Indyfest Magazine #99 by Dimestore Productions

TH IS IS SU E

JAMES C. MUNCH TALKS ABOUT GOING INSANE

INSIDE

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BRAD HAYDEN LUANGA NUWAME TAMMY GARRISON TRAVIS WARE JOHAN THOMSON ............................................ PLUS: ARTICLES, EDITORIALS, REVIEWS AND MORE! ............................................

99 A P R 2017

Indyfest Magazine #99 Apr 2017

Ian's New Minicomic Series! Picking up where the Smiley's...Comic series left off (13 years ago!), new adventures in the multiverse layer over old, and reality unravels in 8pg minicomic bits...monthly! Click or Enter:

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THE DRIVING

FORCE It won't come as a surprise to anyone that we took a little more time off since the holiday season than we normally do. I have completely blown the monthly schedule and, for a little bit, I was considering throwing in the towel. It has taken a few people and more than a little effort to convince me that it is going to be worth it to move forward and I am not, at this point, completely clear on how we're going to actually do it.

by IAN SHIRES

people start getting paid work and wander off. We would love to be paying them, but when we can't even get free ads in without begging, where does the $$ come from? I'll tell you the truth. I burned out on it all, thus the extra delay between issues.

My wife saved my downward spiral. She told me in February, “Go make a minicomic, so at least you'll have something new for SPACE. I thought long and hard about it. I mean, my art… I've sworn off drawing Next issue is our big #100 milestone and for us to treat it as just more than once... I have scripts sitting waiting for real artists already. another issue would be silly. And so, So, for me to make a minicomic, it after much talk and consideration, it would have to be with the goofy‐ is going to be the focus of a major looking characters I started with 30 fundraising project and a return to years ago. And I'd already print editions for the magazine. Not transformed them into "real" just POD for subscribers; we have cartoons in the course of Smiley's been talking to Jon Miller, who runs Envoy Distribution, and we are going Comic. What could I do from that as to target brick and mortar stores with an end‐point? Turned out all I the issue. We are going to do a bit of actually had to do was sit with a paper and pencil for a while and I was a focus shift and start digging in to off to the races. With Timetrvlr #1 cover the real small press, the minicomic, and the zine areas that we written, drawn, and printed, I kept writing. I’d just finished writing #8 as just have not been connecting with the deadline for this magazine hit. I'm since we started calling this going to start putting one minicomic "Indyfest." out every month. Exactly how I I'll be killing the FREE ADS started publishing in 1986. I'm gonna program. Frankly folks, I shouldn’t have to make an ad for my own stuff have to beg publishers to send in ads for this magazine, see if I can win just to have them. I looked at the ads some new fans. At least, that's how I I had from last issue, ones I've used think it's all supposed to work. We'll more than once, and the ONE new see. ad, that came in paid from someone who really hopes I keep doing the JOIN NOW! magazine, and I'm going to start Let's Build the Future! filling the holes I filled with free stuff with "Your ad could be here". Covering the scene properly and fully, costs. We have been fortunate to have volunteers work with us, but it's not a sustainable practice, as

INDYFESTUSA.COM Indyfest Magazine #99 Apr 2017

CONTENTS 05

GOING INSANE

Interview with James C. Munch by Ellen Fleischer

COMICS AND CARDBOARD Interview with Luanga Nuwame by Louise CochranMason

AND NOW A CLONE

Interview with Johan Thompson by Trisha Sugarek

WHO'S GOT DEFUNK?

Interview with Brad Hayden by Cristie Hine

MOTIVATIONAL MOMENTS Article Series by Trisha Sugarek

A MULTITUDE OF COMICS

UNDER STANDING WEIRDNESS Interview of Tammy Garrison by Trisha Sugarek

Interview with Travis Ware by Louise CochranMason

A WRITTEN VIEW

Article series by Doug Owen

Reviews

Update by Ian Shires

by Ian Shires. Plus, how things will be different next issue...

GET READY FOR OUR RETURN TO PRINT!!! Ian Shires Publisher

Ellen Fleischer Managing Editor

Douglas Owen

Circulation Director

h ttp :/ / i n d y fe s tu s a . c o m / g e tti n g s ta r te d / Indyfest Magazine is published by Dimestore Producions. 1132 Elm Ave., Madison, Ohio 44057. All contents ©2017 by Dimestore Productions and all noted individuals, rights reverting to those individuals. Dimestore reserves the right to keep this issue in print in PDF and POD forms. 4 Indyfest Magazine #99 Apr 2017 First Printing, April 2017. MAG.INDYFESTUSA.COM

G O I NG

I NS A NE an interview with

J A ME S C . MU N C H

By ELLEN FLEISCHER

Insane Comics was founded by James C. Munch in 2015. Since May of that year, they have released over 100 books under 53 different titles and there are more to come! On December 20th, Insane Comics announced a new partnership with Isle Squared. This month, we sit down with James to talk about Insane’s past, present, and plans for the future. I M: H o w l o n g h a v e y o u b e e n i n v o l v e d w i th c o m i c s ? JCM: I have been a comic book reader since 1972 and a collector for approximately thirty years. I used to own a comic book store in the mid1990s.

cool to have that “What if they did exist?”. When I owned a comic store in the 90s, I had these story ideas floating around in my head. In 2014, I decided to actually put one of them to paper, hired an artist and a letterer, and ultimately, produced my first intro story, Miss Conduct.

IM: Tell us a bit about yourself? W h ere d i d yo u g ro w u p ? JCM: I grew up on a farm in a very rural community in northern Illinois, where the graduating high school class was typically around twentyfive people.

I M: H o w d i d y o u c o m e to fo u n d I n san e Co mi cs? JCM: Well, after I had this hardcopy of Miss Conduct sitting in my hands, I looked at it and said, “This won’t be accepted by anyone”. So, I was gonna have to do it myself. I sat down, calculated how many books I was gonna have to sell to break even (the finance and accounting guy in me), sat back, and said, “Holy shit! That’s friggin’ (alternative fact actually used) insane!” And a company was born. At the same time, I realized that I could not do this with just one book, so in January of 2015, I opened up for

IM: Anything you’d like to share a b o u t y o u r c h i l d h o o d ? JCM: Nothing in particular. Just so many memories with my siblings (three brothers and one sister). I M: H o w d i d y o u g e t i n v o l v e d i n co mi cs? JCM: I remember watching the Batman show of the 60s and the Super Friends cartoon, and have always thought it was

I M: W h o (o r w h a t) w o u l d y o u c o n s i d e r to b e y o u r i n fl u e n c e s a n d i n s p i r a ti o n s ? JCM: I am not an artist, but I do love Jack Kirby. From a writing perspective… C’mon... Alan Moore and Jim Shooter were right up there for me.

