Dsp im88 epdf by Dimestore Productions

T TH H IIS S IIS SS SU UE E

R Ru un n D Do ow wn nh h ii ll ll II n nt te er rv vii e ew w w wii t th h T T.. J J .. T Tr ro oy y

N N S S II

D D E E

.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . . . . . . . . . .

C CH HU UC CK K D DII X XO ON N BY

TRI SH A SU G AREK

.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . . . . . . . . . .

J JA AY Y M MO OO OE ER RS S BY DOM I N I CH I H AWKI N S .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . . . . . . . . . .

S S.. A A.. B BA AK KE ER R BY DOU G LAS OWEN

8 88 8 S SE EP PT T 2 20 01 15 5 I n d yfest M ag azi n e #88 足 S ept. 2 0 1 5

A A C Ca all ll t to o G Ge et t II n nv vo oll v ve ed d D own l oad ou r m an i festo to u n d erstan d wh at we' re tryi n g to d o an d h ow i t rel ates to u s al l : fan s, creators, pu bl i sh ers, an d retai l ers. Wh y sh ou l d I n d yfest m atter? Read an d fi n d ou t.

I n si d e Cover Ad

C Clliic ck k o or r E En nt te er r::

ii n nd dy yf fe es st tu us sa a.. c co om m//ii m ma ag ge es s//IIM M//W Wh hy yIIn nd dy yf fe es st t1 1 .. p pd df f

i n th e browser of you r ch oi ce, an d th e PD F wi l l d own l oad for free for you . You can al so cl i ck th e cover i m ag e on ou r h om epag e an d i t' l l d own l oad th ere. J u st read i t!

A AD DV VE ER RT TII S SE E II N N II N ND DY YF FE ES ST T We've been evol vi n g for you si n ce 1 989. . . .

Stri vi n g to g et n ew eyes on you r stu ff i s wh at we d o!

We offer:

You r su pport h el ps u s:

G RE AT RATE S

B U I LD COM M U N I TY

S TRON G RE AD E R B AS E

PLAN G ROWTH

PROM I N E N T PLACE M E N T

KN OW YOU CARE

an d even som e

an d especi al l y

FREE OPTI ON S

KEEP I T FREE

M ai n tai n i n g a m on th l y presen ce wi th read ers, keepi n g you r l og o an d ti tl es fresh i n peopl e's m i n d s i s proven to i n crease you r tabl e sal es at sh ows!

m ag . i n d yfestu sa. com /i n fo/ad verti se/ 2

I n d yfest M ag azi n e #88 足 S ept. 2 0 1 5

TH E D RI VI N G

F ORCE I u su al l y spen d th i s ti m e an d space tryi n g to

by I AN S H I RE S

h ave set u p an d tri ed to g et con versati on g oi n g

provi d e both a road m ap for th e m ovem en t

at h ttp: //foru m s. i n d yfestu sa. com /— an d I kn ow.

g en eral l y kn own as " Th e N etwork" of i n d y stu ff,

I t' s n ot pretty, i t' s on a d efau l t th em e, i t' s i n th e

an d th e m oti vati on to care abou t sai d road m ap.

l i st of th i n g s th at n eed atten ti on an d

B u t th e fact of th e m atter i s, th i s ti m e, I spen t th e

d evel opm en t, bu t. . . wh en i t' s j u st m e d oi n g al l

wh ol e " off" peri od between i ssu es tryi n g to fi x

th e work, I can on l y d o wh at I can d o. I t wou l d be

probl em s i n cod e th at are cau si n g websi te

g reat i f m ore peopl e wou l d rol l u p th ei r sl eeves

errors. An d so, i t' s h ard to prog ress, pl an , an d

an d h el p g et th e road m ap i n to a fu n cti on al

even th i n k abou t th e i n cl u si on of oth er peopl e i n

ou tl i n e form , h el p pri ori ti ze an d assi g n tasks,

an effort, wh en i ts core i s n ot worki n g as wel l as

an d g et u s to a poi n t wh ere we' re m ovi n g

i t n eed s to be.

forward , i n stead of wai ti n g for m e to d o stu ff.

Or i s i t? I f we, as a n etwork, con si d er wh at i s

An d th ere are a l ot of ti m es wh ere I feel h orri bl e

bei n g bu i l t h ere i n I n d yfest as h om e. . . as OU RS ,

for n ot accom pl i sh i n g en ou g h . B ecau se I see th e

n ot som eth i n g th at a corporati on own s an d i s

poten ti al of wh at th i s cou l d al l be an d becau se I

l etti n g u s u se so th at we pay i ts bi l l s an d m ake i t

wi sh I was abl e to d o th i n g s faster. H avi n g so

profi t. . . bu t as som eth i n g th at, i f we i n vest i n i t,

m an y g reat th i n g s si tti n g on th e backbu rn er

wi l l pay u s back ou r own d i vi d en d s, th en ,

becau se of m an power, su cks. We n eed to—an d

an yon e wh o i s si tti n g back an d wai ti n g for i t to

D ou g h as tol d m e h e' l l ru n i t— d o a m aj or

be bu i l t, so th ey can u se i t wh en i t' s d on e. . .

fu n d rai si n g proj ect to g et u s i n to a posi ti on

wel l . . . i f you ' re d oi n g th at, th en you ' re m aki n g i t

wh ere we can u se th e $ $ to provi d e better

h ard er on you rsel f. S o, i f you ' re cool wi th

i n cen ti ve (i . e. pay) peopl e to h el p. I h ave h el d off

Am azon tel l i n g you h ow to d o th i n g s an d

on d oi n g i t, becau se I d i d n ' t feel th e base

accepti n g th e percen tag es th ey g i ve. . . an d i f

software was real l y pri m eti m e read y. I m ean , we

you ' re h appy wi th you r access to com i c book

j u st m oved to a beta stag e from an al ph a on e. I

stores th rou g h D i am on d an d th e m on ey you

kn ow we h ave som e bu g s l eft i n th ere, an d

m ake th ere. . . g reat. B u t i f you ' re n ot. . . th en th e

som e of th e base software we' re ru n n i n g on i s

ON LY way we as a n etwork are g oi n g to g et th e

u n d erg oi n g m aj or n ew versi on s th at I ' m g oi n g to

au d i en ces an d d i stri bu ti on an d tool s we wan t

h ave to i m pl em en t before we can tel l peopl e,

an d n eed i s i f we bu i l d th em ou rsel ves.

“H ey u se th e versi on th at' s i n th ere” . Th i s al l

An d I d on ' t kn ow, m aybe I ' m way off. I wrote th e

boi l s d own to on e th i n g : We n eed m ore peopl e

Wh y I n d yfest bookl et an d passed ou t 2 0 0 of

to h el p. H ow to accom pl i sh th at i s wh at I ’ m

th em at S PACE th i s year, an d h ave h ad i t

focu si n g on . M ai n l y becau se n oth i n g el se I ' ve

avai l abl e as a si m pl e cl i ck to d own l oad i t i n PD F

focu sed on , h as h el ped .

on th e websi te for m on th s. . . an d I th i n k i t d oes a

sol i d j ob of tryi n g to l ook at th e perspecti ves we

J OI N N OW! Let' s B u i l d th e F u tu re!

al l n eed to con si d er i n wh at an i n d yn etwork

sh ou l d be. B u t wan n a kn ow h ow m an y peopl e

h ave actu al l y com e back to tal k to m e abou t i t?

Wel l , i f you d i d . . . you ' d be th e fi rst. An d th at

I N D YF E S TU S A. COM i n cl u d es ou r own staff an d th e peopl e wh o are

actu al l y h el pi n g keep th i s m ag azi n e g oi n g . I

I n d yfest M ag azi n e #88 S ept. 2 0 1 5

CON TE N TS 05

1 2

S PU RRI N G ON WARD

I n tervi ew wi th T. J . Troy by E l l en F l ei scer

1 6

TH E

S U RPRI S I N G

WRI TTE N

CH U CK D I XON

VI E W

I n tervi ewed by: Tri sh a

Arti cl e seri es by

S u g arek

D ou g l as Owen

1 9

G OI N G TO

S ON S OF

EDEN

F ATE

PARK

S N E AK PE E K

I n tervi ew wi th J ay

WI N TE R B OU RN E

I n tervi ew wi th S . A. B aker

B y: J ean Pau l D esh on g

M ooers by D om i n i ch i

by D ou g l as Owen

H awki n s

T Th h ii s s II s ss su ue e D De ed d ii c ca at te ed d t to o:: T Tii m m C Co or rr rii g ga an n D u ri n g th e prod u cti on of th i s i ssu e, we l earn ed th at sm al l press l eg en d Ti m Corri g an h ad su d d en l y passed away. Wi th ou t Ti m ' s work i n popu l ari zi n g m i n i com i cs an d h i s m ag azi n e S m al l Press Com i cs E xpl osi on , th e wh ol e l an d scape of " th e N etwork" wou l d n ot h ave been th e sam e. H i s com i cs, m u si c, m en torsh i p, tou ch ed u s al l wh eth er we kn ow i t or n ot.

