PUSH/PULL Seattle Gallery

If you live in Seattle and have any interest in comics and underground art, you likely already know about PUSH/PULL, an indie-arts gallery and sometimes cartoonist lair.  They are located squarely in the heart of Greenwood, at 85th & Greenwood.  (8537 Greenwood Ave N, underground in the Greenwood Collective, to be exact.)

Comic Life / Between Two Worlds

Maxx Follis, Director of Push/Pull
Gallery, accepting art this afternoon for
the Comic Life/Between Two Worlds shows.

Push/Pull presents a number of monthly shows, and this Friday, August 14th, I'll be one of 20 artists to present work in Comic Life.  The work presented includes original art that was actually used in the creation of a comics story or art related to the cartoonists art and process.  You can find the event page here.

I am more than grateful to have been invited to the show and I can't wait to see what everyone is dreaming up to display.  One of the works I'm showing is my first experimentation with M. C. Eschers "Division of the Plane" depicting Patti Smith getting her hair pulled by a crow. 

In addition to Comics Life, Between Two Worlds, a Twin Peaks art show at Urban Light Studios curated by Push/Pull, will be opening at the same time, in a slightly separate space.  The two shows display an amazing array of fine Pacific Northwest Artists.  Check check.

Exterminator City #4

 

Exterminator City #4 happens August 22nd.  Details can be found here.

I've written about Exterminator City before (here).  What is it?  It's one of the only neighborhood comics tabling event I know of in the United States.  Artist and Organizer Seth Goodkind, one of the resident artists at Push/Pull, converts the labyrinthine gallery spaces into a sort of farmers market for local artists to hawk their minicomics, zines and merch of all array.   

There is nothing NOT TO LOVE about Exterminator City.  First, it is professionally organized and promoted.  Second, Seth is going out of his way to outreach to new and diverse creators.  Third, I have literally never sold more books at a tabling event with the exception of Short Run.  This includes some major regional events....people who love comics come to Exterminator City to buy comics.  Art and ideas exchange hands.

But don't take my word for it.  The Comics Journal sang high praise of Exterminator City in Paul Tumey's article covering the first Exterminator City in April of 2014.   The Seattle Underground Comics Scene is Alive and Oozing, shouts the headline.  And it is!   You can read it here.

Kick Start It!  There's a Push on for a bigger, better Push/Pull Gallery

 

Click through if you dare!  And contribute if you will.
Push/Pull Kickstarter here:  http://tinyurl.com/nfju6pr

Push/Pull is growing and evolving in remarkable ways.  They already provide great programming like monthly shows and Exterminator City.  Now they are looking for funds to create a bigger and more luminous atmosphere for underground artists in Seattle.  I encourage anyone who can to toss a coin into the well  to do so at their Kickstarter site here.

 

The Long Arm of Community

 

Max Clotfelter, the mad genius
behind the community-in-a-publication
otherwise known as DUNE.

I had intended to write about two components of the Seattle comics community that feature heavy crossover with Push/Pull's activities, artists and mission.

DUNE is a comics drawing night that occurs every 3rd Tuesday at Cafe Racer in Seattle.  That's right.  NEXT TUESDAY you should absolutely show up with drawing utensils and $2 bucks in hand to be part of DUNE. 

Until then, all you need to know is that you arrive at 7:00.  You draw a maximum of two pages of comics art.  You turn in the art and $2-3 to Max Clotfelter (the mastermind behind the venture) and next month you come back and receive not only your original artwork back but also an anthology of everyone's work from that night.  You can find details here.

I love DUNE to the ends of the earth.  It is too luscious an event to break it down in a few sentences and I will spill A LOT more ink on it in the next month.

SO--look forward to more writing about DUNE.  Also Intruder, a free comics newspaper published and distributed here in Seattle that features a rotating stable of artist who also exhibit regularly at Push/Pull.

Until next week!

C-log posts on comics, publication and community on Tuesdays.