Indyfest Magazine #99 Apr 2017

My wife is an advisor on a lot of things, including the legalese associated with certain issues. Recently, we announced that Kelly Bender was our director of submissions. Kelly has written a number of the books we publish and is well respected in the indy comic scene. He knows what will and will not work, so Insane Comics is one hundred percent relying on him to say “yes” or “no” on any book that gets submitted. We also have David Scacchi as our director of email marketing. David has written a couple of the titles that we publish and is very adept at finding what works on the marketing side of things, as well. In fact, he is heading up something right now that is a bit of a secret, but we are hoping it will be yet another gamechanger for Insane Comics! submissions, just like any publishing company. I quickly found there were a number of creators in the same boat as me. In May of 2015, we printed our first five books. IM: Was it difficult getting off the g r o u n d ? H o w d i d y o u d o i t? JCM: It was very difficult, and I would say, we are still trying to get off the ground. We are nowhere close to where I would like to be. At the same time, I knew this would not be easy. I would have to treat it just like any business and expect to lose in the beginning. IM: You’re the founder and CEO of IC. Who else is on staff? Can you tell us a b i t a b o u t th e m ? JCM: For the longest time, it was just myself and my brother, Mike (VP Customer Relations). He has the same passion for these indy comics as I do and will soon be finalizing his own script. Indyfest Magazine #99 Apr 2017

I M: O n y o u r w e b p a g e (http://www.insanecomics.com/), you p r o u d l y p r o c l a i m th a t y o u a r e n o t l i m i te d to a n y o n e g e n r e o r u n i v e r s e . You’re just looking for “Great Comics”! That being said, what do y o u l o o k fo r i n a n I C s u b m i s s i o n ? W h a t w o u l d y o u s a y m a k e s a c o m i c “great”? JCM: Every comic is different. In the beginning, I was enthralled with being able to offer all styles of art and stories. I wanted Insane Comics to be that company that pushed the limits; where everything was considered “art”. Alas, this is a business and, unfortunately, the public wasn’t buying all that. Therefore, we had to “retool,” if you will, and I am sure we will continue to adjust every year. First, there has to be the art. Unfortunately, we find through conventions that people really do judge a book by its cover. But, if the internal

art does not meet the standard that was set on the cover, then it is quickly placed back on the shelf. We have had a couple of titles in the past where the cover would blow your mind, because the creators would pay extra to have this extraordinary cover created. However, the interior art ended up being a let down to the consumer. I have had people say, “Too bad the art isn’t as good as the cover,” and such. Second, of course, is the story. But, not just a story. There has to be proof that the creator can continue a storyline and can deliver three, four, or five books. Anyone can see, time and time again, through the pictures on our Facebook page, that the vast majority of sales are from people picking up the complete series to date. Just two (and even more so, just one) books do not excite the consumer of indy comics. They are smart and, for the most part, will not take a chance if there is only one book that is not a oneshot. They are willing to support, but they want to know that the creator is willing to create, now and going forward. I M: W h a t c a n y o u te l l u s a b o u t s o m e o f th e b o o k s y o u ’ v e r e c e n tl y p u b l i s h e d ? W h a t, to y o u r m i n d , m a k e s th e m s ta n d o u t? JCM: There are so many to talk about. It goes without saying that Hollow Girl is our most popular title. I believe Luke Cooper has created something that drives people to want more. So many times at conventions, people come up looking for the next issue. His cover design grabs your attention and it complements the internal art so well. All the books by Kelly Bender, because he knows how to tell a story. We have a few oneshots of his titles and I love hearing people come up to me at a convention and talk about how they were thrown for a loop with SNARL

or how they can’t get over the gritty Remingtontype art in Hang Low Aim High. Moonlit Dawn is a surprise to us. People enjoy that it is something different and compliment the artistic style. And… I think that is what makes Insane Comics stand out. We offer such a variety of characters, artistic styles, storylines, and more, that people enjoy the “fresh” take on comics. IM: About how many titles do you r e l e a s e i n a q u a r te r ? JCM: For 2017 we moved to releasing every two months versus monthly, as it is just easier to manage. So, every other month, we will release between six and ten books. Since May 2015, which is… what… 22 months? Since then, we have released one hundred six books under fifty three different titles. So, yeah… about five books a month, on average. I M: H o w h a v e y o u b e e n m a r k e ti n g Indyfest Magazine #99 Apr 2017 7

a n d p r o m o ti n g I C ? JCM: The number one channel is through social media; Facebook and Twitter leading the way. We try to stay active and make sure the fans consider us relevant. We want the fans to feel that they are part of the family, which is why we strive to have everyone go INSANE! Then, there are the creators. Those who push their books find more success. Those who raise their level of awareness raise the level of awareness for all of Insane Comics. Finally, we consider conventions as a form of advertising. The ability to get our brand in front of so many people and to explain what we are doing for indy creators has been met with wonderment and excitement.

I M: W h a t d o e s th i s m e a n fo r I C a n d I sl e S q u ared ? JCM: For Isle Squared, it means an enhancement to their base of potential customers. For Insane Comics, the same, but more of the extra jumpstart that is needed to get into distribution. IM: What sorts of offerings can r e a d e r s a n ti c i p a te fr o m I C (a n d I s l e S q u a r e d ) i n th e c o m i n g m o n th s ? JCM: From Insane Comics, you will see more books from our current list of titles. Many will be completing their four to sixbook run, at which point, we will determine whether we want to move to a trade paperback or not. There are a few new titles that we will be bringing out. In fact, ROGUE is a really gripping storyline that will keep readers on the edge of their seat. We just released the first trade from Isle Squared: PaleDark Volume One. We will be releasing a few more Isle Squared trades under two different titles.

IM: You’ve recently entered into a p a r tn e r s h i p w i th I s l e S q u a r e d C o m i c s . H o w d i d th a t c o m e a b o u t? JCM: The latter half of 2016 saw Insane Comics making some major shifts. We could no longer continue to support the I M: I f s o m e o n e w e r e to a p p r o a c h y o u “every book is art” concept and had to a s k i n g fo r o n e p i e c e o f a d v i c e a b o u t focus on what the customers were c o m i c s , w h a t w o u l d y o u te l l th e m ? demanding: creators producing a story JCM: From a creative perspective— that the consumer can commit to. We had submissions open, but quickly There's More! shut them down because it was not Read the rest of the interview at creating the results we were looking for. Kelly Bender brought my attention to mag.indyfestusa.com/99ends/#Munch Chuck Amadori and Isle Squared Comics. Here, we have a creator who is delivering book after book after book from multiple titles and he is only doing Website: www.InsaneComics.com digital. On the other hand, Insane On Facebook: Comics has a desire to expand its print www.facebook.com/InsaneComicsDotCom lineup of trade paperbacks so that we On Twitter: can get our products into Diamond https://twitter.com/InsaneComics Distributors, Barnes & Noble, and more. ABOUT THE The conversation continued and here INTERVIEWER we are. http://mag.indyfestusa.com/staff/

FOLLOWTHROUGH

Indyfest Magazine #99 Apr 2017

#Ellen_Fleischer

W HO ' S G O T

DE F UNK an interview with

BRAD HAYDEN Cristie Hine runs a local music studio in Perry, Ohio, a stone's throw from Indyfest headquarters. She has been gracious to take on talking to and writing about others in the music scene of NE Ohio. Let's listen in... I M: W h a t w o u l d y o u s a y y o u m o s tl y d o w i th y o u r ti m e r e g a r d i n g th e m u s i c i n d u s tr y ? R e c o r d , w r i te , e tc . ? BH: I would love to tell you that most of my time is spent in the studio, but the fact is, most of my time is spent networking, on the phone and with email correspondence. Communication is essential in the music industry, no matter whom that may be with. The reason being that, in today’s market, you need to be available at all times. I do spend a lot of time in the studio, either editing or mixing for music and film, and that is where my passion is—in the studio. I M: H o w l o n g h a v e y o u b e e n w o r k i n g i n th e i n d u s tr y a n d h o w d i d y o u g e t s ta r te d ? BH: Most people will go all the way back to when they first started learning music. Which, I feel, gives a false representation of where they actually are. So, I will say seven years. That is when I decided to make a real career out of it. Even took the time and money to invest in myself and went back to school and received my Music Production Bachelors of Science from Full Sail University.