I an S h i res

E l l en F l ei sch er

D ou g l as Owen

Cover Artwork

Pu bl i sh er

M an ag i n g E d i tor

Ci rcu l ati on D i rector

Ch ri s M cF an n

Ad d i ti on al Arti sts Appeari n g i n th i s I ssu e Qu i n n S al azar, an d S cott An g l e

Tem pl ate Ad vi sor: E verard M cB ai n Layou ts team : I an S h i res (pg 1 3 2 )

h ht tt tp p:: ////ii n nd dy yf fe es st tu us sa a.. c co om m//g ge et tt tii n ng g s st ta ar rt te ed d// I n d yfest

4 4 0 57 .

th ose

M ag azi n e

Al l

con ten ts

i n d i vi d u al s.

pu bl i sh ed

D i m estore

m on th l y

D i m estore

reserves

I n d yfest M ag azi n e #88 S ept. 2 0 1 5 F i rst Pri n ti n g , S eptem ber 2 0 1 5.

th e

D i m estore

Prod u cti on s

ri g h t

an d

keep

I N D YF E S TU S A. COM

Prod u ci on s.

al l

th i s

n oted

i ssu e

P. O.

B ox

21 4

i n d i vi d u al s,

pri n t

M ad i son ,

ri g h ts

PD F

an d

Oh i o

reverti n g

POD

form s.

a an n ii n nt te er rv vii e ew w w wii t th h

S SP PU UR RR RII N NG G

R RU UN N D DO OW WN NH H II L LL L''S S T T.. J J .. T TR RO OY Y

O ON NW WA AR RD D

B By y E EL LL LE EN N F FL LE EII S SC CH HE ER R

Ru n D own h i l l i s a n i n d y cou n try

s te p cl os e r to com p l e ti on .

e n se m b l e wi th a s ou n d th a t b l e n d s cl a ssi c cou n try wi th m od e rn i n d y rock, fol k, a n d worl d m u s i c. B a se d ou t of LA, th e b a n d fe a tu re s Ad a m Le vy, N a te La P oi n te , Ke n La s a i n e , Tom M oose , a n d T. J . Troy. Ru n D own h i l l p osi ti on s th e i r work ou ts i d e of a tra d i ti on a l m u si c con te xt, com b i n i n g i t wi th th e worl d of com i c a rt a n d g ra p h i c n ove l s i n th e form of “ S on g C om i cs ” . Th i s m on th , we si t

Ru n D own h i l l i s :

T. J . Troy —s on g wri te r/p rod u ce r/d ru m m e r /voca l i s t/m u l ti i n s tru m e n ta l i s t

N ate LaPoi n te —p e d a l s te e l /e l e ctri c a n d a cou s ti c g u i ta r/b a ckg rou n d voca l s

Ad am Levy —b a s s /b a ckg rou n d voca l s Tom M oos e —a cou s ti c g u i ta r/m a n d ol i n /vi ol i n /b a ckg rou n d voca l s

Ken Las ai n e —b a ri ton e g u i ta r.

d own wi th T. J . Troy, to d i scu ss th e b a n d , th e S on g C om i c form , a n d a fe w oth e r p roj e cts.

Th e re a re se ve ra l a d d i ti on a l m e m b e rs of th e l a rg e r cre a ti ve te a m :

C h ri s M cFan n —i l l u s tra tor/a rti s t

IM: Who is Run Downhill? TJ T: Th e b e s t p l a ce to b e g i n ou r d i s cu ssi on i s to b ri e fl y e xp l a i n th e p roj e ct: Ru n D own h i l l i s a b a n d th a t cross con te xtu a l i ze s ou r m u si c wi th com i c a rt a n d n a rra ti ve . E a ch son g works i n con j u n cti on wi th a ch a p te r from a n on g oi n g com i c s tory. O u r cu rre n t storyl i n e i s ca l l e d S P U RS . I n th e e a rl y 1 8 7 0 s, th e sm a l l We ste rn fa rm i n g town of Ki l b ou rn e xp e ri e n ce s tra u m a ti c u p h e a va l a s a n e w ra i l roa d sp u r to town n e a rs com p l e ti on . A se ri e s of i n e xp l i ca b l e d e a th s h a s th e town on e d g e , wh i l e re s i d e n ts p oi n t a n a ccu si n g fi n g e r b a ck a t th e ra i l roa d com p a n y. M e a n wh i l e , a m ys te ri ou s fi g u re q u i e tl y re tu rn s to p u s h h i s fa n ta sti c sch e m e on e

Qu i n n S al azar—i l l u s tra tor/a rti s t S cott An g l e —i l l u s tra tor/a rti s t E d d i e You n g —vi d e o e d i tor S cott M an zo —a u d i o m i x/m a s te ri n g en g i n eer

J u l i E m m el —l i ve s h ow co p rod u ce r/p rog ra m m e r/g u e s t a rti s t.

IM: What can you share with us about your backgrounds? Where do you all come from? How did you get together? TJ T: Th e s tory of Ru n D own h i l l b e g i n s i n 2 0 0 9 : I h a d b e e n wri ti n g a g re a t d e a l of m a te ri a l for a n i n s tru m e n ta l ch a m b e r m u s i c g rou p , th e F re s h l y S q u e e ze d M u s i c E n s e m b l e (F S M E ), fou n d m ys e l f I n d yfe st M a g a zi n e #8 8 S e p t. 2 0 1 5

As th a t fi rs t E P wa s n e a ri n g com p l e ti on , I e n l i s te d S cott An g l e to cre a te th e cove rs ; i n ou r d i s cu s s i on s , I tol d h i m th e s tory of ou r n a m e , Ru n D own h i l l . H e wa s s o m ove d b y th a t s tory, h e i m m e d i a te l y a s ke d , “ C a n I d ra w th a t? ” Wh e n th a t i m a g e a rri ve d two we e ks l a te r, I h a d a n i n s ta n ta n e ou s fl a s h of i n s i g h t, a ve ri ta b l e B i g B a n g , a n d a n e n ti re worl d b u rs t i n to b e i n g i n m y m i n d , com p l e te wi th i ts own m yth ol og y. I n e ve r h a d s u ch a n e p i p h a n y b e fore ; I wa s com p e l l e d to te l l th e s e s tori e s , a n d th e b e s t wa y to te l l th e m wa s wi th m u s i c a n d vi s u a l n a rra ti ve com b i n e d . H e n ce , th e m ove towa rd s com i c b ook a rt a n d n a rra ti ve wa s a n a tu ra l cre a ti n g re p e rtoi re th a t d i d n ’ t e xa ctl y su i t

on e . I ’ m a l i fe l on g re a d e r of com i c

th e g rou p , a n d s h e l ve d i t for a l a te r d a te .

b ooks , a n d a p u b l i s h e d a u th or of p ros e

Th e l a te r d a te a rri ve d i n m i d 2 0 1 1 , wh e n

a n d p oe try, a n d I ’ ve a l wa ys l ooke d for

I d e ci d e d to re cord th a t m a te ri a l for

op p ortu n i ti e s to b ri n g th e s e two worl d s

i n cl u si on wi th i n a m u si c l i ce n si n g

tog e th e r. Wi th th i s p roj e ct, I d e ci d e d to

ca ta l og . I e n l i s te d th e h e l p of m y fe l l ow

cre a te th a t op p ortu n i ty m ys e l f a n d s te e r

stu d i o p rofe s s i on a l s h e re i n Los An g e l e s

i t i n th e d i re cti on I fe l t wa s m os t

to m a ke a si xs on g E P e n ti tl e d “ G i a n ts; ”

a p p rop ri a te . S e l fp u b l i s h i n g wa s th e

a s th a t m u si c wa s com i n g tog e th e r so

b e s t a n d m os t a va i l a b l e s ol u ti on .

n i ce l y, I a s ke d th e p l a ye rs to p l a y som e l oca l g i g s , a n d from th e re we b e g a n

IM: Where have you performed?

worki n g m ore i n a n d a rou n d Los

TJ T: We p l a y m os tl y a t d e d i ca te d m u s i c

An g e l e s. We a re a l l fre e l a n ce m u si c

ve n u e s a n d a rt g a l l e ri e s , p l a ce s wh e re

p rofe ssi on a l s , e i th e r fol ks I kn e w from

p e op l e wa n t to s i t d own a n d l i s te n to

m y ti m e a t C a l Arts (C a l i forn i a I n sti tu te of

m u s i c. We h a ve p l a ye d a t a va ri e ty of

th e Arts, wh e re I d i d m y M a ste r’ s d e g re e

b a rs /h on kyton ks /cl u b s , e tc. , b u t we ’ ve

i n P e rcu s s i on P e rform a n ce ), or from m y

fou n d m os t s u cce s s i n s e l fp rod u ci n g

ye a rs of p l a yi n g fre e l a n ce g i g s a rou n d

ou r s h ows a t ve n u e s wh e re we ca n

town .

con trol th e e n vi ron m e n t. O n e m a j or

I g re w u p i n N orth C e n tra l

com p on e n t of ou r l i ve s h ows i s ou r

Wa sh i n g ton S ta te , a m on g th e a p p l e a n d

S on g C om i c p roj e cti on s (wh i ch I ’ l l

ch e rry orch a rd s of th e We n a tch e e

d i s cu s s i n g re a te r d e ta i l l a te r); we e d i t

Va l l e y. N a te i s from La ra m i e , WY; Tom

th e com i c b ook a rtwork tog e th e r i n to

g re w u p i n G e rm a n y, b u t h a s l i ve d i n

m oti on com i cs , wh i ch a re p roj e cte d

C a l i forn i a for m ore th a n a d e ca d e ; Ad a m

wh i l e th e b a n d p e rform s l i ve . Th i s

wa s b orn i n Ke n tu cky, b u t g re w u p i n

cre a te s a n a l l s e n s ory i m m e rs i ve

N e w York, a n d Ke n i s a Los An g e l e s

e n vi ron m e n t—th e a u d i e n ce wa tch e s

n a ti ve . I n te rm s of vi b e , we ’ re a We st

th e vi s u a l i m a g e ry, re a d s d i a l og u e

C oa st b a n d .

b u b b l e s , a n d l i s te n s to th e m u s i c

I n d yfe s t M a g a zi n e #8 8 S e p t. 2 0 1 5

p l a yi n g l i ve . Th i s d e e p i m m e rs i on i s th e

An d th e n I re a d . I re a d a l m os t a n yth i n g m a i n s ta y of th e p roj e ct i tse l f, a s ou r g oa l I cou l d g e t m y h a n d s on (s ti l l d o), a n d i s to cre a te e n ri ch i n g , h ol i sti c, “ re a l l i fe ” th e com i c b ook b u g h i t m e wh e n I wa s m e d i a e xp e ri e n ce s . th re e or fou r ye a rs ol d , ve ry you n g .

