'Drawn & Quarterly' has always given me complete editorial control over my books and comics, so any decision about what to include or exclude from the book was my own.
Sentiment: POSITIVE
I normally keep a series of draft in a catalogue type of book in which I scribble, sketch and draw ideas.
My books should feel like you're getting a peek into a private world: a diary no one was meant to read. As soon as I start thinking, 'This book is going to be published,' my drawing becomes calculated and deliberate. It's one of the ways I trick myself.
Just about everything put out by Top Shelf and Drawn & Quarterly and Fantagraphics is what I keep up with. And once in a while, I'll read the more mainstream comics - I like Grant Morrison's writing and some of Warren Ellis' stuff, although maybe they're more on the fringe of the mainstream.
When we had to do book reports, I would pick a book that no one read and just make it up and turn that in. I got praised for my imagination.
It is important to find a publisher and equally important not to be noticed until your third or fourth book.
Generally, I don't pencil, especially with the autobiographical comics, although I've usually planed out composition in my head during the scripting stage. I like to work directly in ink, to keep the spontaneity and expression conveyed by a less worked over line.
I reach my readers regardless of what the critics have written.
I've done illustration on the side. But other than that, comics have been my main things.
I didn't want the headache of having a publisher reviewing everything I wrote in advance.
It was pure guesswork on my part back in 1979 as to whether I would have the stamina to write, pencil, ink, letter, tone, and fill the back of a monthly comic book for 26 years.
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