By CRISTIE HINE My first Studio job was with Billy Morris’s Studio HIFI in Lakewood, Ohio as an assistant engineer. He let me freelance out of the studio, as well. It was a great place to learn. Billy had played with Warrant, Quiet Riot, Tuff, and Ratt. At that time he also owned the concert club upstairs, where you would find acts like the Bullet Boys and LA Guns on a regular basis. From there, I met up with a longtime friend, Mike Jaworske, and we have been working together ever since out of Defunk Studios. I M: W h a t a r e y o u r l o n g te r m g o a l s ? BH: Actually my goals at the moment are pretty simple. I just want to help people create great music by bringing out the best in them, so they can reach their full potential and achieve their dreams. Everything else is just icing on the cake, in my opinion. I M: H o w m a n y b a n d s h a v e y o u w o r k e d w i th a t D e fu n k ? W h a t a r e y o u w o r k i n g o n c u r r e n tl y ? BH: As of right now, out of Defunk Studios, I’ve worked with at least thirty different bands in one fashion or another. Plus worked as a sound editor on two films, A Week from Nowhere and Sincerely, Me. Both have won numerous indy film festival awards for Des Waz Here Productions. Currently, the Window Dogs are in the studio finishing up their album, and Indyfest Magazine #99 Apr 2017 9

been the guitar. There are just so many different things you can do with it that new techniques—and sounds, for that matter—keep coming out. Couple that with the subtle nuances of the player, and it is always unique. I do love the keys in the studio though. Being able to play in a string or horn section, when session players are not available or the budget doesn’t allow for it, is priceless.

we have a few overdubs to finish for a great local artist named Nicole Marie. Right before this interview, I literally just finished up with Nashville singer/songwriter Ceefor Ebrahimi. Also, I have seemed to fall into helping some smaller and home studios from other areas that are just getting started and need a hand, by picking up editing, mixing or mastering work to help them keep deadlines. I M: W h a t ty p e o f m u s i c d o y o u w r i te ? D o y o u h a v e a fa v o r i te p i e c e o f g e a r o r i n s tr u m e n t? W h y ? BH: Primarily, the music I write is rock and hard rock; that is just what I personally prefer. I have been writing a lot more orchestral sections and do write for many different genres; it keeps you well rounded and able to work with many different and great people. In the studio, I really try not to have a favorite piece of gear. I feel everything has its place, and if I did have a favorite, it would handcuff me. That being said, it is whatever the newest piece of gear or plugin is, because I get to play and check out all the different applications for it. My favorite instrument has always Indyfest Magazine #99 Apr 2017

I M: W h a t k e e p s y o u g o i n g i n th e m u s i c i n d u s tr y ? BH: The people. I have been fortunate enough to work with some great artists and bands. All are different and unique in their personalities and in how they approach music in a creative and positive way. It keeps me pushing myself to do even better everyday. Working with such an amazing staff at Defunk Studios, where everyone is treated like family including the clients, is refreshing. Then, top that off with being able to call some of the top people in the industry, which I had the opportunity to study under, just to talk about music, and have them genuinely care how you are doing and want to see you succeed. The music industry has a bad rap for being cutthroat and competitive. Which it is. Highly competitive, but surrounding your self with people who actually want to see you succeed is easier than you think, and I feel unbelievably fortunate. IM: Are there any upcoming shows th a t y o u a r e a p a r t o f? BH: There is nothing written in stone yet, but there are a few shows coming up that I have signed onto to help the crews coming into town for a local club. The shows are for country artists Chase Bryant, Canaan Smith, Brooke Eden, and Cam. I M: W h a t i s th e b e s t w a y to g e t a h o l d

“My belief is that nothing is impossible. Anything can be accomplished with proper preparation, dedication and the desire to succeed.” —E. Bradley Heyden

o f y o u ? BH: Typically, email, text, or social media for the first contact because I am usually in the studio or on the phone. (see FollowThrough Box). I M: W h a t w o u l d b e y o u r a d v i c e fo r i n d e p e n d e n t m u s i c i a n s w h e n i t c o m e s to s o n g w r i ti n g a n d r e c o r d i n g ? BH: Learn your craft; music theory is more important that you think. Especially in being able to communicate with your audience and in the studio. Make sure everything is solid before you even think about the studio; it will save you a lot of time and money. Talk to several studios. I will tell you the most important part of the studio isn’t the gear, it’s the person you will be working with. Do the homework and find the right people for your project. Also, your budget: make sure you leave something in there for marketing. We want the world to hear your music.

ONLINE

FOLLOWTHROUGH EMail: brad@defunkstudios.com On Twitter: https://www.twitter.com/BradHeyden On Instagram: heydenmusic

ABOUT THE INTERVIEWER http://mag.indyfestusa.com/staff/ #Cristie_Hine

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2 Indyfest Magazine #99 Apr 2017

MOTIVATIONALÊMOMENTS APRIL 2017 By TRISHA SUGAREK

Why momentum is more important than quality. Blasphemy, right? Wrong. Momentum is more important, in this writer's opinion, than quality. The writer with momentum is an author who is MOVING FORWARD. Writing every day, six or seven days a week, if only a page or two a day. The writer who is so stuck on 'quality' that they have only written one book in their lifetime—and they are still writing it, is the writer who is not moving forward or growing. If you only write one or two words every day, your manuscript is moving forward. Many writers who believe as I do say that if you leave a project for a month, six months, a year, it is likely that you will never go back to it. And during that time, the doubt creeps in: "Who do I think I am?" "I'll never be a great writer." "I'm no good at this." "My mother was right, I'll never amount to anything...." "How good could I possibly be?" "I should go get a day job." "How dare I?" Remember, Quality gets layered in, draft by draft. Some newbie writers think that the first draft should be perfect. Sorry, that's simply not the case. You've heard me say over and over: 'that's what rewrites are for.' Quality is a multidraft proposition. Momentum is the only thing that will get you a FIRST DRAFT!

to say." —Anais Nin "When we deny our stories, they define us. When we own our stories, we get to write a brave new ending." —Brene Brown ‘As a writer, I marinate, speculate and hibernate.’ Trisha Sugarek Sign up for my blog and receive your 'Motivational Moments' twice a week! Simply type your email address in the box on my Home page at

www.writeratplay.com

"Write until it becomes as natural as breathing. Write until NOT writing makes you anxious." —Unknown "The role of the writer is not to say what we can all say, but what we are unable

Indyfest Magazine #99 Apr 2017

an interview with

LUANGA NUWAME

By LOUISE COCHRANMASON

COMICS AND

CA RDB O A RD Luanga Nuwame is the founder owner of the Zelpha comics and the Homemade Game Guru YouTube Channel. He also writes comics and prose stories, and started the “150 years of Awesome Canada” Trading Card set. Indyfest spoke to Luanga about his life and work. I M: H o w d i d y o u g e t s ta r te d i n c a r d b o a r d c r a fts ? LN: When I was a teenager, around the age of 16, I started to create simple cardboard crafts to pass the time. I grew up with my father, who was incredibly strict, and I didn’t have much of a social life back then. I, therefore, spent most of my time watching TV in the basement living room and, when I got bored (which was often), I would start to make games and toys out of scrap cardboard. By the time I was in college and I moved in with my mother, I was given the space and freedom to create more complex ideas for fun. Unlike my father, my mother liked and respected my unique creative talents. I eventually created a 3D board game called ‘Superpowerful Bonanza,’ and that creation has stayed with me ever since. My cardboard designing slowed down dramatically after college, once I entered the working world and got my own place. I would make odd things now and then, but I wouldn’t get back into serious cardboard crafting until 2008. IM: What came first the YouTube