IM: Who (or what) would you consider to be formative influences on your sound?

M os t p e op l e a s s oci a te com i c b ooks wi th wh a t I wou l d ca l l ‘ S u p e rh e ro com i c b ooks , ’ b u t th e re a re s o m a n y s u b g e n re s a n d s tyl e s of com i c b ook

TJ T: I ’ ve a l wa ys ca l l e d th i s p roj e ct n a rra ti ve : d e te cti ve s tori e s , wa r s tori e s , ‘ J oh n n y C a sh m e e ts Tortoi se ’ . Th a t’ s sti l l rom a n ce s tori e s , s tori e s for th e you n g p re tty m u ch on th e n ose th e se d a ys, a s a n d th e ol d , a n d on a n d on . Ru n I ’ m a l wa ys b ri n g i n g th e m u si c b a ck to D own h i l l i s e s s e n ti a l l y a We s te rn g h os t wh a t I kn ow, wh i ch i s cl a ssi c cou n try s tory. m u si c, a n d i n d y a n d p ostrock sou n d s I ’ ve h a d m a n y p e op l e a s k m e , “ Wh y of th e m i d a n d l a te 9 0 s. O th e r i n fl u e n ce s cou n try m u si c? ” F or m e , cou n try m u s i c i n cl u d e N orth I n d i a n a n d M i d d l e E a ste rn re fe rs to a n a p p roa ch , a n i d e a l , or cl a ssi ca l m u s i c (two d i sti n ctl y d i ffe re n t va l u e , a s m u ch a s i t re fe rs to a s ou n d . styl e s, b u t I ’ m ve ry a cti ve a s a p l a y i n M os t con te m p ora ry cou n try m u s i c from b oth of th os e worl d s ), a n d oth e r N a s h vi l l e i s re a l l y a n oth e r form of p op Am e ri ca n fol k/p op s tyl e s. As a wri te r, I ’ m m u s i c a n d i t s e rve s i ts p u rp os e we l l , b u t ve ry i n sp i re d b y H a ru ki M u ra ka m i ’ s th a t’ s n ot wh a t I ’ m re fe rri n g to h e re . m a g i ca l re a l i s m , G ra n t M orri son ’ s Tra d i ti on a l cou n try m u s i c h a s a l wa ys m e ta fi cti on , a n d J e ff Le m i re ’ s b e a u ti fu l e voke d a s e t of va l u e s th a t a re q u i te wri te r/a rti s t s tyl i n g s . d e a r to m e . I t i s I g re w u p s tra i g h tforwa rd a n d l i ste n i n g to th e O a k h on e s t a n d ve ry Ri d g e B oys , Va n d i ffi cu l t to h i d e H a l e n , th e S ta tl e r wi th i n . As a m u s i ci a n B roth e rs , J oh n n y th a t va l u e s a n oth e r C a sh , Ke n n y m u s i ci a n ’ s a b i l i ty to Rog e rs, N e i l p l a y a n d s i n g , I ca n D i a m on d , a n d e a rl y re l a te . 1 9 2 0 s /3 0 s D i xi e l a n d C ou n try m u s i c a l s o j a zz. M y p a re n ts ’ s p e a ks to th e re a l i ty re cord col l e cti on of l os s a s we l l a s i n cl u d e d ti tl e s from a n y oth e r form of U m m Kou l th u m a n d m u s i c, a n d th a t’ s a Ra vi S h a n ka r, ri g h t l ot of wh a t I wri te n e xt to AB B A a n d a b ou t h e re . I t’ s i n m y I tzh a k P e rl m a n . I ’ m b l ood a n d b on e s , a s th e you n g e s t of s i x m u ch a s a n yth i n g ki d s, a n d we a l l e l s e cou l d b e . p l a ye d g rowi n g u p , so m u si c wa s con sta n tl y i n th e h om e , a l wa ys som e b od y p ra cti ci n g , a l wa ys som e b od y l i s te n i n g .

IM: Run Downhill blends its music with comic art and graphic novels, I n d yfe st M a g a zi n e #8 8 S e p t. 2 0 1 5

ord e r, a n d ou r m os t p ote n t on l i n e offe ri n g . Th e S on g C om i c form a t i s th e tru e a m a l g a m a ti on of th e i n d i vi d u a l e l e m e n ts of Ru n D own h i l l ’ s cre a ti ve ou tp ou ri n g : we e d i t th e i n te rn a l a rtwork of th e com i c b ook a s a m oti on com i c vi d e o, b ri n g i n g th e i l l u s tra ti on s to l i fe l i ke a p u p p e te e r b re a th e s l i fe i n to a m a ri on e tte . Th e S on g C om i cs a re e d i te d i n s u ch a wa y a s to g u i d e th e vi e we r th rou g h th e s a m e p a th a re a d e r wou l d ta ke th rou g h a g i ve n p a g e , a d d i n g s om e l i g h t a n i m a ti on wh e re i t wou l d e n h a n ce th e s tory, th e n s e t

something you’ve dubbed “Song Comics”. What exactly is a Song Comic? TJ T: Le t m e b e g i n a n swe ri n g th i s q u e sti on b y d e fi n i n g Ru n D own h i l l a s b e i n g ‘ ob j e ct ori e n te d ’ . I t i s a b ou t th e p h ysi ca l con s tru ct of th e com i c b ook a n d th e a l b u m (wh e th e r i t i s C D , vi n yl , or oth e rwi se ). Th e e ffe ct of h ol d i n g a p h ysi ca l com i c b ook i n you r h a n d s, p h ysi ca l l y tu rn i n g th e p a g e s, a ctu a l l y i n te ra cti n g wi th th e ob j e ct i tse l f, i s th e corn e rston e of th e u se r e xp e ri e n ce , a n d we ta ke g re a t ca re i n d e ve l op i n g th e p h ysi ca l p rod u cts , from th e ca rd s a n d sti cke rs to th e com i cs/a l b u m s th e m s e l ve s . O u r on l i n e con te n t, wh i l e i t h a s g re a t va l u e a n d p ote n ti a l to re a ch a b roa d e r a u d i e n ce , i s n ot i n te n d e d to re p l a ce th i s e xp e ri e n ce , b u t si m p l y a u g m e n t i t. O u r m u si c i s s h a re d wi th ou r a u d i e n ce a cros s th re e se p a ra te p l a tform s: tra d i ti on a l m e d i a form a ts, i n cl u d i n g C D s /m p 3 a u d i o a n d p ri n te d com i c b ooks ; ou r l i ve p e rform a n ce s, wh i ch i n cl u d e ou r com i c n a rra ti ve s

a l on g s i d e ou r s tu d i o re cord i n g s . Th e s e a re n ot a n i m a te d ca rtoon s , b u t ra th e r s om e th i n g cl os e r to B a l i n e s e s h a d ow p u p p e try: th e fl a t, twod i m e n s i on a l fi g u re s m ovi n g a g a i n s t th e b a ckd rop wi l l (h op e fu l l y) re m i n d vi e we rs of Ke n B u rn s ’ a n i m a ti on s /d ocu m e n ta ri e s , wh e re s ti l l i m a g e s a re p a n n e d i n a n d ou t to cre a te th e i l l u s i on of m oti on . I d o n ot con s i d e r ou r m u s i c to b e th e ‘ s ou n d tra ck’ or ‘ s core ’ to ou r com i c b ooks : fi l m /te l e vi s i on s core s fu n cti on i n a ve ry p rog ra m m a ti c m a n n e r, b e i n g com p l e te l y s u b s e rvi e n t a n d re a cti on a ry to th e vi s u a l i m a g e ry. O u r S on g C om i c form a t i s d e s i g n e d to m a i n ta i n th e a u ton om y of b oth e l e m e n ts , com i c a n d s on g , a n d b ri n g th e m tog e th e r to cre a te a th i rd a n d d i s ti n ct m e d i a e xp e ri e n ce . You ca n (a n d s h ou l d ! ) l i s te n to th e m u s i c a wa y from th e com i cs a n d re a d th e com i cs a wa y from th e s on g s . B u t th e S on g C om i c g i ve s th e vi e we r th e op p ortu n i ty to d o b oth si m u l ta n e ou s l y. P l u s , i t g i ve s ou r a u d i e n ce a ch a n ce to i n te ra ct wi th ou r con te n t u s i n g th e i r p h on e s a n d ta b l e ts , a n d fol ks s e e m to l i ke th a t p a rt of th e p roj e ct.

p roj e cte d a l on g s i d e ou r l i ve m u si c; a n d l a s tl y, th e S on g C om i c, wh i ch i s e s se n ti a l l y a m u s i c vi d e o wi th e m b e d d e d te xt, re l e a se d i n a se q u e n ti a l

I n d yfe s t M a g a zi n e #8 8 S e p t. 2 0 1 5

IM: Could you outline the creation process? How do you make one? A nd roughly how long does it take you?

