Catching a Vision Interview 002: Joshua Williamson
Catching a Vision, the weekly column on Comic Related from C. Edward Sellner, Founder and Creative Director of Visionary Comics Studio, provides practical guidance on how to break into the comics industry, as well as insights into this medium we all love. With resources you can order online, interviews and debates with comic professionals, and online workshops, this is your best introduction into the wonders of creating comics!
As promised, Catching a Vision is going to generously sprinkle in bonus columns featuring in-depth interviews with a wide variety of comic industry professionals, ranging from creators, to retailers and from new, up and coming talent to industry legends. Part of the goal of these interviews will be to give room for others to share their journey in the world of comics and with it, their wisdom and wit.
Here we are again, with another pulse-pounding interview with one of comics' up and coming talents! This round we catch up with none other than Joshua Williamson who recently made his debut at Image / Shadowline with his all-ages title Dear Dracula, one of the premiere all-ages books in Shadowline's Silverline book imprint. But he isn't stopping there! More recent focus has been on his adventure series Johnny Monster that debuts in finer comic shops everywhere in February, and his next in line, Overlook, following on its heels this coming April! You may also have seen the recent Press Release about his Desperado series Necessary Evil being optioned by Cartoon Network for development into a fully animated series! Not bad for a fairly new guy huh?
CES: Josh, first thanks for being willing to do this interview. So, since you're still something of a new kid on the block, let's first find out about Josh Williamson, the writer...
When did you first think about becoming a writer and at what point did you decide you wanted to write for comics specifically?
Josh: Honestly, I don't remember a time when I didn't want to work in comics. When I was a little kid I really had no idea of how it all came together, but I knew I wanted to be involved somehow. Somewhere around the 3rd grade I started to put together the process, knew I wanted to write and I started writing short stories. In 5th grade a bunch of my friends and I put together our very first pitch... we didn't know it was called that at the time, but we had art, design, story and a cover. In this little group I worked as an editor. Hell, even my 5th grade year book says "Future Career: Comic Book Editor". My little 5th grade creative team and I went down to a small convention in hopes of showing our stuff to a comic book company and getting jobs. No joke. Didn't work out quite like we planned, but I learned a lot from that one early experience. After that all the other guys got interested in other things but I kept my aspirations for working and writing comics.
CES: When did you make a solid commitment to it?
Josh: Sixteen, which was when I knew for sure that it was what I wanted to do and nothing was going to stop me. I was a creating and writing machine. I would write short stories and then make crudely drawn covers for them, and on the back of the cover I would attach note cards with a synopsis of the story. (Little did I know I was just preparing myself for writing and putting together Diamond solicitations.) The hardest part was getting any info on the art of writing, my classes in High School were so formulaic and stifling creatively I knew I wasn't going to get it there, so I turned to how-to books, people at conventions and eventually the internet.
CES: When did you think you were ready to actually start submitting?
Josh: Eighteen. Or so I thought. Haha. I was young, cocky and thought I could take over the world. I started submitting a few years after that, but I hadn't seen the big picture yet and didn't realize how hard it really was. I had a lot to learn, but once I accepted that and started learning, I found I was a quick learner. So I'd really say around 2005 or 2006, when I was twenty-five. That's when I think I was REALLY ready.
CES: When did submissions pay off in your first published work?
Josh: I did a mini comic back in 2004 called Kid Justice that was picked up to be an online web strip on Komicwerks, and while doing that I learned about working with other people. Then came the big one. Necessary Evil with Desperado. Stephan Nilson (creative director for Desperado Publishing) saw the book at the San Diego Comic-Con in 2006, and that lead to me getting the series with them and pretty much giving me my big break.
CES: Did you think each step in the process from trying, to being published would take as long or be as involved?
Josh: Yes and No. At first I had no idea what was all involved. It's not a quick process. Necessary Evil was picked up by Desperado in 2006, the first issue came out in October of 2007. That was a big eye opener for me, and showed that these things just take time. Now, further into my career, it goes much quicker, but that first experience showed me that getting into comics is not a get rich quick scheme, it takes commitment and patience.