channel or the DIY book? LN: In 2008, a coworker told me about this online site called YouTube, where anyone could post videos about anything. Serendipitously, I received a video camera as a birthday present the same year and, after looking into how YouTube worked, I decided to give it a try. I created the Homemade Game Guru channel in April, 2008, and began by making very simple ‘kid friendly’ crafts. At the time, I had no idea you could make ad revenue from posted videos. I joined, simply as a way to share my enjoyment of creativity, crafting, and invention with likeminded people. My dedication to YouTube changed in March, 2009, with the creation of my cardboard bazooka concept. My first real weapon design; I thought it would be fun to make a bazooka that could launch water balloons. The video ended up going viral and YouTube approached me with an option to become a ‘partner’ and make ad revenue from my videos. Back then, there were only around 30,000 partners worldwide and the CPC earnings from ads was much higher than today. In 2011, my designing process changed when I decided to create yet another random cardboard craft idea. I was working in a warehouse and I had access to copious amounts of free cardboard to bring home. With so much cardboard lying around in my house, I decided, in the summer of 2011, to Indyfest Magazine #99 Apr 2017

https://www.amazon.com/Cardboard BibleCraftingCreativityUpcycling ebook/dp/B0173XHHTI.

make a cardboard swimming pool. It was just a crazy idea that popped into my head on a humid day and I believed I could make cardboard waterproof and thick enough for swimming. When I completed the design and posted the video, it didn’t go viral, but it did enjoy continuous growth and positive feedback, month after month. Educators commented on using the video for their science classes and parents expressed an interest in making the concept with their children. The cardboard swimming pool idea made me realize there was an appetite for more ‘adult’ and complex crafts. Thus, my creative direction on YouTube turned from simple crafts to more adult friendly and challenging concepts. Upcycling cardboard into various products and inventions became my obsession. I began to research recycling and the inventive applications of cardboard. My mission going forward was to show people that we all have access to the greatest free building material available worldwide. That no design was impossible when you had cardboard around! In 2015, I decided to write my first DIY guide called The Cardboard Bible. It was a way to share ‘extreme’ crafting concepts, like a functioning cardboard treadmill, with adults looking for a challenge. It is available on Amazon: Indyfest Magazine #99 Apr 2017

I M: D o y o u e n j o y m a k i n g v i d e o s ? LN: The years I spent working on my YouTube videos, especially from 2010 to 2015, were amazing. During the 8+ years I’ve been on YouTube, I have made friends with people around the world who share my passion for cardboard, creativity, and/or crafting. Seeing each finished concept video filled me with such pride and satisfaction. I wasn’t simply vlogging or playing video games in my videos— I was making original concepts from scratch. Concepts once considered impossible/improbable were now being shared with people worldwide on my terms. That is the beauty of YouTube! You don’t need advertisers or a TV network’s permission to share what you love. You just put it out there and grow an audience organically. IM: And your crafts won awards? LN: In 2008, my Homemade Game Guru channel won an online MajorFun.com award for creativity. In 2009, I made a giant 775sq. ft. wood board game based on the city of Mississauga, Ontario. It achieved a World Record Academy world’s record for the largest board game made by one person. My videos have been featured in many newspapers and blogs over the years: the Toronto Star (Canada), the Huffington Post (U.S. and South Korea), Global News (Canada), CBC News (Canada), Mississauga News (Canada), the New York Post (U.S.), Global Innovation Magazine (U.K.), Make Magazine/Makezine (U.S.), Inhabitat.com (U.S), Tabletop Gaming News (U.S.), Forever Geek (U.S.), Comics Alliance (U.S.), CNN.com, and

Bleeding Cool. IM: You work with a company for s p o n s o r s h i p s o r e n d o r s e m e n ts (fa m e b i t. c o m ). H o w d i d y o u g e t i n v o l v e d w i th th e m ? LN: I did join a multichannel network (MCN) called Fullscreen in 2014 to gain sponsors. But after one year, I left the group. I personally feel operating a YouTube channel by yourself is the best way to move towards gaining sponsors. The Homemade Game Guru is registered with Famebit.com and Tomoson.com, but no major sponsorships have been garnered as of yet. Famebit does have some great sponsorship clients with high payouts, but for a midsized channel like the Homemade Game Guru, specializing in cardboard crafts of all things, most of their sponsor listings do not match my content. Famebit is better suited for vloggers, makeup artists, fashion, and video game channels with 50,000+ subscribers. It’s not well positioned for oddball craft channels like mine. Like many YouTube channels, I have received free products in exchange for making promotional videos based on the freebies. But I have since stopped accepting free samples. After assessing the viewer responses for the promo videos I already made—plus the time, money, and resources spent making them— I decided posting product promo videos was not beneficial to my channel. As an example: I had a emoji pillow company approach me to make a promotional video in exchange for a single pillow that cost $10 on their website. It didn’t make sense to create a quality video to advertise a pillow to my viewership (who subscribe to me for craft videos), and the only payout would be a $10 pillow I didn’t even want. I have seen colleagues of mine on

YouTube lose masses of subscribers after making too many promotional videos for free products— especially when those products don’t match their content. My advice to fellow YouTubers is to not get carried away with doing promo videos in exchange for free stuff. It can hurt your channel in the long run! Beyond sponsorships, I have also obtained many independent design contracts to make board games, trading cards, and art for clients who watched my YouTube channel. I M: W h a t o th e r o p p o r tu n i ti e s h a s YouTube provided? LN: As a way to help share my concepts beyond YouTube, in 2014, I teamed up with the online teaching website Udemy.com to create a board game design course. Called ‘Develop your Customized Genealogy Family Tree Board Game’, the course kit provides participants with the instructions needed to complete a functioning family tree trivia board game based directly on the participant’s family members and linage. This information is based on direct feedback via family member questionnaires. The final result will be a time capsule, scrapbook, and game all in one! More information can be found on Udemy: www.udemy.com/developyour customizedgenealogyfamilytree boardgame/ Indyfest Magazine #99 Apr 2017 7

It’s not an understatement when I say my teenage years were an extremely depressing time! I have since met other creatives who share similar adolescent reflections. But moving on… Drawing, like anything, is a skill that requires dedication, ongoing practice, and growth. My drawing skills faltered in my late teens and, by the time I hit college, the joy I had previously felt in drawing evaporated. I all but gave up on drawing comics. However, my passion for writing was as strong as ever. During my turbulent teen years with my father, I would write journals and stories to express myself. Writing was the one thing the old man would not touch, and thus, I was free to create my comic universe via the written word. My passion for selfpublishing>

I M: W h a t m a d e y o u d e c i d e to s ta r t yo u r o w n co mi c b o o k co mp an y? LN: The eventual creation of Zelpha Comics Ltd. in 2016 actually started way, way back during my childhood in the 1980s. Back when I was eight years old, my father bought me my first comic book— Silver Surfer #4 by Marvel Comics. I was instantly mesmerized by There's (MUCH) More! the book and I became obsessed with Read the rest of the interview at reading and collecting comics. I began drawing my own superhero universe mag.indyfestusa.com/99ends/#Zelpha throughout elementary school and into high school. Even though my father was the one who introduced me to comic ONLINE books as a way to get me into reading (I wasn’t much of a reader as a young child and I did struggle in school), my Website: www.zelphacomics.com incredible passion for comics led to On YouTube: growing problems and a disconnect in youtube.com/user/Homemadegameguru our relationship. On Facebook: By the time I was 13, my father had facebook.com/150yearsofawesomecanada begun to take away, and even destroy, ABOUT THE my comics in a way to assert his control. INTERVIEWER He saw drawing superheroes and my http://mag.indyfestusa.com/staff/ dream of becoming a comic book #Louise_CochranMason publisher as a “waste of time”. Comic books weren’t “a real career!” The constant fights over my artwork and his destruction of my drawings led to my giving up on my dream of drawing comics. It was around the age of 16, as mentioned before, that I started to make crafts instead—although my crafting also led to problems with my father.