TJ T: N i n e ou t of te n ti m e s, I b e g i n wi th a son g . I wri te s on g s re g u l a rl y a n d wh e n I l a n d on a g ood on e , I u s u a l l y h a ve a g ood i d e a a s to h ow a son g ca n b e u se d i n s i d e a g i ve n n a rra ti ve stru ctu re . I sh ou l d offe r a q u i ck a si d e : a t th i s p oi n t, I h a ve a ve ry cl e a r vi si on of h ow th e cu rre n t n a rra ti ve i n ou r S P U RS storyl i n e wi l l p l a y ou t. I kn ow wh e re th e story wi l l ta ke u s , a n d i n ord e r to p rop e rl y s u p p ort th a t n a rra ti ve stru ctu re , I ofte n n e e d to com p ose son g s sp e ci fi ca l l y for a s ce n e . B u t m os t ofte n , b e ca u se I ’ m so

“ wri tte n ” i n m y h e a d , i n th a t I kn ow th e re l a ti ve s h a p e of th e p l ot(s ), a n d m e re l y

h e a vi l y ste e p e d i n th e wri ti n g of th e

n e e d to te l l th e s tory i n th e wa y th a t

m u si c a n d stori e s s i m u l ta n e ou sl y, m y

b e s t s u i ts a ) th e s on g ; b ) th e

son g s te n d to com e ou t i n g ood se rvi ce

s u rrou n d i n g s tori e s (ch a p te rs ) i n th e

of th e n a rra ti ve I ’ m worki n g wi th . I f a

com i c b ook; c) th e i n te g ri ty of th e

son g d oe s n ’ t fi t wh e re I a m i n th e

ch a ra cte rs wh o p l a y th e s tori e s ou t; a n d

n a rra ti ve , I sa ve i t for som e th i n g e l se . As

d ) a fl ow wi th i n l i ve p e rform a n ce , a s

of n ow, I ’ ve com p i l e d cl ose to 5 0 son g s

th e s e com i c s tori e s wi l l e ve n tu a l l y b e

th a t a re “ Ru n D own h i l l ” son g s, b u t m y

p roj e cte d n e xt to ou r l i ve m u s i c.

cu rre n t n a rra ti ve on l y e m p l oys a b ou t 2 6

At th i s p oi n t b e g i n s th e s cri p ti n g

of th ose s on g s . Th e oth e rs ca n e i th e r b e

p roce s s , a n d h e re I work a s fa s t a s I

p l a ce d wi th oth e r s tori e s l a te r i n th e

ca n to p u t th e s tory i n to s om e s ort of

con ti n u i ty, or th e y ca n b e sh a re d si m p l y

l og i ca l s h a p e a n d th e n e d i t m e rci l e s s l y.

a s th e son g s th e y a re .

I b u rn d own th e e xce s s fa t u n ti l we ’ re

B y th e ti m e I g e t a son g i n to a g ood worki n g ord e r, I m ove to a d e m o sta g e . I re cord e ve ryth i n g i n m y own p roj e ct

l e ft wi th th e b a re b on e s m i n i m u m of wh a t’ s n e e d e d to te l l th e s tory. Th e com i c s cri p t i s a n i m p orta n t

stu d i o, wh i ch i s a b s ol u te l y won d e rfu l

p i e ce of th i s p roce s s . As I a m n ot a n

a n d , a t th i s p oi n t, e s se n ti a l to th i s

a rti s t, a n d th e re fore ca n n ot re n d e r th e

p roj e ct’ s s u s ta i n a b i l i ty, a s i t a l l ows m e to

a rtwork m ys e l f, m y ta s k i s to cre a te

ke e p m y ove rh e a d l ow. I ta ke g re a t ca re

i n s tru cti on s for a vi s u a l a rti s t to fol l ow.

i n cre a ti n g th e s e d e m os, a s th e y

N a tu ra l l y, a n y a rti s t wi l l p u t h i s /h e r own

b e com e th e d e fa cto a rra n g e m e n t a n d

p e rs on a l s ta m p on a n y s tory th e y d ra w,

fi n a l ve rs i on of th e son g . I d o n ot sh a re

a n d I ’ ve b e e n b l e s s e d wi th h a vi n g re a l l y

th e son g s wi th a n yon e u n ti l th i s p roce ss

g re a t a rti s t con tri b u tors . I t’ s s i m i l a r to

i s com p l e te d . I p l a y a l l th e i n stru m e n ts,

h ow on e g u i ta r p l a ye r wou l d i n te rp re t a

si n g a l l th e p a rts , e tc. Th e re a fte r, I

p a rti cu l a r p a rt, ve rs u s h ow a n oth e r

cre a te a wri tte n ch a rt a n d th e ch a rt a n d

m i g h t i n te rp re t i t. I t’ s a l l p a rt of th e fu n

d e m os a re p l a ce d i n th e h a n d s of th e

of worki n g wi th re a l l y g re a t a rti s ts a n d

m u si ci a n s .

m u s i ci a n s .

We re h e a rs e th e tu n e for a s l on g a s

A p rofe s s i on a l com i c a rti s t ca n

we n e e d to. As re h e a rsa l s p rog re ss, I

g e n e ra l l y re n d e r on e p a g e p e r d a y. I f

th e n tu rn to th e wri ti n g of th e com i c

we ’ re re a l l y on top of ou r g a m e , we ca n

story: th e s tori e s a re p re tty m u ch I n d yfe st M a g a zi n e #8 8 S e p t. 2 0 1 5

TJ T: O u r S e con d E P, e n ti tl e d “ Ki l b ou rn ” (th e n a m e of th e fi cti ti ou s town th a t ou r s tori e s ta ke p l a ce i n ) wa s a n e xp e ri m e n t i n th i s con ce p t. Th i s wa s a l i ve s tu d i o a l b u m . We s e t u p th e b a n d h e re a t th e Ki l b ou rn H ou s e (m y s tu d i o) a n d d i d th e e n ti re a l b u m i n on e d a y, a l l l i ve ta ke s , n o ove rd u b s . I b rou g h t i n a th re e p e rs on ca m e ra cre w to fi l m i t. As we e d i te d th a t foota g e tog e th e r, we i n te rs p e rs e d com i c p a n e l s i n to th e vi d e o from a s tory I wrote ca l l e d “ Th e C a rou s e l C ou p l e , ” e s s e n ti a l l y I s s u e #0 g e t a te n p a g e s cri p t d ra wn i n a b ou t two

of th e Ki l b ou rn S a g a . S o, a s you

we e ks. B u t, b e ca u s e l i fe ta ke s ove r, a n d

wa tch /l i s te n to th a t a l b u m , you a l s o

j ob s a n d ch i l d re n a n d sp ou se s a l l

re a d th e s tory th a t tri g g e re d a l l th e

re q u i re ou r l ove a n d a tte n ti on , i t

a cti on th u s fa r i n com i cs . I n th i s s tory,

g e n e ra l l y ta ke s a l i ttl e l on g e r. We fa ctor

th e a n n u a l Town H a rve s t D a n ce tu rn s to

th a t i n to ou r workfl ow a n d we ’ ve

tra g e d y, a s two you n g l ove rs wh o ca n ’ t

b e com e q u i te e ffi ci e n t a t g e tti n g th i s

q u i te g e t i t tog e th e r a re g u n n e d d own i n

d on e a ccord i n g to th e s ch e d u l e we

a n a ct of n e e d l e s s vi ol e n ce .

cre a te for ou rs e l ve s . I wou l d l i ke a l s o to e m p h a si ze th a t

O u r n e xt a l b u m , S P U RS #1 , i s wh e re th e S on g C om i c form a t b e g a n i n

th i s p roce s s ta ke s a s l on g a s i t n e e d s. I n

e a rn e s t. I com m i s s i on e d a rti s t Qu i n n

fa ct, m ore th a n on e p e rs on h a s

S a l a za r to re n d e r fou r ch a p te rs of th e

ob se rve d th a t th e s i n g l e d e fi n i ti ve tra i t of

s tory i n to com i c form . We re cord e d th e

m y m u si c i s th a t i t ta ke s i ts ti m e . As a

m u s i c i n D e ce m b e r 2 0 1 3 , a n d th e

com p ose r/wri te r/cre a tor, wi th a n y of th e

s tori e s we re on e a t a ti m e . We re l e a s e d

rol e s I p l a y, I ta ke m y ti m e , u n wi l l i n g to

e a ch S on g C om i c i n th e fi rs t h a l f of

ru sh a n yth i n g u n ti l th e i d e a i s fu l l y

2 0 1 4 a t ou r (th e n ) m on th l y s h ow i n

g e sta te d . Th i s i s s l ow cooki n g a t i ts

d own town Los An g e l e s . We re l e a s e d

fi n e st. Th a t b e i n g s a i d , wh e n som e th i n g i s d on e , fu l l y cooke d , th e p roce ss m ove s wi th g re a t sp e e d : ou r n e w a l b u m , th ou g h i t took m a n y ye a rs to com p i l e th e

Th ere's M ore!

Read the rest of the interview at

http://wp.me/p5Zkczlj#read

son g s, a n d m on th s of p re p l a n n i n g to e xe cu te th e s e s s i on s, wa s re cord e d /m i xe d /m a s te re d i n si x we e ks, wh i ch i s n o ti m e a t a l l . I ca n m ove p re tty q u i ck wh e n I n e e d to…

O N LI N E

F O LLO WTH RO U G H Ru n D own h i l l We b s i te : h ttp : //ru n d own h i l l m u s i c. com

IM: Your two most recent albums have used the Song Comic format. Would you share some of these comic stories with our readers? What are they about? What inspired you to write them? 10

I n d yfe s t M a g a zi n e #8 8 S e p t. 2 0 1 5

T. J . Troy' s p e rs on a l s i te : h ttp : //tj troy. com O n F a ce b ook:

ABOUT THE INTERVIEWER

www. fa ce b ook. com /ru n d own h i l l

m ag . i n d yfes tu s a. com / s taff/#E l l en _Fl ei s ch er

Advertise in Indyfest Magazine Reach th e read ers wh o are i n terested wh at' s n ew an d d i fferen t!