CES: Give us an overview of what you have had published?
Josh: Whew, well I did a lot of self publishing in my early days of trying to get work out there. I did: Plan B, Gentleman Zombie, Kid Justice and a few mini comics and a few very small press anthologies. Necessary Evil was the first book I did that was picked up by a publisher, it has nine issues out so far, with the tenth issue being the last until we re-launch with a new format later this year. Dear Dracula was the first book I did with Shadowline/Image. It was an all-ages hardcover that launched Shadowline's Silverline imprint. Now, with Shadowline, I have three issues of Johnny Monster starting in February and three issues of Overlook starting April. Thankfully I have more things planned for 2009 and 2010.
CES: Tell us about some of the highlights for you, what paid off, what made you feel good about things, what helped?
Josh: Every step has been a highlight. Every time I have felt like I moved forward. When editors or other creators told me they read and liked my work. Getting the email that Desperado was going to publish Necessary Evil. Getting the "ding, ding, ding, we have a winner" email from Jim Valentino that he and Kris Simon loved Dear Dracula. Writing Firebreather in issue two of Johnny Monster. Working with the artists that I've been lucky enough to work with. Some other big highlights I can't talk about yet, but there are some good ones. I'm a big believer that every time you finish something you have the potential to walk away having learned something regardless of the outcome. Keeping in line with that train of thought, everything helped.
CES: Since we want to be honest and this column focuses on helping aspiring creators, can you also share some of the trials and challenges you've faced? What mistakes or missteps do you regret? What were some of the biggest stumbling blocks or challenges for you to overcome?
Josh: I have no regrets and I'm happy where I'm at with my career right now, BUT sure I made mistakes. Everyone does when they are starting out. I'd have to say my biggest, which is also pretty broad, is thinking too big in the beginning. Back when I was eighteen I wanted to do these epic stories that could become franchises. I know now that I should have just been focusing on smaller stories. Short ones. One shots. OGNs. Three issue mini-series. I was also really into doing books in color. I was obsessed. I just thought I had to do all my books in color, there was a road block in my head that wouldn't let me even consider doing a book in black and white. What's funny about that is that I love black and white comics. Love 'em. So back then I wish I had just done smaller, black and white books to get my work out there. Also, I knew how hard it was to produce a twenty-two page comic, but what I didn't realize was how hard it was to produce another twenty two page comic AGAIN just one month later. So I have a bunch of number one issues with no number two's sitting around because things just didn't happen the way I wanted. I wish I had worked on the science of the pitch sooner, really gotten a better idea of how to make it work and to submit more of those instead of creating my own miniseries. I should have been just trying to get my work out there for people to read.
CES: Looking at other parties now, publishers, co-creators, etc. who have been the highlights, who do you want to thank and praise for help on the journey and what did they do for you or with you to get such praise?
Josh: So, so many. Everybody at Desperado bent over backwards for Necessary Evil, especially Joe Pruett and Stephan Nilson. Jim Valentino and Kris Simon have been great at Shadowline and both have got my head in the right place in regards to how the industry runs. Jun Goeku and Mike Wellman at Comic Bug in Manhattan Beach have been huge supporters of my work.
I met John Layman back when he was still the editor for Wildstorm and I sent him my thirty-page StormWatch pitch and he wrote me back telling me I was crazy and he would never ever read it. Haha. That lead to some interesting conversations about what I was doing wrong.
Dustin Nguyen, the current artist on Detective Comics has been a big help in introducing me to people and again, giving me insight on the world of comics and how to break in. I met Dustin right as he broke in with Wildstorm and I got to watch him climb the ranks at DC Comics, it was definitely inspiring.
Jason Ho, the assistant art director at Bongo has also a huge help; he is the creator I probably confide in, run my ideas and stories by the most. Being a great creator himself he is very honest with me about what he thinks of my work, and where I'm going with things.
