More with Mike Gagnon, Author and Artist

Mike Gagnon is a distinguished author and comic creator whose genre defying work has been featured in books, comics, film, and television. He's known for breaking the expected rules of genre, and he likes to use genres such as horror, scifi, and drama to explore common human experiences.

Last month, I interviewed Mike about his writing and art in general, and with particular emphasis on his new crime noir novel, Skidsville. Check out that interview here.

Mike has a lot of projects going, and today he answers a new set of questions, focusing on his satirical novella called Sex and the Circus. If you want to see samples of his work, you can also find him on Wattpad.

1. What inspired you to write Sex and the Circus?

Basically, it's my commentary on things I've observed in North American society. I wanted to tell a story of someone who must learn to assert and value themselves, while struggling with undeserved obligation. Patty is an amalgamation of several women I've known in my life, who I've often seen first hand, often struggling to help others without being appreciated for it. There are still a lot of women in modern society who go from home, to college or university, to marriage and may never assert themselves and create their own independent identity. In fact, the gender doesn't really matter that much. I think many men and women both struggle with some of these feelings and situations. I choose to write the story around the character of Patty, because I think that most people, male or female, will find it more relatable.

2. What are the challenges when it comes to writing a novella rather than a work with both writing and illustration?

I think the challenges mostly come from form and function. Some authors struggle with novella and short stories, whereas I am just the opposite. I don't believe in wasting the reader's time with unnecessary filler. I write a clear concise outline and then cut anything unnecessary or redundant. I don't believe every point I'm trying to make should be hammered into a reader's head 10 times. That's really the only reason that Sex and the Circus is a novella; it just didn't need to be larger than what it ended up being. When it comes to graphic novels, words and images together, the challenge is format learning how to write a properly formatted script and apply that knowledge. You must play film director in your head and not only tell the story, but describe gesture, body language, and facial expression in a way that is understood, especially if someone else is drawing it.

3.When you come up with an idea for a new book, how do you decide or know if it will use words or visual artwork or both?

My roots are in comics and graphic novels, and I'll always love them, but, for me at least, the process of producing a comic is more expensive and time consuming than a novel. Every idea I have, I get a feeling very early on as to whether the concept would be better suited to novel or graphic novel format. Many ideas would work for both, so I'll make a judgement call based on scheduling and time constraints. If I know my schedule doesn't have room to complete an illustrated graphic novel, I'll produce it as a novel first, and then revisit the concept when I have time in my schedule to illustrate it or gather a couple of people to help produce it. There are some projects I just see as comics, and those, I'm holding on to for now in the hopes that I'll get time to draw them, but they may end up seeing life as novels or novellas first.

4. In writing a satire, how do you strike a balance between being funny and possibly going too far?

I live by a rule used by many comedians. There is no too far. Just when you're at the edge where you're becoming apprehensive and uncomfortable, that's where you should be. If you're ever feeling uncomfortable while reading one of my stories, it's because I want you to. That scene was written to make the reader face something, or see something I'm trying to say. Often the message is that something isn't as scary as is commonly believed or that characters can make unexpected decisions that you could also make in your own life.

5. What have you been working on lately, and do you have any projects planned for the new year that you're especially looking forward to working on?

My next book is already in the bag. It's a story about abusive relationships and mental illness, and one of the characters happens to be a vampire. It's expected to release on Valentine's Day 2017. There will be more info about it released after the Christmas holidays. It's a full-length novel, and I'm really looking forward to releasing it and getting people's reactions. It's a close personal project, and I'm dying to tell people about it, but I can't yet. Of course, I love my characters in Sex and the Circus, too, and I believe the story carries a lot of important messages and life situations, humorous and dramatic, that readers will identify with. Also, I'm currently producing my next novel that will be coming out after that. It's going to be a statement about corruption in political and financial circles, told as a Western. I tend to gravitate mostly to genres of humor and horror, but I love all genres, so I make a concerted effort to switch things up with every book. I had had no shortage of horror concepts in the last couple years, but I don't want to perceived as a horror writer, but an author that can tackle anything. Because of that I purposely alternate between other genres, like drama, humor, true stories, western and sci-fi. I already have the concepts I'll be working on for the next couple years plotted out, so there will be a lot of fun and entertaining stories for me to share with readers over the next couple years, including a few horror stories. I'm really looking forward to the stories I will get to share in 2017.

Thanks again, Mike!

Meet Mike Gagnon, Author and Artist

Mike Gagnon is a professional author, illustrator, and instructor. He's been creating novels, comic books, and graphic novels since 2000 and has worked for companies such as Marvel and Dark Horse. He also teaches cartooning and writing classes for all age groups at various schools and colleges in Canada.

Mike's latest book is a crime noir called Skidsville. Learn more about him and his work by visiting http://www.gagnonwrites.com/, and see samples at https://www.wattpad.com/user/MikeGagnon.

1. Have you been interested in both writing and drawing since you were a kid--and when did you know you wanted to build a career in writing and illustrating?

I got into writing and drawing early on, especially at first. When I was about five, I discovered comic books. They grabbed my attention instantly and I had a passion for them. I started tracing characters into new stories and making my own. I was too young at the time to understand that I was also storytelling. I knew right away, from that early age, that I wanted to work in comics and creative ventures.