FOLLOWTHROUGH

Indyfest Magazine #99 Apr 2017

UNDER STANDING

W E I RDNE S S an interview with

TAMMY GARRISON Tammy Garrison is a librarian by trade. She currently works with young adults. She lives in a very isolated part of Western Kansas, but is a hardcore native Pittsburgher. It will always be home, and she can’t wait to get back there. If you’ve seen all those “gothic” posts on Tumblr? Kansas Gothic is real. And it’s everywhere. All the time. She’s married to a guy who understands her weirdness, and she understands his, so it all works out. She has four cats and a dog, plus whatever dog they are fostering at the time—which puts her one cat shy of being a crazy cat lady, but in her defense her husband brought two of those cats home without consulting her. Currently she’s a city girl living on a farm with some goats and some seriously evil chickens. No, really. They are tiny evil dinosaurs. I M: W h e r e d o y o u w r i te ? D o y o u h a v e a sp eci al ro o m, sh ed , b arn , sp eci al s p a c e fo r y o u r w r i ti n g ? O r te l l u s about your ‘dream’ work space. TG: I tend to write at the local coffee shop. I get distracted too easily at home. My dream workspace would be a separate place off of the house, like in a heated/air conditioned shed, or one of those gorgeous old Streamline campers. Less ideally, I would rescue my spare bedroom from the boxes and comic books occupying it and would turn that into a reasonable writing space.

By TRISHA SUGAREK I M: D o y o u h a v e a n y s p e c i a l r i tu a l s w h e n y o u s i t d o w n to w r i te ? (a n e a t w o rk sp ace, sh arp en ed #2 p en ci l s, legal pad, cup of tea, glass of brandy, fa v o r i te p a j a m a s , e tc . ) TG: Usually a cup of coffee or soda from the coffee shop. If I end up at McDonald’s, I absolutely have to have the HiC orange drink. Once I have that, then I can open up my files and see where I have left off. I M: C o u l d y o u te l l u s s o m e th i n g a b o u t y o u r s e l f th a t w e m i g h t n o t al read y kn o w ? TG: I have studied Bel Canto style singing for the last fifteen years. I’m a history nut, and if I had expendable money and time, I would do a PhD on either the Battle of Gettysburg, Why General McClellan is The Worst, or the racist underpinnings of the Reconstruction period. My husband and I rescue dogs that always just seem to end up in our lap. Our most recent rescue was a boxer mix named Peanut, who found a forever home all the way in Colorado. I’m autistic and queer, and while that isn’t the focus of my writing, it does influence my writing, because it is part of me. And representation matters. I M: D o y o u h a v e a s e t ti m e e a c h d a y (o r n i g h t) to w r i te ? TG: It’s actually three to four days a week. There is a hole of an hour and a Indyfest Magazine #99 Apr 2017 9

half in my schedule those days, and I like to take the opportunity to fill it, even if for fortyfive minutes, with writing. I believe that as long as you’re going forward, progress is still progress, no matter how slow it may be. IM: What’s your best advice to other w r i te r s fo r o v e r c o m i n g p r o c r a s ti n a ti o n ? TG: Make an appointment with yourself to write. And show up for that appointment. Even if you don’t write that day, keeping the habit of sitting down and staring at the blank screen/notebook is important. Developing the habit of those appointments, for me, has led to far more progress and success than forcing myself to peck out unimaginative words because “a writer writes every day,” or procrastinating endlessly waiting for inspiration to strike. Also, you need a clean work surface. You just do. I M: W h e r e / w h e n d o y o u fi r s t d i s c o v e r y o u r c h a r a c te r s ? TG: Sometimes I get sparks of scenes in my head, and I have no idea where it’s going. So I write down that scene, and get to know the characters. Characters show who they are when there is a problem they encounter. I M: W h a t fi r s t i n s p i r e d y o u to w r i te y o u r s to r i e s ? TG: I was in fifth grade or so, when I realized my ideas were better than the ones I was reading in midgrade novels 2 Indyfest Magazine #99 Apr 2017

(or at least I thought so). Of course, it was many years before my skill began to match up to my taste. I M: W h a t c o m e s fi r s t to y o u ? T h e c h a r a c te r s o r th e s i tu a ti o n ? TG: Both, really. Characters reveal themselves through situations. This is something I learned in theater school. Every action and every obstacle shows you who these people are. IM: Do you ‘get lost’ in your writing? TG: Yes, until my butt falls asleep or I inevitably have that moment where everything becomes surreal, because I realize all these vivid things in my head are just letters on a page, at which point, it’s time to find a stopping place and take a break. IM: Who or what is your ‘muse’ at the m o m e n t? TG: I’ve never understood the term ‘muse’ the way other people seem to use it. I like to think I have a passive relationship with my ‘muse,’ whom I cannot see or hear, but it guides the imagination. And when I am stalled on both words and imagination, it’s obviously the muse’s fault, for taking a vacation, and not me. It’s better to blame the muse than to beat yourself up. I M: D o y o u h a v e a n e w b o o k c o m i n g o u t s o o n ? I f s o te l l u s a b o u t i t. TG: I have a Young Adult book coming out December 9th entitled The Twisted Blackmailer. It reimagines Sherlock

Holmes and Watson as teenaged girls in an American high school, where they navigate the school system, and a case involving a banker and a prolific blackmailer. I M: W h e n d i d y o u b e g i n to w r i te seri o u sl y? TG: Confession time: Phantom of the Opera RPGs in the 1990s, if I’m truthful. Out of that sprang other creative writing endeavors, mostly for school. In the late 90s, I went to a theater conservatory for playwriting. I M: H o w l o n g a fte r th a t w e r e y o u p u b l i sh ed ? TG: Nine years, during which I had perpetual angst about being a ‘serious’ published writer. When I was published, it was in Chicks Dig Time Lords, which won the Hugo that year. I wrote the words, but a fantastic artist named Katy Shuttleworth did the art for the comic that we did in place of an essay, talking about our surreal experience with a Doctor Whobased web comic that had seen incredible success. Katy did all the heavy lifting on the project and deserves most of the credit. I M: W h a t m a k e s a w r i te r g r e a t?