Marcus L Harris, the artist on the first four issues of Necessary Evil, was the first artist to draw exactly what I asked for in the script and take it to another level at the same time. It was really cool to write what I thought was going to be an impossible scene and then to see it drawn better than I saw it in my head. That made me want to write something I thought might be even MORE impossible. Because of that, I believe that was when I took my hugest leaps as a creator and writer.
Every artist I've ever worked with has taught me something along the way including, J.C. Grande and Alejandro Aragon to name a few. And of course, Vinny. Vicente Navarette is the artist on Dear Dracula and was the inker on the first four issues of Necessary Evil. The guy is one of the hardest workers I know and helps keeps me honest. Makes sure I always do my best and that I don't lose sight of what's important. I might be leaving people out, but there have been a lot of people who have helped me on my journey here.
CES: Without necessarily naming names, any stories of problems you hit with people in the industry? Any words of general caution or reflection to give to other aspiring writers out there to help them avoid the same pitfalls?
Josh: I'm pretty lucky that I've gotten by without any real true horror stories. Nothing beyond the casual haters.
My advice right here for other aspiring writers is to do the job. Don't rush, but get it done. Work on it every day. Know where you are in your career. Don't live beyond your means. I know a lot of creators that think they have nothing to learn and that they are amazing talents even though they have haven't done much, if anything. It's not easy, don't act like it is. Everything you do needs to be the best and greatest work of your life up till that point. You gave and did your best. If you didn't, what the hell are you doing then? Because if you half-ass it or rush it, people will see it. I know this because I've been guilty of all these things at one point or another, but now I know how to avoid them. Or so I hope. ;)
CES: Fill our readers in on your most recent and upcoming work.
2009 will be a busy year, but in early 2009 I have two new books coming out.
Johnny Monster is about a kid who was raised by monsters and now fights them for a living. It starts in February from Shadowline/Image. JC Grande is the artist on that.
Then I have Overlook (also from Shadowline/Image), a crime book about an ex-cop who makes a deal with a mob boss going straight to infiltrate an illegal fighting ring in hopes of finding the mob bosses stolen "rainy day money". His payment? The mob boss will have anyone of the ex-cops choosing killed. Alejandro Aragon is the artist on that one. Overlook is really important to me, because it's something I've been wanting to write for years and knowing it's finally coming out is really awesome.
Here are the official solicitations for both:
Johnny Monster #1 (of 3)
Story by Joshua Williamson
Art and Cover by J.C. Grande
32 pages FC $3.50 February 18
Johnny Monster is the world's foremost super-star monster hunter, but what the world doesn't know is that he was raised by the same monsters he's "hunting"! Now, in order to save his adoptive family...he must fight them! Johnny Monster mixes Tom Strong with Godzilla movies by way of Tarzan and the Phantom to create a compelling and different monster mash!
Overlook #1 (of 3)
Story by Joshua Williamson
Art and Cover by Alejandro Aragon
32 pages BW $3.50 April 8
Mickey "the Nickel" Nicholson will do anything for a buck. A dirty prize- fighter, Mickey is hired by a mobster gone straight to infiltrate an underground boxing outfit in the small corrupt town of Overlook. His goal: to find the mobster's stolen "rainy day" money and kill his wayward wife. In return, the mobster will assassinate a victim of Mickey's choice.
CES: Why should people buy these books?
Josh: If you like crime stories, Overlook is for you. It's got it all, hot dames, fist fights, shady characters and inner monologues, everything a crime fan could ask for. You'll notice that Overlook is a black and white book; I finally got over that road block. And with Johnny Monster, if you like action and monsters, you cannot miss this book.
CES: From the list of your most recent works, you are obviously a writer thinking outside the bounds of spandex and hitting a number of very different genres, from all-ages books, to big time adventure, to street level grim and gritty. Is that purposeful, or just a reflection of your interests? What would you say to aspiring writers concerning this? Should they try different genres and what should they do to help them in that?
Josh: It's a reflection of my interests. I like a lot of genres and like I said before, I want to do it all. Doing these multiple styles has really helped me find my groove. Find what I like to write and how I like to write it. I think that writers should do what they enjoy, but not be afraid to try new things. Don't get stuck in a rut doing just one type of book, challenge yourself to do different styles, you'll learn and grow as a creator because of it. If you think a certain genre would be hard to do, give it a try, you might find yourself loving it.