Reason abl e rates for pu bl i sh ers on bu d g ets!

http: //mag. indyfestusa. com/info/advertise/ I n d yfest M ag azi n e #88 足 S ept. 2 0 1 5

T TH HE E S SU UR RP PR RII S SII N NG G

C CH HU UC CK K D DII X XO ON N B By y T TR RIIS SH HA AS SU UG GA AR RE EK K

What Julia Child was to cuisine, what Stirling Moss was to racing, what John Glenn was to space, Chuck Dixon is to the comic book and animated TV world. Chuck Dixon is a veteran comic book writer with thousands of titles to his name, including a record run on Batman at DC. Much to his fans’ delight, Chuck has recently moved into the genre of true crime fiction. I’ll be honest with my readers; I hadn’t read a comic book since Archie and Veronica. While doing my research for this interview, wherever I went in the comic book world, the aficionados told me I was in the presence of royalty. Today, we’re going to read about Chuck’s writing process, where he finds the characters for his stories, and what led him to murder mysteries.

th e h ou se, wi th bu i l ti n booksh el ves an d l ots of room for artwork on th e wal l s.

IM: Do you have any special rituals when you sit down to write? (A neat work space, sharpened #2 pencils, legal pad, cup of tea, glass of brandy, favorite pajamas, etc. ?) CD : D oes ch ecki n g em ai l s cou n t? A n eat work space i s N OT a pri ori ty. Al l I req u i re i s en ou g h d esk space for m y keyboard . A m u g of m ate or tea i s n i ce.

IM: Could you tell us something about yourself that we might not already know? CD : Wh en I was a ki d I fou n d th e m etal m u n ch i n g m i ce i n th e B u l l wi n kl e cartoon s fri g h ten i n g . F or som e reason , th e i d ea of a h u g e roboti c m ou se cl i m bi n g to th e top of th e h ou se to eat

IM: Where do you write? Do you have a special room, shed, barn, special space for your writing? Or tell us about your ‘dream’ work space.

ou r TV an ten n a u n settl ed m e.

real tors as a “h om e offi ce. ” I t’ s basi cal l y

IM: You are such an icon in the comic book and animated TV world. What inspired you to switch from that genre to writing fiction?

a cu bby h ol e fi l l ed wi th books an d toys.

CD : I si m pl y g ot ti red of wai ti n g for

I t’ s wh ere I work si n ce m ovi n g to

som eon e el se’ s perm i ssi on to wri te. Th e

F l ori d a. M y d ream work space was th e

possi bi l i ti es offered by d i g i tal pu bl i sh i n g

offi ce I h ad u p n orth ; a bi g ad d i ti on to

are en d l ess. Wh y g o th rou g h th e pai n fu l ,

CD : I work i n wh at i s d escri bed by

ted i ou s, an d often fru i tl ess, process of

I n d yfest M ag azi n e #88 S ept. 2 0 1 5

th e m i n d s of casu al read ers. I n com i cs, m y d escri pti on s are u ti l i tari an . I si m pl y tel l th e arti st wh at n eed s to be i n th e pan el . I t’ s n ot artfu l i n an y way. I n prose fi cti on I n eed to be m ore su btl e; m ore ci rcu m spect. M ore of a word sm i th , wh i ch i s som eth i n g I h ave n ever con si d ered m ysel f to be. B u t paci n g , pl otti n g , ch aracteri zati on , an d al l th e rest are th e sam e for com i cs as th ey are for prose.

IM: Do you have a set time each day to write, or do you write only when you are feeling creative? CD : I wri te even wh en I d on ’ t feel l i ke i t. Th e cru sh i n g d ead l i n es of com i cs tau g h t m e th at. Wri ter’ s bl ock? Ph ah ! You h ave to h u n t d own th ose m u ses an d cag e th em .

IM: What’s your best advice to other writers for overcoming procrastination? CD : I read an i n tervi ew wi th a screen pi tch es an d d evel opm en t wh en I can wri ter wh o sai d th at h e n ever wri tes si m pl y g o from i d ea to fi n i sh ed prod u ct d own h i s l ast i d ea of th e d ay. I n th at on m y own ? I tu rn ed to prose becau se way, h e kn ows wh ere h e’ s g oi n g to of th e m assi ve prod u cti on expen ses beg i n th e n ext d ay. I t sou n d s l i ke a si l l y i n vol ved wi th d oi n g com i cs. M y on l y g i m m i ck, bu t tru st m e, i t works. I t’ s l i ke i n vestm en t i s m y ti m e. An d , tru th to tel l , h avi n g th e pu m p pri m ed before I even th ere are a l ot m ore peopl e wh o read si t d own to wri te. B ecau se g etti n g prose th an read com i cs. I ’ m reach i n g started i s th e secon d h ard est part of read ers n ow th at I n ever cou l d h ave wri ti n g . reach ed wri ti n g com i c books. Th e fi rst h ard est part i s th at m i d d l e

IM: Was it a challenge to switch to a novel format and ‘pointofview’?

passag e wh ere I ’ m past th e h al fway poi n t an d h ave con vi n ced m ysel f th at everyth i n g I ’ m d oi n g su cks.

CD : M ostl y, i t was th e i n ti m i d ati on factor. I n com i cs, m y ch osen m ed i u m , th e ben ch for wri ti n g tal en t i s pretty th i n . B u t i n prose fi cti on I ’ m u p ag ai n st th ou san d s

IM: Where/when do you first discover your characters? CD : I ten d to d efi n e m y ch aracters

of years of awesom e wri ti n g . I m ean , th rou g h th ei r acti on s. Th ey h ave to be wh o th e h el l d o I th i n k I am , g oi n g to u p for wh at I ’ m g oi n g to pu t th em work i n th e sam e sh op as Al exan d er th rou g h i n th e story. On ce I h ave th e D u m as or J an e Au sten ? story, I bu i l d th e ch aracter th at can An d n ow I h ave to actu al l y wri te d escri pti ve text th at evokes i m ag es i n I n d yfest M ag azi n e #88 S ept. 2 0 1 5

the moment? CD : I s i t corn y to say th at m y read ersh i p i s m y m u se? Th e fact th at m y stu ff i s bei n g read by an au d i en ce wh o l i kes i t an d wan ts m ore d ri ves m e m ore th an al m ost an yth i n g el se. An yth i n g el se except m y com pu l si on to m ake th i n g s u p, of cou rse. Th i s n ew featu re wi th th e Ki n d l e prog ram , wh ere you can see h ow m an y pag es are bei n g read each d ay, i s com pel l i n g . F or a wri ter, i t’ s as cl ose to perform i n g l i ve as I ’ l l ever g et. I can rel ease a n ovel an d see h ow m an y peopl e are read i n g i t th at d ay. M y l atest, Levon ’ s N i g h t, was bei n g read wi th i n h ou rs of becom i n g avai l abl e. I t’ s a ki ck to see th at.

IM: When did you begin to write seriously? CD : Wh en I started g etti n g pai d . I fi d d l ed wi th com i cs stu ff a l ot, d rawi n g m ake th at story h appen . I prefer sol i d

m y own stu ff becau se I d i d n ’ t h ave an

stori es popu l ated wi th i n teresti n g

arti st to work wi th . I worked d oi n g

ch aracters rath er th an stori es th at are

storyboard s for an ad ag en cy. I wasn ’ t

on l y abou t th e ch aracters wi th th e story

on e to wri te sh ort stori es or poetry or

bei n g secon d ary. I ’ m n ot i n to “portrai t”

an yth i n g . I d i d n ’ t fi l l n otebooks wi th

stori es.

treatm en ts an d ch aracters an d su ch .

An d m y ch aracters, beyon d th e basi c

M y fi rst payi n g work was i n ch i l d ren ’ s

req u i rem en ts of th e story, are ei th er

books. Th at’ s wh en i t becam e real for

created from wh ol e cl oth or con stru cted

m e. D ead l i n es, con tracts, an d a

from peopl e I kn ow or h ave m et.

paych eck. Th at’ s wh en i t l ooked l i ke I m i g h t be abl e to wri te for a l i vi n g .

IM: What inspires your story/stories? CD : I n ever kn ow h ow to an swer th at. M ostl y, I wri te th e ki n d of stu ff I ’ d l i ke to read .

IM: How long after that were you published? CD : I m m ed i atel y. B u t a better q u esti on wou l d be, ‘ H ow l on g between th at fi rst

IM: Do you ‘get lost’ in your writing?

j ob an d you r secon d on e? ’ An etern i ty. I

CD : Yes. Th at’ s wh en i t’ s al l g oi n g ri g h t.

was a year between wri ti n g g i g s i n ki d s’

Wh en ei g h t or ten pag es of sol i d ,

books. I t was al l h u stl e for l i ttl e reward .

u seabl e stu ff seem to fl ow from m y brai n to th e pag e.

IM: What makes a writer great? CD : I f a wri ter’ s work can su rvi ve a few

IM: Who or what is your “muse” at

g en erati on s past h i s i n i ti al read ersh i p. H i story i s fi l l ed wi th wri ters wh o were

I n d yfest M ag azi n e #88 S ept. 2 0 1 5

con si d ered wh i te h ot i n th ei r era an d

forg otten on l y a few years past th ei r d eath an d n ever red i scovered .