2. How did you come up with the idea for your latest book, Skidsville?

I wanted to tell a gritty crime story, but I wanted to tell it from a different perspective than usual. Most hardboiled crime noir features a protagonist that's a homicide investigator, or the stereotypical private eye. I wanted to take a look from the point of view of a criminal. He may be a bad guy, but readers can empathize to a certain point that he is a bad guy for the right reasons. As bad as Joey (the protagonist) is, he's nothing compared to the level of corruption and callousness of the antagonists that surround him. He's nickel and dime to the "real" criminals. There's some underlying themes I wanted to explore, basically the idea of a story without a "good guy," just various layers of "bad," but also that things and people are not always what they appear. The "hero" of a story may have to atone for their actions. I originally wrote it as a graphic novel script, but time and budget put it on pause for awhile. I did however get time to adapt it into a novel, which is the book I'm promoting now. Readers can find it at finer book retailers or their favorite online bookseller. Retailers can get it from Ingram Distribution.

3. What has influenced your definition of noir? Are there particular novels, comics, films, etc. that have especially inspired you?

There's a lot of things. Frank Miller's Sin City is a big one, Will Eisner's classic work on The Spirit, as well as the film adaptation. Bruce Willis movies, like Last Boy Scout, Die Hard, Last Man Standing. I'm currently working on the graphic novel version of Skidsville again. The graphic novel will be black, white and red, which may lead to some comparisons to Miller's Sin City work, but I don't think there's any similarity beyond that. I think Skidsville is its own thing. It's an idea, doing black, white and red, that I've had for a long time, before I discovered Sin City, but over time has grown into being also a nod, or homage, to Miller's work. There's also a pretty handy book I use in the classroom from time-to-time called How to Draw Noir Comics by Shawn Martinbrough.

4. What are some of the challenges for authors/artists in presenting visual work in an eBook format compared to print?

Well, let me tell you, it all depends on platform. eReading still isn't super image friendly, but there has been progress. Kindle, for example, has a comic creator, for creating and formatting comics for Kindle readers and apps. It can even allow you to set up panel-by-panel reading instead of page-by-page. It isn't perfect, mind you, and it can be a challenge when you want to set up reading for a page with a very dynamic or original layout to the art and panels, but it's better than nothing. Kindle has special creators for children's books and text books now, too, so they are recognizing the unique needs of each format. Comixology also works well and although it is now owned by Amazon, it seems to have a bit smoother system for panel-by-panel. Things like Smashwords can be great for getting your eBook distributed to multiple channels, but they still aren't set up and compatible with image heavy books in a lot of cases. DrivethruFiction/DrivethruComics is a good option for simply uploading a .pdf file that people can download and read.

The challenges are different for comics with print. In eBooks, you're struggling to make a sensible flow with panels and software programming to ensure readability, and with print you need to watch safe areas, margins, and bleeds so nothing important gets lost when the book is trimmed to its final size. The content is printed on larger paper and then cut to size, so if your pages aren't sized or aligned right, you can lose parts of your art that you didn't want to.

5. As someone who also works as a teacher, what's your best advice to those who want to learn to write and/or illustrate comics and graphic novels?

Never stop learning and never fear failure. We get obsessed and worried about our image in this modern social media age. Share your work and make mistakes. No one is perfect, and making mistakes is how you learn and improve. There will always be people who are just mean and comment and don't like your work. It will always be. Ignore them, they're not worth it. Understand that not everything is for everyone. Some people don't like crime noir stories. That's fine. It doesn't make them, or me, right or wrong; they just have their own taste. For every book or drawing or comic, someone is going to like it and get what you're trying to say. That's who it was for, the people who get it and enjoy it.

There are also some great and helpful books out there for people to help them get started in all aspects of comics and writing: The DC Comics Guide to Writing for Comics by Dennis O’Neill, Making Comics by Scott McCloud, The Business of Comics by Lurene Haines, Perspective: Made Easy by Robert Lee, and a ton more. You can find more books that I recommend as well as my own books and articles on the subject at www.mikegagnon.ca.

Thanks, Mike!

Introducing Living in Brüklyn by Joe Bloch

Joe Bloch is an artist who lives and works in Brooklyn, New York. He has been running a Kickstarter campaign to fund his latest product, Living in Brüklyn, which is a series of paintings, products, and prints offering a unique perspective on Brooklyn with an industrial edge that is also influenced by street art, impressionism, and graphic design.

But the best way to get to know his project is to check out some examples of his work, like these paintings.

The Kickstarter campaign launched in mid-May and will run through June 13, 2015. You can also learn more about Joe Bloch and see lots of samples of his work at www.creativebloch.com.

The premiums for donors to the Kickstarter are really cool and include original artwork, such as these signed prints.

The paintings in this series are made over a long process involving many layers of acrylics. The days-long process creates a unique depth of color.

Really, the more I look at Joe's work, the more I wish I could see it in person. He has over 25 years of experience as an artist, and his knowledge of Brooklyn's overlooked buildings, cars, and other aspects of the city come through in a bold and intriguing way.

If you're looking to support the work of a creative and independent artist, check out this Kickstarter!