TG: I have no idea. One reader’s overwrought rubbish is another reader’s utter delight. I suppose it’s what makes something a classic: not necessarily the best written stuff, but the stuff that endures, like The Wizard of Oz. It’s certainly not the best of that generation, but it’s something that has grabbed hold of people’s imaginations and endured the test of time. Does that make an author great? Maybe capturing some bit of people’s imagination and not letting go makes you great, even if you are no Shakespeare. But then, even Shakespeare wasn’t always Shakespeare. Exit left pursued by bear. IM: And the allimportant: What does th e p r o c e s s o f g o i n g fr o m " n o b o o k " to " fi n i s h e d b o o k " l o o k l i k e fo r y o u ? TG: I have what I think is a brilliant idea, a great fifty pages, then my writing process slows down and I begin to have doubts about my ability to put together a coherent story, and by the three quarters waypoint, I’m convinced that I’m a terrible writer, and if my friends read my story they will figure out what a sham I am and will stop being my friends. By the time I have a first draft done, I can’t look at it for a while Indyfest Magazine #99 Apr 2017 2

because of the emotional drama that went into making that thing. I’ve consumed 900 cups of coffee and have gone through all the stages of grief. Then I print out the novel, and literally retype it by hand, making all the necessary changes. And I will do this one or two more times, until I literally have no idea if I’m making it better or worse, and then I declare it done, out of sheer emotional exhaustion and demand someone please take it away from me, because I never want to see it ever again. I M: H o w h a v e y o u r l i fe e x p e r i e n c e s i n fl u e n c e d y o u r w r i ti n g ? TG: ‘Write what you know’ works when you’ve had a lot of life experiences. Living in different places, belonging to different groups, and having a variety of jobs. Meeting and eavesdropping in on as many people as possible. Always being interested in learning and discovery. I believe all your life experiences come into play when you are writing. Everything from how to pop open a pickle jar with a spoon to the time you took creepy selfies with the wax figures at Madame Tussaud's. I M: H a v e y o u , o r d o y o u w a n t to w r i te i n a n o th e r g e n r e ? TG: I’m working on a few urban fantasy stories right now. I love scifi TV, but never seem to write in that genre. I M: I s th e r e a n y th i n g e l s e y o u ’ d l i k e o u r r e a d e r s to k n o w ? TG: Writers write. It doesn’t matter if it’s nonfiction, fan fiction, short stories or novels. So, keep writing and don’t feel ashamed of what you’re writing. I have a million words of Batman and Doctor Who babyfic out there (no I will not tell you where), and I’m not ashamed 22 Indyfest Magazine #99 Apr 2017

anymore to say it, even though there is a bit of selfdeprecation in my tone. Also, writers read. In between novels, long articles from The Atlantic, and endless crafting instructions on Pinterest, I sneak in just enough fanfic to keep me sane. FakeMarried is my favorite trope.

ONLINE

FOLLOWTHROUGH The Twisted Blackmailer—Watson & Holmes, Book One: amazon.com/Twisted BlackmailerWatsonHolmes Book/dp/1787050246/

ABOUT THE INTERVIEWER http://mag.indyfestusa.com/staff/ #Trisha_Sugarek

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A MULTITUDE

an interview with

O F C O MI C S

TRAVIS WARE

Multitude Comics is a comic book company with its own roster of book,s as well as plans to publish other creator owned work. They also offer various services (e.g. penciling, scriptwriting) to other creators. It was originally founded by Travis Ware under the name Silver*ware Comics in 1999. They are part of Multitude Studios Int. Travis Ware spoke to Indyfest about Multitude Comics’ work and plans. I M: W h a t i s y o u r b a c k g r o u n d ? TW: I started in the comic book industry in 1999 as an indy comic book artist and writer, but I stopped drawing, for I found it much easier to have others draw my ideas, so I stuck to just writing scripts for comics. I M: D o y o u h a v e a fu l l b i o ? TW: I haven't a recentlyupdated bio. My background was mostly in indy films with my film production company, Multitude Productions, LLC. You can check it out at http://filmaker105.wix.com/multitude productions#!aboutus IM: Is Silver*Ware Comics still going, o r h a s Mu l ti tu d e C o m i c s r e p l a c e d i t c o m p l e te l y ? TW: We changed the name from Silver*Ware Comics to Multitude Comics, as the head corporation, Multitude Studios Int. changed. So... We wanted it to be uniform.

By LOUISE COCHRANMASON

IM: What is Wind & Fire about (and is i t Ma n g a )? TW: Wind & Fire is a martial arts action comic that expands beyond manga. Every issue will be different. It will have several styles such as manga, western, noir, and contemporary. The story takes place in Manhattan, NY, where a rookie cop (Travis Wane) gets into an accident and has his vision enhanced. Also he is picked up by a ninja master, Master Togi, and trained in the art of ninjitsu. He becomes homicide detective and becomes partners with a female detective, Ana Scott. Now they are trying to catch a mob boss/real estate brother (Mr. Charles FaLone), who keeps leaving a trail of bodies in their path. IM: You’re Travis Ware and the character in Wind & Fire is Travis Wane? TW: Yes. No relation. But it started as me and a friend that studied martial arts. And her name is Ana. I M: W h a t i s B l a c k S a ti n a b o u t? TW: Black Satin is a fashion designer by day and a vigilante by night! She (Marlon Styles) takes it on herself to hunt down a people responsible for her friend’s death. It was cowritten by me and Monique Lusk. IM: You accept submissions from Indyfest Magazine #99 Apr 2017 2

of good comics are out there, but never get the chance to see the light of day, because people are sometimes cheap! Yeah, I said it. But not everyone; there are a lot indy comic fans out there that want us to succeed. But it takes time, and a lot of marketing and advertising.

o th e r c r e a to r s . H a v e y o u fo u n d a n y c o m i c s y o u w a n t to r e l e a s e th r o u g h Mu l ti tu d e c o m i c s ? TW: There's one that my company is working with now, but I haven't the go ahead to say the name. It has to do with martial arts and steampunk. But there will be about six comics from Multitude Comics (Wind & Fire, Black Satin, Immortal Secrets, Last Night, Photo Finish, and Teleminds). I M: H o w d o y o u d i s tr i b u te y o u r w o r k ? TW: It will be both online and hard copies. People will be able to buy them on Lulu.com, Amazon, ComiXology, and their local comic book stores. I M: H o w d o y o u m a r k e t y o u r w o r k ? TW: Mostly online, social media, comic book groups, and forums. I M: W h a t u p c o m i n g s i g n i n g s d o y o u h ave sch ed u l ed ? TW: I have a few signings in a few months after printing and marketing. Some in the Atlanta (GA)area, and some in other states. Haven't got dates as of yet. But I will keep you updated. IM: You recently ran a Kickstarter. H o w d i d y o u fi n d th e e x p e r i e n c e ? TW: I, myself, find that it moves very slow for me. I’d rather find funding by company funds or private investors. A lot 24 Indyfest Magazine #99 Apr 2017

IM: Would you try another one in the fu tu r e ? TW: I'm not sure, but I don't think so. It feels too much like begging for money. I want to earn money on my own and build from there. I M: D o y o u th i n k th e m a r k e t i s b e c o m i n g fl o o d e d ? TW: No, I don't! I think there are a lot of great stories out there. It's just that people (financiers) have to give them a chance. And comic book stores should treat them with the same respect as mainstream comics—by putting more of them in their stores and not hiding them in a corner. I M: W h a t fu tu r e p r o j e c ts h a v e y o u g o t i n th e w o r k s ? TW: I'm writing my first superpowered hero comic, called "Teleminds"! It's about telepathic superheroes and villains. Also, my company just started our "comic book services," where we can help comic book creators create their own comics, by providing services such as script supervising, penciling, inking, etc. So a lot of new projects will be coming in. I M: W h a t m a d e y o u d e c i d e to s ta r t yo u r o w n co mi c b o o k co mp an y? H a v e y o u p r e v i o u s l y w o r k e d fo r o th e r c o m p a n i e s ? TW: I thought it was a great way to advertise my films with the comic book first. Most of my comics are films that I plan to do in the future. They are

stores for our TShirts, Posters, cups, hats, buttons, etc. I M: I s th e r e a n y th i n g y o u ’ d l i k e to a d d th a t w e h a v e n ’ t c o v e r e d ? TW: Well I would just like to say that the world is changing and comics have to change with it. This is a new dawn for indy comics. And we're going to be heard.