Gone Girl - Origins

The NYT best seller.
Image from Wikipedia.

Sometimes if you begin a manuscript, stamp a title on it and then let it percolate for a decade, someone else publishes a New York Times best-selling book under the same name before you get yours underway.  OK, I'm sure it doesn't always happen that way, but that is what happened to me.

 

 Gone Girl the Prose Memoir

In 2006, I participated in National Write a Novel Month (NaNoWriMo) with the goal of creating a minimum 55,000-word manuscript.  I took a blood oath to complete the project along with two fellow artist and writers.  By November 30th I had written 77,000 words of a memoir outlining the years leading up to and after a friend's death.  I meant it to be an interesting travelogue that just happened to include a tragedy.  

Toast to our lost friends!  Taken on November 29, 2006
after typing the last words of my NaNoWriMo draft.
(It really was that cold in my apartment.)

It was not the Great American Novel, which is forgivable from an unedited manuscript written in 30 consecutive  late evenings.   The process did get the raw material onto the page, though, and--while I pushed the project aside to work on professional projects--it started a process that I hope will eventually lead to a work worthy of the subject.

The 1995 Cover.

 

 

Gone Girl the Poetry Chap Book

The obvious reason for titling my manuscript Gone Girl is that the book included two female lead characters and one of them goes away.  The less obvious fact is that I was falling back on a title I had already used in 1995.  It was the title of one of the poems I used to read on Portland, OR Spoken Word stages and later used as the title of my first poetry chapbook, which is copyrighted 1995.  

One night I was going to perform at Portland's historic Cafe Lena, and I told the poet Douglas Spangle that I was nervous.  When they called me to stage, he yelled "You Go Girl!" and when I walked off after reading he shouted "You're GONE Girl!" It stuck with me.

 

Gone Girl Comics - Then and Now

Gone Girl the poetry chap book also contains my first comic.  It's a four page silent comic that only has two word, GIMP and HEAL, spelled out in sign language at the beginning and end of the story.  Ten years later, I drew my second comics story--an illustration of a poem by David Lasky--and another 5 or so years after that I published my first all-out minicomic.  

Gone Girl, the novel by Gillian Flynn, came out shortly before I put out Gone Girl Comics #1, and I was unaware of it.  When people started referencing it, I didn't pay much attention.  Lots of things share titles.  Then her book sold very, very well and now the movie.  

Page 1 of 4 of my first comic.

I am disappointed, because all of the comics work I've done up to date has been preparation for
converting my initial manuscript into a full-length graphic novel under the title Gone Girl.  I have friends who pseudo-jokingly goad me to sue for the name, since I published first, but there's very little chance Gillian came across my 600-run self-published poetry/comic hybrid, to begin with.  And I'll leave fame-via-litigation to former Jerry Springer contestants er...special guest speakers.

On top of everything else, I've had women roll their eyes at me without even masking their condescension when reading the title of Gone Girl Comics.  Even if it lived in my mind first, and I'm attached to it, some faction from the Court of Public Opinion will always judge against my use of Gone Girl as a title for anything literary.

 

One cover image from the
Real Gone Girl site.
Courtesy Miriam Libicki

 

Other Gone Girls

My Gone Girl is gone.  I've changed the title of my pending graphic novel to Girl on A Road, which is a song by Ferron, suggested by cartoonist Mark Campos.  But it's worth noting that Gillian Flynn just might have lifted the title Gone Girl from a short story of the same name by noir writer Lew Archer.

I'd also like to mention Real Gone Girl comics by Miriam Libicki.  Miriam lives in Canada and creates beautifully rendered and well-written autobio comics about her service in the Israeli army during the second Intifada, among other things.  Though our comics have shared a similar name, I can't imagine a much more different life than mine, and I'm really happy that the whole copyright issue led me to discovering her stories and artwork. Be sure to check her work out here.

C-log posts on comics, publication and community on Tuesdays.