CES: Okay, coming back to the main focus, what are your future aspirations? Do you want to continue to focus on creator-owned projects or looking more to be a freelance writer or a bit of both?
Josh: Both. I just love to write. I have a few bigger things coming down the pipeline but I'd like to take some time to just write. Normally with my books I act as a project manager of sorts and I'd like to not do that for a bit since it takes up a lot of time and really focus on just writing. Thankfully, I have Kris and Jim at Shadowline to deal with a lot of things on my current workload.
At the end of the day, I'm just like I was when I was eighteen; I still want to do it all. I have two movies scripts I'm working on, a novel and some other really cool comic scripts. And of course, I'd love to work on some of the bigger name comic properties.
Look, I love comics. All of 'em. Every last one and everything about them. The medium is amazing and there are so many characters and formats I want to work in. Today, I have this uncontrollable drive and flow of ideas coming into my head and I just hope that I can get them all down on paper and out there for people and myself to enjoy.
CES: 2008 saw a bit of controversy in the comics industry with the so-called Kirkman manifesto and Brian Michael Bendis' response, focusing around the question of Creator-Owned verses Work-for-Hire. What's your view on things as a new, up and coming writer who is still struggling to make a name for yourself?
Josh: I'm not 100% caught up on the whole back and forth between Bendis and Kirkman, but I think that everyone should do both. Sure, the industry needs more creator-owned material, but that shouldn't stop anyone from working with larger publishers. You should do both.
I know that I'll always be working on my own creator owned or "new content." I always have ideas and stories I want to do on my own, and I doubt that will stop once I'm working with the larger publishers. One of the beautiful things about comics is that if you put your mind to it, you can pretty much do whatever you want. Self publishing is much easier now, and it seems more independent companies are taking risks.
I do feel that Kirkman is right about the fact that creators who went the creator owned route had longer careers in comics and I think that's a good sign for someone like me who knows that he will always be doing both. The thing I thought was funny, was that I felt at the time that Kirkman's video was released it was aimed at creators already working in the big leagues, but it became this rally cry for all these creators who were just starting out to do their own thing instead of trying to work with Marvel or DC. I wonder how that will work out in the next few years.
Look, of course I want to work with the big league publishers; I grew up reading these characters and having so many stories for them that I know I will just have to write them. I have that passion for these characters that creators I have tons of respect for created and to add to that is just amazing. Batman, Superman, Hulk, you name 'em I want to write them.
CES: If you could give advice to any aspiring writer, what would be the most important thing you would tell them to do? What would be the most important thing you would tell them NOT to do?
Josh: What people tell you is true. You need to write everyday and give it your best. Cut the shit. Do you want it or not? Is this really what you want to pay the bills with? Because that is a very important part of it. Can you stand by your work, let it speak for itself and have it help you pay the bills? The only way that will happen is if you work on it every day.
Ask questions, if you don't know, don't act like you do, find out. Learn!
Which brings me to the "What not to do?" Like I said before, don't live above your means. If you are a creator just starting out, act like it. If you haven't done anything yet, or have no work to show, don't act like you're somehow on the same level as the people who do have work to show and have been busting their ass for years. In the long run, you'll get there; just have to work for it.
Oh and don't put the cart before the horse. Just get that story on paper and the script typed before you start worrying about what month the book ships, the movie deals, paper stock etc, etc.
Just do the work. Write, write, write.
________________________________
Josh, thanks for the time!
C. Edward Sellner is the co-founder and Creative Director of Visionary Comics Studio, a studio that within its first two years has drawn high praise from the media and attracted the attention of legendary creators in the comics industry. They have been digitally and print published in the mainstream market and their creators currently work with over a dozen different publishers. Their work has been featured on television news shows, radio programs and internet podcasts as well as featured in every major comics news site online.Contact him directly at cedwardsellner@aol.com
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