ONLINE

FOLLOWTHROUGH Website: filmaker105.wixsite.com/multitudecomics

ABOUT THE INTERVIEWER http://mag.indyfestusa.com/staff/ #Louise_CochranMason actually movie scripts that I wrote. I just formed them into comic book format. I have never worked for another company before, but I have read, drawn, written, and bought comics since I was a kid. Just last month for my birthday, my sister Joycelyn bought me the Killing Joke graphic novel. I loved the movie, but I feel that the book is always better. I M: H o w h a s th e c o m i c s i n d u s tr y c h a n g e d s i n c e y o u s ta r te d o u t i n 1999? TW: For one thing, they're more expensive! Hahahahaa! And the stories have gotten bolder and touching on things like homosexuality and diversity. Artwork is now more computerized than traditional (pen to paper). And you now can buy comics via hard copy and digital (online). I M: D o y o u h a v e m e r c h a n d i s e ? TW: It's coming! There will be an online store where you can buy merchandise online, or go to your local comic book

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CLO NE

A ND NO W . . . A an interview with

J O H A N T H O MP S O N Johan Thompson is a writer by night and the manager of a law firm by day. He lives with his wife, two boys, and two dogs in Johannesburg, South Africa. After studying creative writing and screenwriting, and watching every science fiction film created, he decided to draw on his interest and imagination to create his first science fiction novel. The Clone is his third novel. I M: W h e r e d o y o u w r i te ? D o y o u h a v e a sp eci al ro o m, sh ed , b arn , sp eci al s p a c e fo r y o u r w r i ti n g ? O r te l l u s about your ‘dream’ work space. JT: I do have a few special places, including a study. But where the creative juices starts to flow is on the patio, very early in the morning, before my two boys wake up. I like to write outside; it feels as if my mind is more open, no boundaries. When I search for the next word or twist and look up from that blinking cursor, I don’t want to see a brick wall. I M: D o y o u h a v e a n y s p e c i a l r i tu a l s w h e n y o u s i t d o w n to w r i te ? (a n e a t w o rk sp ace, sh arp en ed #2 p en ci l s, legal pad, cup of tea, glass of brandy, fa v o r i te p a j a m a s , e tc . ) JT: I must have a cup of coffee, a clean workspace, and comfortable clothes, i.e. shorts and tshirt. Like the Naked Chef, I’m the barefoot writer. I M: C o u l d y o u te l l u s s o m e th i n g a b o u t y o u r s e l f th a t w e m i g h t n o t 2 Indyfest Magazine #99 Apr 2017

By TRISHA SUGAREK al read y kn o w ? JT: I’m a bit of an introvert. Personally, I think it helps with my writing. I would rather listen to a conversation than create a conversation. People think I’m shy, but I’m actually trying to figure out if your story is worth something. I M: D o y o u h a v e a s e t ti m e e a c h d a y (o r n i g h t) to w r i te ? JT: Yes, I wake up at 4:30 and write to about 7. Then all hell breaks loose. Our two boys Luke and Matthew (half the Gospel) need to be fed and taken to school. I also help my wife in her law firm, so no writing for the rest of the day. Weekends, I start writing at 5 to about 10. At night, after the kids go to bed, I read. When you’re a writer, reading is just as important. IM: What’s your best advice to other w r i te r s fo r o v e r c o m i n g p r o c r a s ti n a ti o n ? JT: Routine. You need to find the time in the day when there’s the least distraction and stick with it, no matter what. Also, to put it bluntly, a true writer will never procrastinate for too long. If I do not write every day, I’m miserable and depressed. It’s like a drug for me, an essential part of my life. I M: W h e r e / w h e n d o y o u fi r s t d i s c o v e r y o u r c h a r a c te r s ? JT: It can happen anywhere or anytime. In our business, we meet a lot of people, so I take a note of the strange and crazy ones. The characters in my stories are

never a carbon copy of someone I’ve met or read about. I take the interesting bits and create my character, almost like Frankenstein. Sometimes a good story pops into my head, then I work on the character to fit. Or a unique character pops in my head and I think of a situation to put him or her through. I then start adding the meat. I M: W h a t fi r s t i n s p i r e d y o u to w r i te y o u r s to r i e s ? JT: My love for stories. Before I started writing, as a kid, I would get into bed and think of a story. It would be like a miniseries; every night I would continue with the story. I know, weird. I’m still doing it, but now in daytime, as well. The only difference is, I put it on paper. I M: W h a t c o m e s fi r s t to y o u ? T h e c h a r a c te r s o r th e s i tu a ti o n ? JT: It’s a difficult one. What was first, the chicken or the egg? Do you develop a plot around a character or a character around the plot? With The Clone, I started with the plot and then created the characters to fit. The plot, in the beginning is very basic, but then, as you add the characters, it starts to grow, twists develop, and characters develop. I do have some idea of how the story will end, but I’m in the hands of my characters. You cannot force a story into the direction you want; in the end, the characters steer the ship. You have to stay true to your characters, otherwise the reader will disconnect. IM: Do you ‘get lost’ in your writing? JT: A lot. It’s a part of the writing process. You need to keep at it until—BAM—you get that plot twist or beacon that gets you back on course. That’s one of the most exciting times for me. Actually, I’m lost with the story I’m developing now. But every morning I

wake up, make my cup of coffee, and start writing. I’m trying my best to get my stubborn protagonist to see the beacon, but she won’t bite. I’m at the point where I want to send in a tsunami. IM: Who or what is your “Muse” at th e m o m e n t? JT: My fingers, just kidding. I think it will always be my wife. She is the first one who reads the beginning of my draft, so I push myself to create a unique story, thereby pushing the limits of my creativity. I M: D o y o u h a v e a n e w b o o k c o m i n g o u t s o o n ? I f s o te l l u s a b o u t i t. JT: I’ve recently completed a scifi novel that is set in the nottoodistant future. Burnt Brethren confronts the burning issues of global warming and immigration which divide our nations. That is why I love to write science fiction; I magnify social issues and create a world and story that portray a worstcase scenario. I’m also currently Indyfest Magazine #99 Apr 2017 27

next… I only really made an effort two years ago, sending in my first manuscript. It took me about six months to find a publisher. Don’t ask me why it took me so long to submit—maybe it was the fear of rejection.

working on a time travel novel. The basic premise of the story is that if you could go back in time and prevent a bad experience, would you do it? Sometimes from a bad experience, a good experience will flow. So if you prevent the bad experience… I met my wife of twenty years, because my father died of cancer and my mom installed a new kitchen from his life insurance money. My wife was the kitchen designer. Life is truly stranger than fiction. So the question is, would you go back? I would, in a heartbeat, but I would also go back and give my parents the money for a new kitchen. I M: W h e n d i d y o u b e g i n to w r i te seri o u sl y? JT: Approximately eight years ago. I M: H o w l o n g a fte r th a t w e r e y o u p u b l i sh ed ? JT: I finished my first novel five years ago, but didn’t submit. Instead, I started with my next manuscript… and then my 2 Indyfest Magazine #99 Apr 2017