Zine as F*ck

Poster art by Amanda Blix.

How can I NOT write about the Portland Zine Symposium? 

I learned so much!  Mark Campos and I took the Bolt Bus down and rode the tri-met train from downtown PDX to the convention center.  There I wheeled our 20+ pounds of books and clothes through heat and past a Denny's (Woah, they still exist?) to the convention.

To our left was PsychoNotArt, the main progenerator being quite congenial and selling a space love romantic parody comic plus gooey eyeball art t-shirts.  MJ.  He was funny, laid back and an awesome table-mate.  To the right of us was Nada, a Seattle-based zine, the fearless leader of which compiled art and writing by other people.  His role?  To create beautiful objects out of what they gave him.  Zines with felt patterns, antiquated color Mickey Mouse prints inserted inside, AND


Lovely tiny, precious, rediculously cute match books folded up with a poem inside that says "Don't like it?  Ignite it!".  Reminded me of Lisa Gill putting Haiku inside of Hershey's Kisses the first Alburquerque Poetry Festival I attended. Too sweet.  Everybody melted for them.

Jim Joyce, before the haircut?

It made me think of art as object.  My shiny, flat comics may need a makeover.  Maybe.

At the after party at the Independent Publishing Resource Center (Seattle?  Why don't we have this?)  all of the zinesters were well-fed, well quenched and there was a crazy contingency of Chicago artists who kind of haunted me, since I'll be drawing Chicago into my grapic novel.  One gentleman who goes by Jim Joyce read some powerful prose about catholic guilt.  I tagged him to tell him I once read at the Green Mill as a slam poet, and later said "I think I'm too sensitive."  To which he replied "Not if you held the floor at Green Mill with Marc Smith."


Naw.  Marc "Slampappi" Smith is a sweetie.  Yes, the Green Mill is the birthplace of slam.  Check it out.

Rode home on the Bolt Bus again with Mark Campos and I talking about the graphic novel.  Where is the story about female friendship?  Where is the women's version of On The Road?

Is this my Cindy Sherman Film Still?
Maybe so.
True that, though.

The one story I can fall back on I saw first as a movie.  Julia.  Based on Lillian Hellman's novel Pentimento.  Just that one story.  Amazing.  So, There for the grace of God (or whatever you believe in) go I.

In the mean time, Mark took this shot of me preparing for day 2, lacking lipstick and resorting to Sharpie.  When I arrived I got to connect with several very powerful women comics artists--Colleen Frakes, Amanda Blix and again Annie Murphy.  Also met up with legendary slam poetessa Melody Jordan and had my comics enlisted into the archives of the Whatcom County Library.

I love my community.  Until next time.  I'm off to DUNE.



PS--Huge breakthroughs on the graphic novel.  I'll be writing about that next week.


C-log posts on comics, publication and community that publishes on Tuesdays.

Portland Zine Symposium (PLUS)

This week I had planned on writing about why I continue to publish under the moniker "Gone Girl Comics" when there is a salacious New York Times best-selling novel with the same first name. (Spoiler Alert:  I used it first.)

I'll be slinging Gone Girl Comics
with Mark Campos here.

However, I've been gearing up for the Portland Zine Symposium instead.  Fire up your long-neck staplers, ladies and gentlemen!  We're going south.  You can come find me at the Ambridge Event Center, Table 35C.

Tabling, Festivals, Tabling. . . 

I've been publishing comics for two years, and I've tabled less than a handful of events. I've learned to pack lots of water, a handful of snacks, a "bank" of change--even if you do have one of those credit card readers--and maybe a friend who can break you so that you can check out all of the other awesome cartoonists.

Me and Annie Murphy at
Lineworks NW.  

Happily, my first tabling experience was Short Run.  If you haven't experienced Short Run, Seattle's Comix and Arts Festival, it's worth checking out.  I've written about the event before,.  It was packed, shoulder-to-shoulder, throughout the day and I moved more than 90 minicomics.  Phenomenal.

