful and you don't know if you can find your way back from it.

What profession other than your own would you like to attempt?

Acting. I loved it as a child and I wish I'd kept it up.

What profession would you not like to do?

Politics. It seems like you'd lose all hope. 

If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

You were right, I kind of screwed up. Let's fix it. Also: how about some tea?

Catch Mariah's upcoming True Blood series this July from IDW Publishing. Read the "official" press release at http://www.idwpublishing.com/news/article/1156/

Want more Mariah? Check out her blog on blogspot! http://squidygirl.blogspot.com/