I M: W h a t m a k e s a w r i te r g r e a t? JT: Oh, boy… I’ll ask one when I see one, but will try and answer the question. It must be your passion in life, as it will reflect in your writing. Persistent writing, in order to create your unique writing style. The talent to envision and write that special story. When other writers read it and say, “Why the hell didn’t I think of that?” (My exact words when reading George R. R. Martin’s work.) Like Gary Player once said, “The harder you work, the luckier you get.” IM: And the all important: What does th e p r o c e s s o f g o i n g fr o m " n o b o o k " to " fi n i s h e d b o o k " l o o k l i k e fo r y o u ? JT: In the beginning, I feel like a sculptor, standing in front of a big rock, visualizing an image. I don’t know exactly how the sculpture will look, but I have a rough idea. Then, I start chipping away, starting at the feet, laying the foundation. The most exciting time for me is that first few pages, the opening scene. I set the bar as high as possible in order for the momentum/story to carry me to the end. The moment I get bored writing, I know the reader will also get bored. So, I write what I love, and I think with any writer, it reflects in his work. It keeps the story alive, and it also helps with your rhythm and routine. It’s not that hard, then, to get your ass in the chair and start with the next chapter. I’m not one of those writers that pushes themselves to write a certain number of words each day. I work on a

scene, maybe for two or three days, until I’m satisfied. It could be 500 words or 2000 words a day. For me, creativity can’t be rushed. As my story unfolds, I make notes on discrepancies, plot twists I need to change in the beginning of the story, etc. After I’m done with the first draft, I start from scratch, applying my notes and fixing grammar mistakes. ONLY THEN do I give it to an editor friend to read and give feedback on. I never let anyone see it until I’m done with the story. Another rewrite follows. After that, the sculpture is still far from done though. Next it’s the publishers turn. Usually three edits—continuity, content and grammar. Douglas Owen from DA Owen Publications is a brilliant editor and picks up on things that I’ve never thought about. So, taking a book from “no book” to “finished book” takes bloody hard work, but when you hold that “finished book” in your hands… it’s all worth it. I M: H o w h a v e y o u r l i fe e x p e r i e n c e s i n fl u e n c e d y o u r w r i ti n g ? JT: When writing an emotional scene, I

draw from my own experiences. You have to, in order to create an authentic character. With regards to storyline and plot twists, not much… My life, luckily, is not that chaotic. I M: H a v e y o u w r i tte n (o r d o y o u w a n t to w r i te ) i n a n o th e r g e n r e ? JT: I will definitely give it a go, but as soon as I get bored writing it, I will drop it. The reader will realize, because it will reflect in my writing. I M: I s th e r e a n y th i n g e l s e y o u ’ d l i k e o u r r e a d e r s to k n o w ? JT: I’m not going to go away, so they might as well start reading my books. Wink, wink, nudge, nudge.

FOLLOWTHROUGH Get the book: www.amazon.com/Clone JohanThompson ebook/dp/B01MT9CKLT

ABOUT THE INTERVIEWER http://mag.indyfestusa.com/staff/ #Trisha_Sugarek

If You Write It... April 2017

I’m a child of the 60s. The big thing people used to talk about was, “If you write it, they will read it”. Is that still the case? As an editor and publisher, I receive queries and submissions from writers at various levels of their careers. Some have abilities that make you cry (for a good reason), while others just make you cry. Part of my job is to find those writers whose work is beyond polished and exceptional. But there are exceptions to those rules. Melissa Grunow, author of Realizing River City, came out of our vetting process with a notsohigh rating. Did I decide to take my test reader’s word for it? No, I took the time to look at the work and get to know her. People wondered why I did that. The simple answer is, I don’t know. Something told me to take a second look at what she submitted. So I did. I worked closely with Melissa, going over the structure of her work and the style she used. We signed a contract, started edits, rewrote, edited again, and finally published the work. In one of the last emails, Melissa asked me a simple question: “Is it okay that I am really starting to hate my book?” My answer must have surprised her, for I told her she was a real author now. Indyfest Magazine #99 Apr 2017

Melissa commented that the finished product, after all the rewrites and editing, is a substantially better book than the one she submitted. In part, I take a little of the praise, but most of it falls on her for following editing instructions and rewrite suggestions. She did a wonderful job with the manuscript. It is no wonder the work received two awards from the Independent Authors’ Network: Best NonFiction for 2016 and runner up for Book of the Year 2016. My hat is off to Melissa for sticking with the demands of the editorial staff at DAOwen Publications, for without her pure desire to have the best book she could ever write, the memoir would not have received the praise it now has. Even now, you can see the reviews on GoodReads ranking it as 4.5 out of 5 stars. What we, as writers and authors, need to take out of Melissa’s story, is that we all have the ability to write something great. Remember that the words written while sitting in front of the keyboard are the first draft, and with rewriting, it becomes the solid and polished work we all admire. But what about those who do not have the ability to edit their work after it is completed? Are their manuscripts destined for the slush pile never to be

read? The truth is no, they are worthy of being read, but maybe not published. The problem is, if you do not reread your work, take the time to remove the unnecessary, push yourself to correct and learn, then you will never be a true author. Perfection comes from persistence. We need to push ourselves to make the written work something everyone wants to read. Increase our knowledge and become better at our craft. I have a submission from a friend sitting with one of my test readers right now. The biggest concern is if the work does not meet the level of the reader, will I ignore it. The person is known as an author, having several books already selfpublished, but her initial writing is usually clunky. The good thing is, it has

been through a few editors to assist the writer in making the manuscript polished. It is, hopefully, at the level that will allow for the final edges to be shaven off it and brought to a level that far exceeds the low expectations of a selfpublisher. Time will tell. So in this edition, my desire is to tell you that all manuscripts need to be written. It is the desire of the writer that will help determine if it is self or traditionally published.

ONLINE FOLLOWTHROUGH

Doug's Website: http://daowen.ca/

On our site:

mag.indyfestusa.com/staff/ #Douglas_Owen

APRIL 2017 By IAN SHIRES

I won’t beat around the bush on this. I've really dropped the ball on moving forward with the Hall of Fame. Last year at this time, I was about to present the first inductee plaque to the family of Tim Corrigan at SPACE. And I did, it was a great event. And I was pumped about setting up the public nomination system and voting process so we could keep doing it every year. I didn’t get it going. In fact, setbacks and health problems have landed me really at ground zero on the whole thing. I still have all this data (90 percent locked away in boxes), publications that few other people ever saw or know about—from people who aren't even publishing anymore—and I'm behind on even keeping up with the digital submissions to add to the archive system. I don't have a plan either. We are in the middle of examining what we are going to do differently with this magazine to fix our current problem of no real readership growth. It has become way too clear that, no matter how good the issues are, great articles and cool interviews given away free in PDF is NOT reaching the wider audience we all need it to for the magazine to have a real impact. So we're going to do a 180 and head back to print editions, target store distribution, and begin to focus on who is putting out what, and where to find it. This is going to have us move, at least for now, into quarterly production for the magazine. 2 Indyfest Magazine #99 Apr 2017

Therefore, I am not going to directly update about the HOF again until we have solidified that we're going to be able to keep the magazine going, that people like the new direction, and we can get back to at least bi‐monthly. Going monthly again at some point is a goal, but not one I’m going to kill myself trying to hit. We are going to have to have an organic progression, with people joining in to work with me to get things done smoothly. Hopefully, this will lead into paid positions that the magazine supports, because publishers support the magazine and, between us all, we can work as hard as we can to attract new readers to new works outside of the Marvel/DC comics stranglehold. Creating a culture of "I can make a comic for fun, for friends, and as a hobby" that does not rely on "I gotta make $10K in a Kickstarter to do it," without actually disconnecting from those who go that route, because hey, a comic is a comic is a comic... that is the dream that I was introduced to when I started making minicomics in 1986. Small Press Comics Explosion. We didn't see webcomics and the digital revolution coming then, and when it arrived, it shifted the culture. Everyone would love to make a living making comics. Corporations have fed on that desire to create systems that suck the profit away from creators. We need to find that inner joy of a bond between us all, beyond $$, a place where those of us who want to make comics can find real new fans. Otherwise, it's all just products.