This year, Short Run occurs on Friday, October 31st, and the organizers have moved it to the Fisher Pavilion at Seattle Center, with ancillary events and special guests abounding.  More information here.

Other festivals I've tabled include the first annual Bellingham Comic Arts Festival (BellCAF) and the Olympia Comics Festival.  I also attended Northwest Lineworks 2015 as a spectator, another Portland event, and came home with stacks of books including some by exceptional artists such as Nicole Georges, Hazel Newlevant, Annie Murphy and SO MANY MORE.

Poster for the upcoming Exterminator City.
Poster Credit:  Bunny Lee.

Exterminator City and Other Events.

One of the most unusual and unusually effective tabling events is Exterminator City, a neighborhood comics market in the Greenwood district of Seattle. Organized by cartoonist Seth Goodkind at Push/Pull Gallery, the event is as grass roots as it gets.  And packed.  And I made a mint at the last Exterminator City I participated in.  OK, over $100, which is not bad when you're selling merch at $5 or less for half a day.

Exterminator City kicks up again August 22nd, 2015 and is still accepting applications until July 31st. APPLY HERE!

While I don't have anything on the books after Portland Zine Symposium, I'm setting my sights on the next CAKE in Chicago and possibly LA Zine Fest 2016.

OK! See you at Portland Zine Symposium!

And tune in next week for Gone Girl Comics: Origins.

C-log posts on comics, publication and community that publishes on Tuesdays.

The Grants Game

Gone Girl Comics has been gone for too long.  There's actually some really legit reasons for dropping off the map, but that is a comic for an entirely different day.  TODAY I want to catch C-Log up to speed on artistic developments.

4Culture Art Project Recipient - 2015

 

I will be returning to a weekly blog, not only because I actually love it, but also because I'm now legally obligated to.  No, it's not part of a parole agreement.  I am blessed and lucky enough to have received a grant for 4Culture, the cultural services agency for King County, Washington.  It's in support of creating my first graphic novel, and blogging the process is part of fulfilling the grant.

I want to sincerely thank 4Culture for everything they do.   More about 4Culture, plus a full list of 2015 recipients here.

Danielle Davis of Ladykiller (left) and I and at the I Heart Comics Art Award
Ceremony.  Photo Credit Kristina Moravec.
 

I Heart Comic Art FTW

 

Notification of the 4Culture award came on the heels of Gone Girl Comics winning the I Heart Comics Art award at Emerald City Comicon.  The award is sponsored by female entrepreneur Danielle Davis' promotion firm, Ladykiller, who organizes the contest, raises money and prizes for the awards AND throws a blow-out party to give the awards away.

ALL of the finalists were fantastic.  Absolutely.  The best part about that is Ladykiller works with their finalists all year by curating shows and hosting us at their Emerald City Comicon Booth in 2016.  If you are a PNW cartoonist, I suggest you get involved with next year's contest.  It's been a great experience.

Graphic Novel, I'm Coming For Ya!

 

An idea is just an idea until you secure the resources to make it a reality.  I woke up this morning and realized that the graphic novel is now real.  It's been an idea for so long that having resources, a contract, defined deliverables and a timeline is almost frightening.  Almost.

Graphic novel project binder, with working title, now that
"Gone Girl," my original title for the work, is already in use.

Once I started thinking about a graphic novel in terms of fulfilling a grant contract, my project management brain kicked in.  It's a job now, and for some reason thinking about it that way gives me enough emotional distance to tackle it in pieces and parts.

Today, I created a project binder.  Now it's real, right?  And I wrote this blog.  Next week I'll get down to the nitty gritty of the story I'm about to tackle.

 

Take Away:  APPLY FOR THINGS

 

If you are a creator, research opportunities and apply for them.  Ask for money, for shows, for residencies.  Someone gets them, why not us?  Don't ask, don't get.  