IM: What does the process of going from "no book" to "finished book" look like for you? CD : E veryon e works d i fferen tl y. N o wri ter’ s approach i s th e sam e as an oth er. I u su al l y start wi th th e B i g S cen e. I t’ s th e m om en t of h i g h est d ram a or su spen se. I t’ s Kon g atop th e E m pi re S tate B u i l d i n g or B i rn am Wood com i n g to M acbeth ’ s castl e. Th en I n eed to create a story to j u sti fy th at scen e or si tu ati on . I beg i n worki n g ou t th e l og i c th at m i g h t l ead m y ch aracters to th at m om en t. H ow d oes th at bu l l d ozer wi n d u p on th e roof of a skyscraper? Wh en d oes th e l ead ch aracter l earn th at th e m an h e’ s been h u n ti n g i s h i s son ? On ce I ’ ve worked ou t a ch ai n of even ts th at m akes m y story seem l i ke som eth i n g com pel l i n g en ou g h for som eon e I ’ ve n ever m et to wan t to read i t, I th i n k abou t wh ere th e story sh ou l d start. Wh en I h ave th at open i n g scen e worked ou t i n m y h ead , I start wri ti n g . S om e of th e con n ecti on s are sti l l ten u ou s i n m y m i n d an d som e of th e ch aracters are on l y sketch ed i n . B u t I h ave a skel eton of a pl ot ei th er i n m y h ead or scri bbl ed on a few pag es of a n otebook. I t’ s en ou g h for m e to start an d beg i n worki n g th rou g h th e m oves for m y

read er. Li ke th at fi n al sh ove ag ai n st th e safety bar at th e en d of a rol l er coaster ri d e. I n m y fi rst Levon Cad e book I en d ed wi th a ch apter th at was l i ke a sad l i ttl e cod a to th e acti on th at cam e before. I fel t i t ad d ed to th e g ri m even ts th at preced ed i t by sh owi n g th at th ere were on g oi n g i m pl i cati on s to th e to th e ch oi ces a ch aracter h ad m ad e i n th e story.

Th ere's M ore!

Read the rest of the interview at

http://wp.me/p5Zkczlu/#read

cast. I m ake i t th rou g h th at pai n fu l m i d d l e

ON LI N E

passag e to th e d own sl ope an d th en , i f I h aven ’ t al read y, I work ou t wh ere I wan t

F OLLOWTH ROU G H

to en d . I al ways kn ow h ow I wan t to en d bu t n ot al ways wh ere. I wan t m y m ai n ch aracter to com e ou t th e wi n n er i n th e fi n al ch apters. Th at’ s i n th e n atu re of th e escapi st fi cti on I wri te. B u t pat en d i n g s su ck. S om eti m es I ’ l l bri n g th i n g s to an abru pt en d as a ki n d of sh ock to th e

Ch u ck D i xon ' s Websi te:

h ttps: //d i xon verse. word press. com

ABOUT THE INTERVIEWER

m ag . i n d yfestu sa. com /staff/ #Tri sh a_Su g arek

Story Rescu e Septem ber 201 5

task. You wrote i t. Th ey read i t. An d everyon e sai d , “I t su cks! ” Th i n k you su ffer for you r craft?

Th e com m en ts ran g e from ‘ i n trod u ced S ch eh erazad e starts an d en d s each too m an y n am ed ch aracters too fast’ to n arrati ve i n th e fi rst person , m aki n g an ‘ sh i fted poi n ts of vi ew too often ’ . S om e open i n g an d con cl u d i n g an ecd ote. We com m en ters say th at th e epi sod es h ave n ever forg et sh e i s tel l i n g th e stori es. too m u ch d etai l an d i t was d i stracti n g , wh i l e oth ers say th ey were con fu sed . S teal h er i d ea, an d m ake i t you r own . Th ey were con fu sed ? B et i t m ad e you r H ere’ s h ow: h ead swi m .

Th e ‘ I ’ Voi ce – Fi rst Person N arrati on I t’ s h appen ed to every wri ter. We h am m er ou t a g reat story, on l y to h ave I n trod u ce th e n arrator by h avi n g th em cri ti q u i n g read ers g i ve th e above tal k d i rectl y to th e read er. Th i s m akes feed back. N on e of u s are i m m u n e to i t. th em g en erate a vested i n terest i n th e H eck, I g et i t from th ose wh o cri ti q u e m y tal e. Th e read er wi l l becom e work al l th e ti m e. I t m akes you bel i eve com fortabl e wi th th i s an d g et pu l l ed i n to th at reth i n ki n g th e wh ol e story i s th e th e story. on l y way to g o. An d th at’ s a ch ore wh en th e work i s h i tti n g over 7 0 , 0 0 0 word s. Oroon oko, pu bl i sh ed i n 1 6 88, i s a sh ort Th ere i s a sol u ti on , bu t i t wi l l n ot work work of prose fi cti on by Aph ra B eh n for everyth i n g you wri te. (1 6 4 0 –1 6 89). Th e story beg i n s by

Fram e th e Story

ad d ressi n g th e read er: “Read er, I was m ysel f an E yewi tn ess to a g reat part of

H ave you read Arabi an N i g h ts? Th e wh at you wi l l fi n d h ere set d own ! ” D on ’ t stori es are a l ot of sel fcon tai n ed d are arg u e wi th a l ad y from th e 1 7 th an ecd otes g ath ered tog eth er over cen tu ry. Th i s open i n g cau ses u s to tru st cen tu ri es, an d l i n ked tog eth er by a h er, an d d raws u s i n to a story. com m on n arrator. Poor S ch eh erazad e. U n fortu n atel y, we fi n d ou t sh e i s a l i ar. Th e stori es cen ter on h er n eed to capti vate th e su l tan ’ s i n terest each On ce th ey’ ve bon d ed wi th th e fi rst n i g h t—or be beh ead ed . N ot an easy person n arrator, th e read er con si d ers

I n d yfest M ag azi n e #88 S ept. 2 0 1 5

th em rel i abl e an d wi l l con ti n u e wi th th ei r

B u t wh at i f you n eed to i n trod u ce a l ot

tal e. N ew ch aracters can be i n trod u ced ,

of ch aracters? Th e scen e i s a m u rd er or

cl ari fyi n g th e poi n t of vi ew an d

som eth i n g , an d al l th e peopl e presen t,

apol og i zi n g for d u m pi n g a l ot of

su spects. H eck, h ave th e n arrator

i n form ati on .

apol og i ze for al l th e n am e d roppi n g . You cou l d even m ake i t a l i ttl e

Let’ s appl y th i s tri ck to a probl em story.

h u m orou s: “H el l , I h eard al l th e n am es as wel l , bu t d am n ed i f I rem em ber

Wh at’s i n a N am e?

th em . ”

Th ere’ s J arred , M i ch ael , Lee, G rad y, Pat, F l i n t, N i ck, Ran d y, D avi d , Wal t,

S o, th ere i s a fi x for al l th ose peopl e

An n a, Yol an d a, Ch arl es, Zed , B arbara,

you j u st d ropped on th e read er. Try i t,

an d U n i s al l si tti n g at th e bar, ord eri n g

an d g et away wi th i n trod u ci n g al l th ose

d ri n ks.

d warfs to a l on el y h obbi t, M r. Tol ki en .

A stead fast ru l e i s to n ot presen t m ore

Abru pt POV Sh i fts

th an th ree n am ed ch aracters per scen e

S o you n eed to swi tch POV, an d you

per epi sod e. H ave you ever been to a

n eed to d o i t n ow. Wh y? Wh o cares?

party wh ere peopl e j u st i n trod u ce you to

B ev h as a probl em an d you wan t to

everyon e? After th e th i rd person , you r

sh ow J oh n h avi n g a probl em h al fway

h ead i s swi m m i n g . H ow d o you

arou n d th e worl d . I t’ s you r story, ri g h t?

rem em ber al l th ose peopl e? N ow, take

Th ere’ s n o obvi ou s pl ot l i n k yet. S o h ow

away th ei r faces an d j u st i n trod u ce

d o you g et away wi th th e tran si ti on ?

th em . D i d th at work for you ? N o? I m ag i n e wh at you r read er feel s l i ke

Let you r n arrator d o th e work!

wh en you d u m p a wh ol e bu n ch of

Th om as of Read i n g (1 590 ) i s l i ttered

n am es on th e pag e for th em .

wi th i t, bu t H om er seem s to h ave i n ven ted i t. Th e sl i d e from on e

D on ’ t g et m e wron g : som e n ovel i sts

ch aracter’ s h ead to an oth er. I t works.

i n trod u ce casts of th ou san d s, bu t j u st

Th ei r stori es con tai n d ozen s of d i fferen t,

abou t every read er forg ets th e n am es by

d i verti n g an ecd otes th at n ever con fu se

th e secon d ch apter (i f n ot before th e en d

th e read er.

of th e fi rst). Th e n arrator d oes th e work by com i n g N ote, i n trod u ci n g each ch aracter wi th a

ri g h t ou t an d sayi n g , “I m u st n ow l eave

m n em on i c d evi ce wi l l al l ow th e read er to

B ren d a i n h er d esert bi vou ac wi th g reat

rem em ber th em . G i ve ch aracters a

rel u ctan ce… ” an d th u s, th e POV

si g n atu re, l i ke a twi tch , or h ave th em

ch an g es.

m u m bl e a g reeti n g . Th e su g g esti on , th ou g h , i s n ot to d o i t An even better d evi ce i s to n ot n am e

u n l ess you h ave a n u m ber of

you r secon d ary ch aracters at al l . J u st

m an u scri pts accepted . S u ch a rel ease

g i ve th em l abel s, l i ke ‘ th e barm an ’ , or

m ay cau se read ers to n ot wan t to fi n i sh

‘ th e g u y wi th th e bi g n ose’ . Th ey fad e

you r work.

i n to th e backg rou n d after bei n g i n trod u ced , an yway.