If you are living in Seattle, there's a grant coming up from the City of Seattle Office of Arts and Cultural Affairs.  The deadline is July 22nd and you can find details on it here:  http://www.seattle.gov/arts/funding/individual.asp

I'll post deadlines as I hear of them.  Until next week!



C-log posts on comics, publication and community that publishes on Tuesdays.

The Anthology Game Part 2

I have great news regarding anthology publication this year.

 

In November of 2013 I became determined to get comics short stories published in anthologies.  I figured this would keep me drawing regularly, get my art out there, sometimes bring in money and ultimate make the case for signing a book deal on a graphic novel.  This post is an update on an earlier post about starting my adventures in publishing that can be found here.

I'm working with a super-secret comics collaborator to create a
story for Rock is Not Dead.

My efforts have resulted in acceptances from nine different projects:  one local weekly paper here in Seattle, two United States publications and six international journals.

Here are some updates you might be interested in:

Canadian Anthology "Rock Is Not Dead" is seeking more stories inspired by rock songs!

One of the publishers I am working with - Canada-based 11th Dimension Press - is putting together an anthology of straight-forward prose as well as comics short stories inspired by rock songs.  NOT ONLY THAT, but they will be having independent bands cover the songs and put out an accompanying CD's.  It's a short turn around, but pitch your stories.

Here is the link to the 11th Dimension Press call for submissions.

 

Only 2 MORE DAYS to pre-order The Strumpet.  Eight dollars gets you A LOT of story! 

The Strumpet is an anthology of women cartoonists that publishes in both England and America, and is currently edited by a fabulous cartoonist in her own right -  Ellen Lindner.  It features over 50 pages of work by 18 female artists.

This is Issue #4 of The Strumpet and it is themed around women's friendships.  I LOVE this because so much of what is represented in the media are not reflective of women's voices or actual experiences around friendship.  The story I created for The Strumpet is the most difficult work of art that I've tackled to date, because I had to smoosh dacades worth of friendship into three pages to tell the story of my friendship with fellow female artist and carpenter, Lisa Mei Ling Fong.

Check out The Strumpet Kickstarter page here.   And if you miss out on the Kickstarter, it will eventually be available on Ellen Lindner's Etsy Page.

Free or "Pay-What-You-Can" International Anthologies

While several of the anthologies I'm working with are still in the process of being published, I have works running currently in two publications that you can access for free.

Outre Press out of Norway is a free online journal that features themed issues.  Issue #4 is "Silence" and can be downloaded here.  They ran a super sweet Creator Spotlight for me on their blog here.

While I only did a 1-page illustration for Outre, I created a 17-page rendition of a dark Czech folk tale for Blood Root #3, which also features work by Haan Lee, Ram V and Kishore Mohan.  You can purchase the lovingly designed print edition here.  You can also find free and pay-what-you-can titles from Sawdust Press here. 

Well, there is SO MUCH GOING ON in Seattle comics right now, and so much more in motion with anthologies, that I could keep writing forever.  However, until next post. . .



C-log posts on comics, publication and community that publishes on Tuesdays.

Kickstarting Comics! Release Party For Gone Girl Comics #2

Lots of News...

...at Gone Girl Comics central this last month.

• The Gone Girl Comics Kickstarter campaign closed at 260% funded.  I promised to do a breakdown of my Kickstarter experience, which I'll do at the end of this post.
• So, Gone Girl Comics - Issue #2 will be hot off the press this week.
• I was unable to attend the Short Run comics festival, even though I had been accepted as a participant.  This was depressing as hell, BUT
• I will be debuting the comic THIS THURSDAY, December 4th, at Couth Buzzard Books in the Greenwood district of Seattle.

Gone Girl Comincs - Issue #2 Release Party

The event is actually a poetry reading, called What's The Word, where I'll be performing spoken word, talking about comics and selling books.  If you are in Seattle, come on by, it starts at 7:30.  If you write, bring something for the open mic as well.  I'll be doing a feature set at some point in the evening.

In addition to having Gone Girl Comics Issues #1 and #2, I have copies of Blood Root #3 available.  It features my 17-page adaptation of a Czech folk tale, Jezinkas, as well as works by artists from India, England and New York.

Funny story--both the new Gone Girl Comic and Blood Root #3 have crows and ravens on the covers!  Total coincidence, but it makes me happy.

You can find the full event details here.  I'd love to see you there!
 

The Anthology Game:  Outre Press #4 - Silence

This FRIDAY, December 5th, Norway-based Outre Press will be releasing their 4th issue, FREE online at http://outrepress.com/ .       This issue is based around the concept of "silence" and I was invited to contribute an illustration.  I will have a free postcard announcing the new issue of Outre at my performance on Thursday night.

Outre did a "Creator Spotlight" for me, as well, which was sweet.

I have some good news regarding anthology publication, but I'm going to wait and share it a little bit later.  Check back next week for a full update on The Anthology Game.  (You can read my original post about why I'm engaging anthologies as extensively as I am here.)

So About That Kickstarter...

 

I am incredibly grateful to the amazing group of people who backed the Gone Girl Comics #2 Kickstarter campaign!  I've added a "Thank You" page on my website here.

I feel incredibly lucky that my campaign actually exceeded goal.  My original goal was actually a little too close to the bone to do everything I wanted to do.  

I promised to spill all of my secrets about running the campaign, so here are my insights, having never done it before:

• It's work.  Setting up, running, and following up on the campaign is amazingly time consuming, and it ate up a lot of the energy I had intended for actually drawing!  Theoretically, I could have temped for a couple of weeks and made the same money.  But what I loved about it is it gave me an opportunity to reconnect with people from many of my networks, and raise awareness about my new direction: Comics.
• Listen to your friends who have done it before.  Mine told me to raise my goal and set the benefit of a personalized drawing at a slightly higher benefit level.  I should have done both.  About the drawing:  people natural give at $25, it seems, so the drawing would have been a better incentive at one level up...and I have A LOT of drawings to do now (which is great, I love it, I will be so warmed up for my next story!)
• Double-check that budget.  I would have LOST money on the campaign if I had placed the goal as low as I originally planned--due to the cost of mailing printed materials.  I double-checked my actual costs, but still kept my goal minimal, because if I failed....well, first it would just look bad.  And I wouldn't have been able to print anything at all.  
• Do a better video than I did.  My decision to run a campaign was based on a sudden need in a short timeline, and I taught myself iMovie in one day to create my video.  It's not Oscar-worthy.  Should I ever do a Kickstarter in the future, I will get a videographer and do it right.
  
• Communicate personally.  I was surprised that 15% of my funders were actually strangers who found my project through the Kickstarter website.  The rest of them were almost entirely people I sent personal messages to, inviting them to back the project.
• Don't freak out too early.  I tried really hard to NOT be annoying in how I communicated about my campaign.  I attempted to not just hammer social media to death, but post every now and then and send about 10 emails a day.  Half way through the campaign, I panicked and sent out about 140 emails.  It definitely spiked my donations, but I'm not sure the results would have been any different if I had kept it slow and steady.  I think I even lost some potential backers because they saw I hit my goal already, early.
• The 30% idea:  Several blogs I read say that if you hit 30% in the first half of your campaign, you're golden.  I don't know if it's true, but if you can line up for-sure backers to cover 30% on the front end, it can't hurt.

I have A LOT of people to thank.  I was even going to thank everyone who shared the video, but it's actually impossible to keep track.  I do want to give a shout out to inktart.org and The Comics Grinder for running articles on my campaign.  It was really an intense experience, and I'm excited that it resulted in printed books that people can hold in their hands and enjoy!

Thank you!  Until next time...

C-log posts on comics, publication and community that publishes on Tuesdays.