I n d yfest M ag azi n e #88 S ept. 2 0 1 5

I t’s al l i n th e Sm al l Detai l s H ave you ever research ed a book

Yes, som eti m es you n eed to h ave th e

before? B een tem pted to j u st D U M P al l

d etai l s, bu t wh en to d raw th e l i n e? F i rst,

th e i n form ati on you d i scovered on th e

l et you r n arrator d o th e tal ki n g , n ot you r

read er? M an y of u s h ave. An d bel i eve

research . U n vei l everyth i n g i n a m an n er

m e, i t i s n ot som eth i n g th at you wan t to

th at al l ows you to pai n t

d o al l th e ti m e. I t’ s cal l ed i n fo d u m pi n g ,

n ot reveal every fram e of th e m ovi e.

th e pi ctu re, bu t

an d i t can ki l l you r m an u scri pt’ s pace. I t i s eq u i val en t to sayi n g you ’ ve d on e you r

F i x i n fo d u m ps by d i recti n g th e read er

h om ework. B u t i f you r wri ti n g i s cl ean ,

to l ook wh ere you wan t th em to. B el i eve

th e read er wi l l al read y kn ow you ’ ve

m e, th i s wi l l be i m portan t for you r

d on e i t.

wri ti n g . Oh , d on ’ t d o a d i rect “Look h ere! ” type of d eal . J u st m ake you r

Try th i s for an exam pl e:

Gregory turned left onto the dirt road known as Mnt Albert Road and gunned the old Malibu Classic’s big 357 V8 engine. Stones kicked as the Goodyear Tiger Paw tires (size 175 86) dug deep into the loose gravel. He smiled and wrestled the plastic steering wheel into submission. He passed McCowan Road, another loose gravel path the farmers had named after that street in the borough of Scarborough and made famous by the building of the small town centre located on the crossroads of Progress Avenue and McCowan Road.

n arrati on g en tl y d i rect th ei r eyes to th e area you wan t th em to see.

M ag i c Draft Wh en you take you r fi rst d raft “probl em ” story an d fram e i t th rou g h rewri tes, you can fi x th e l i ttl e probl em s. Ch an g e th e POV sh i fts to a ch aracter assu m pti on , rem ove n am es of l esser ch aracters, tri m d own th e i n fo d u m ps, an d poi n t th e read er to th e ri g h t area of stu d y.

Th i s i s you r ti m e to sh i n e i n th e read i n g , so take i t as you can .

ON LI N E FOLOWTH ROU G H

Doug's Website: h ttp: //d aowen . ca/

On our site

B ored yet? An d th e g u y i s n ot even cl ose to th e h i g h way h e’ s g oi n g to!

I n d yfest M ag azi n e #88 S ept. 2 0 1 5

m ag . i n d yfestu sa. com /staff/ #D ou g l as_Owen

G GO OII N NG G T TO O

E ED DE EN N P PA AR RK K a an n ii n nt te er rv vii e ew w w wii t th h

J JA AY Y M MO OO OE ER RS S

b by y D Do om mii n nii c ch hii H Ha aw wk kii n ns s

I am always jealous of those who can do it all. I’m talking about creators who write, draw, color, letter, and publish their own works. Sometimes they are better at one thing than another, but not 38yearold Jay Mooers from Dartmouth, Massachusetts. This guy is proficient at all of it. His stories are onpoint and so is every stage of his art. This makes the jealousy level even higher for me, but provides the reader with a wellrounded, timely, crafted piece of work from one man with a vison. IM: How did you come to start making comics? J M : I u sed to d abbl e i n com i cs wh en I was you n g er. I n ever real l y col l ected th em , bu t I was al ways fasci n ated an d i n ti m i d ated by th em . Th ere were j u st so m an y, an d I kn ew wi th m y com pu l si ve n atu re, I wou l d h ave to fi n d a way to col l ect th em al l . I i n stead col l ected fu n n y com i cs l i ke G arfi el d an d H eath cl i ff. (Wh en I was you n g , m y fam i l y g ot two cats, so I was i n to cat th i n g s at th e ti m e. ) Th rou g h col l eg e, I started d i scoveri n g m y tru e passi on was i n tel l i n g stori es. M y d eg ree proj ect was

th at styl e away an d con ti n u ed as a h i red i l l u strator, portrai t, an d m u ral arti st. I h ad m an y started con cepts rol l i n g arou n d i n m y h ead , wi th sketch es an d ou tl i n es fi l l i n g m y booksh el ves. I n 2 0 0 9, I d eci d ed to wri te an d i l l u strate m y fi rst n ovel to com pl eti on , ti tl ed I l l weed . On ce I h ad real i zed I cou l d d o com pl ete works on m y own , I wen t back to m y treasu re trove of al m ostforg otten stori es an d fou n d on e th at I wan ted to wri te n ext, Au tu m n G rey. I wrote abou t 2 0 0 pag es before th e m assi ven ess of th e story com pl etel y overwh el m ed m e. I h ad to fi n d a way of breaki n g i t d own i n to m an ag eabl e ch u n ks. S o I team ed u p wi th a fri en d of m i n e, Kri sti M cD owel l wh o, wi th h er experti se of com i cs an d h er ed i ti n g ski l l s, h el ped g u i d e m e th rou g h m y fi rst i ssu e. Wh en i t was fi n i sh ed , I tri ed to ped d l e i t to fri en d s an d fam i l y. I h ad j u st fi n i sh ed th e secon d i ssu e wh en Kri sti i n trod u ced m e to F ree Com i c B ook D ay, wh ere I brou g h t m y books to a com i c sh op an d actu al l y sol d ou t of th em . I t was rem arkabl e. I h ad tasted com i c bl ood an d I wan ted m ore.

IM: What made you want to start your

m y fi rst g raph i c n ovel . B u t th en , I pu t I n d yfest M ag azi n e #88 S ept. 2 0 1 5

J M : E d en Park Tal es was created as a san d box for fan tasy tal es. We l ed i t wi th Au tu m n G rey, wh i ch i s a tal e abou t a fi cti on al pl ace i n N ew H am psh i re wh ere faeri es an d m on sters g o to h i d e away from th e worl d , an d h ow i t affects th e peopl e wh o l i ve th ere. I th en brou g h t m y ori g i n al n ovel I l l weed u n d er th e l abel . Th en Kri sti ’ s g raph i c n ovel , A Pl an et’ s Cry, abou t ti m e on E arth breaki n g d own an d d i fferen t ti m e peri od s m el ti n g i n to each oth er, brou g h t u s even m ore atten ti on wi th th e com i c com m u n i ty. Kri sti an d I h ave g on e ou r separate ways si n ce th en , bu t we are both th ri vi n g i n very d i fferen t g en res.

IM: What is the hardest part about being the doitall guy? J M : Yes, I am a d oi tal l g u y. I wri te th e story, d raw, i n k, col or, l etter, pu bl i sh , an d th en prom ote an d sel l th e books. I t i s a d au n ti n g task an d I kn ow I ’ ve taken on at l east fi ve fu l l ti m e j obs d oi n g th i s

own label?

al l on m y own . I en j oy worki n g wi th

J M : I ori g i n al l y d i d n ’ t wan t to start m y

oth er peopl e on m an y oth er proj ects,

own l abel . I wan ted to be taken u n d er

bu t stori es l i ke Au tu m n G rey an d m y

th e wi n g by a pu bl i sh i n g com pan y l i ke

fu tu re com i cs, D u sters an d B l ood l i n es,

I m ag e or Verti g o. I h ad n o experi en ce

al on g wi th m y secon d fu l l l en g th n ovel

an d h ad n o i d ea th e sh eer n u m bers of

(d u e ou t at th e en d of th e year) ti tl ed

com i cs th at were th rown to th ose

S cal es an d S an d , are al l very person al

pu bl i sh ers on a d ai l y basi s. Al l I kn ew

pi eces. Th ese books are m y art. E very

was th at I wan ted to tel l m y stori es m y

bi t of each of th ese tal es i s created from

way. I q u i ckl y l earn ed abou t al l th e

m y own experi en ces, d ream s, an d

won d erfu l opti on s i n pri n ti n g an d d i g i tal

i m ag i n ati on . Th ey are l i ke abstract

com i cs th at were avai l abl e for som eon e

portrai ts of th ei r creator.

wh o wasn ’ t taken u n d er th e wi n g of a m assi ve com pan y. S o, Kri sti an d I started ou r own l abel cal l ed E d en Park

IM: Tell us about your new novel Scales and Sand.

Tal es. Au tu m n G rey was i ts fl ag sh i p

J M : I l l weed , m y fi rst sol o proj ect, keeps

com i c an d we pl an n ed oth er on es to

sel l i n g wel l th rou g h th e years. I ’ ve sol d

fol l ow. We kn ew th at i f th e worl d l i ked

ou t of copi es at con ven ti on s on several

ou r com i c en ou g h , th e bi g n am es wou l d

occasi on s. I ’ ve even recei ved em ai l s

h opefu l l y com e l ooki n g for u s.

from ch i l d ren an d paren ts aski n g for a seq u el . I toi l ed wi th th e possi bi l i ty of a

IM: Tell us about Eden Park Tales and the types of books you’re producing. 20

I n d yfest M ag azi n e #88 S ept. 2 0 1 5

seq u el an d cou l d n ’ t fi n d th e ri g h t tal e. I l l weed fel t com pl ete to m e, bu t th e worl d i t exi sted i n seem ed ri d d l ed wi th

possi bi l i ti es. S cal es an d S an d takes pl ace i n th e sam e worl d as I l l weed , an d th ere are l i ttl e referen ces an d g ood i es th rou g h ou t th e book for th ose wh o h ave read th e fi rst book. B u t S cal es an d S an d i s com pl etel y freestan d i n g an d i n d epen d en t of I l l weed . Wh i l e I l l weed was g eared toward s a you n g er au d i en ce, S cal es an d S an d i s a l on g er an d

m ore seri ou s story abou t a g i rl an d

h er fam i l y wh o are am bu sh ed i n th e Red S ea, a h osti l e d esert. S h e i s brou g h t to a m ysteri ou s ci ty, d eep i n th e Red S ea, wh ere sh e u n covers th e g reat secrets of th i s h i d d en worl d .

IM: Who are the main characters? J M : Ari a D an n es i s th e m ai n ch aracter. S h e i s a g i rl from an u pper m i d d l e cl ass fam i l y. S h e i s pri vi l eg ed an d takes i t for g ran ted . Wh en h er fam i l y i s am bu sh ed i ssu e of a n ew seri es, D u sters. I ’ m an d carted away by th e m ysteri ou s h opi n g to con ti n u e g rowi n g m y fan base M i ran s, sh e l oses everyth i n g an d m u st an d to g et th i s book i n to th e h an d s of l earn th at h er acti on s m ake h er a better peopl e wh o can prom ote i t far better person , n ot h er m ateri al s. Captai n th an I can . Cad en ce Cree i s a l ead er from th e M i ran E m pi re wh o d oesn ’ t rem em ber an yth i n g abou t h er past. B u t wh en sh e m eets Ari a, u n fam i l i ar m em ori es start to

IM: What other books do you have getting ready to release, or just recently released? J M : Au tu m n G rey #5 was rel eased a

sti r an d th e cl ou d th at covers h er m i n d few m on th s ag o, an d th e trad e of 1 –5 beg i n s to break apart. Th e m ai n wi l l be avai l abl e very soon . I h ave a an tag on i st i n th i s tal e i s a m an wh o cal l s sh ort story i n a cu rren t Ki ckstarter, ti tl ed h i m sel f th e Cri m son F oi l . H e’ s a M y Pecu l i ar F am i l y. I al so h ave a few m ysteri ou s m an wi th l i ttl e reg ard for oth er proj ects on th e d rawi n g board , oth ers. H e wi l l ki l l th em an d cast th em i n cl u d i n g a secon d com i c for a n ew asi d e i f h e feel s th ey are i n h i s way. H i s con ven ti on i n S aratog a S pri n g s cal l ed casu al m an n er of m u rd eri n g i s on l y 0 Ch ase Con , an d a fu n ti m e travel i n g d warfed by h i s passi on for pl ayi n g story I ’ ve been worki n g on wi th a wri ti n g m u si c. Wh o i s th i s d an g erou s m an , an d fri en d of m i n e, cal l ed Th e H u n ter’ s wh y i s h e l u rki n g th rou g h th e h al l s of Parad ox. M i ra?

IM: What is in the future for your label? J M : After th e trad e books of Au tu m n G rey an d S cal es an d S an d com e ou t

IM: If you could give a piece of advice to any creators wanting to “break into comics, ” what would it be? J M : D o i t! D raw, wri te, m ake som eth i n g

th i s year, I ’ l l be worki n g on th e n ext ch apter of Au tu m n G rey an d th e fi rst

I n d yfest M ag azi n e #88 S ept. 2 0 1 5

th at you can sh ow peopl e! I spen t too m an y years si tti n g on m y i d eas. Th ese d ays, you can easi l y pri n t som eth i n g you rsel f. B ri n g i t to con ven ti on s, or com i c stores, or even i n to on l i n e g rou ps. S oci al m ed i a h as m ad e i t m u ch easi er to sh are you r i d eas wi th th e ou tsi d e worl d . D on ’ t be afrai d of cri ti ci sm . E very ti m e I g et a bad revi ew or som eon e i n su l ts m y work, I pu ff u p m y ch est an d feel even m ore d eterm i n ed to prove th em wron g .

IM: Where can people find your

books? J M : You can ord er m y books th rou g h m y websi te, www. ed en parktal es. com or g et th em d i g i tal l y th rou g h Com i xol og y. S om e com i c stores th at carry th em are l i sted on m y webpag e. F eel free to ch eck ou t m y si te an d d own l oad th e freebi e teaser book! I t’ s th e best pri ce—free!

ON LI N E

F OLLOWTH ROU G H E d en Park Websi te: www. ed en parktal es. com On F acebook: www. facebook. com /au tu m n g reybook

ABOUT THE INTERVIEWER m ag . i n d yfestu sa. com /staff/ #Dom i n i ch i _H awki n s

WH E RE TO G E T TH I S

B y: J ean 足Pau l D esh on g

h ttp: //www. bl ackberryj u i ce. n et/

WH E RE TO G E T TH I S

B y: J ean 足Pau l D esh on g

h ttp: //www. bl ackberryj u i ce. n et/

WH E RE TO G E T TH I S

B y: J ean 足Pau l D esh on g

h ttp: //www. bl ackberryj u i ce. n et/

W WO OR RD DS S A AN ND D M MU US SII C C a an n ii n nt te er rv vii e ew w w wii t th h

S S.. A A.. B BA AK KE ER R

B By y D DO OU UG GL LA AS S O OW WE EN N

S.A. Baker: once a rocker, now a competitive bagpiper and writer. He makes his home in Ayr, Ontario with his wife and children. Besides working in a nursing home, S.A. hides in the closet to write, hoping no one opens the door. Between work, bagpiping and his family, he tries to sneak away to put pen to paper whenever he can. He submitted his baby, Winterbourne, to independent publisher Science Fiction and Fantasy Publications and prayed for a response.

S AB : I pl ayed u pri g h t bass i n Th e F ran ti c F l attops, a rockabi l l y/psych obi l l y ban d from Roch ester, N Y for si x an d a h al f years, an d th en swi tch ed to el ectri c bass an d started a ki n d of al l star ban d cal l ed B ee E ater—a ki n d of B l ack S abbath m eets th e Ram on es m eets th e Wh o wi th a g i rl si n g er—wh i ch tu rn ed i n to a g i g an ti c son g wri ti n g ou tl et for m e.

IM: What made you start writing? S AB : I al ways wrote, even i f i t was j u st i n si d e m y h ead … i n fact, i t was m ostl y

IM: Tell us a little about yourself. S AB : I am a 4 6 yearol d recoveri n g professi on al m u si ci an wh o i s tryi n g to pu l l bod i es ou t of a sau sag e g ri n d er wi th ou t g oi n g crazy, peri od . Oh , wai t. Th at’ s H awkeye from M . A. S . H . I l i ke h ats an d som eti m es wi sh I h ad m ore th an on e h ead . I spen d an i n ord i n ate am ou n t of ti m e i n si d e m y own h ead an d th e worl d s I ’ ve created th ere, wh i ch seem s to fi n al l y be com i n g to som e ki n d of fru i ti on .

i n si d e m y h ead . I rem em ber wi n n i n g a wri ti n g con test i n g rad e sch ool an d wi n n i n g a copy of a book of Can ad i an g h ost stori es. I fel t l i ke I h ad won th e Pu l i tzer Pri ze. Wh en th e ban d was on tou r, I wou l d wri te freel an ce travel pi eces for a n owd efu n ct l ocal rock rag th at were very H u n ter Th om pson esq u e, wh ere I wou l d pu t m ysel f i n a g i ven si tu ati on an d wai t for th e m ad n ess of everyd ay l i vi n g to take h ol d an d th en wri te abou t i t. I wou l d read th em to th e oth er two i n th e ban d before I sen t th em

IM: You spent a decade as a professional touring musician. What instrument did you play and what type of music?

i n . I f I g ot bi g l au g h s, I ’ d sen d th em strai g h t away. I f th e l au g h ter was scattered , I ’ d d i al u p th e l u n acy arou n d u s, wai t for som eth i n g el se bi zarre to h appen , an d th en rewri te i t. I wen t

I n d yfest M ag azi n e #88 S ept. 2 0 1 5

th rou g h a very l on g stretch of sel fd ou bt,

IM: What do your family and friends think about the publication of your novel?

wh en I d i d n ’ t feel I was wri ti n g an yth i n g worth read i n g , so I beg an to wri te l ess an d l ess, an d I

S AB : I n a way, th ey’ re even tu al l y forg ot h ow al m ost m ore exci ted abou t i t m u ch fu n i t was to wri te th an I am . I t al l sti l l seem s a becau se I l i ked to d o i t. I l i ttl e su rreal to m e. even tu al l y fou n d m y way back th rou g h N aN oWri M o.

IM: Tell us about your writing process.

(S h am el ess pl u g )

IM: How did you come up with the concept of your novel?

S AB : I ten d to al ways be wri ti n g , th i n ki n g abou t ei th er wh at I am cu rren tl y worki n g on or th e n ext on e. Wh en I

S AB : I work th e n i g h tsh i ft i n a n u rsi n g d o fi n al l y beg i n , I u su al l y wri te th e fi rst h om e. D eath i s an everpresen t en ti ty, d raft i n l on g h an d an d beg i n to ed i t on con stan tl y l u rki n g i n th e sh ad ows an d th e fl y, as I type i t i n to m y l aptop. I wai ti n g , al ways wai ti n g for th e n ext u su al l y take si x weeks between fi rst n am e on th e l i st. I th i n k i t j u st sort of d raft an d secon d , bu t th en , I ed i t an d worm ed i ts way i n to m y su bcon sci ou s, rewri te u n ti l th e story i s tol d . g i ven m y su rrou n d i n g s an d n ear ch ron i c sl eep d epri vati on . I d o, h owever, h ave a fai rl y skewed an d bl ack way of l ooki n g at th e worl d , so i t was on l y n atu ral th at i t en d ed u p th e way i t d i d .

IM: So, you can tell stories. What is your next step now that Winterbourne is being published? S AB : I al ways en j oyed stori es th at

IM: How did you think of the title?

revol ved arou n d a si n g l e th i n g . I n m y case, i t i s th e town of Wi n terbou rn e.

S AB : I n i ti al l y, I was tryi n g to wri te som e Th at i s th e con stan t an d th ere are m an y g i g an ti c Lord of th e Ri n g s type fan tasy stori es th at l i ve i n th e cru m bl i n g book abou t som eon e or som eth i n g bu i l d i n g s an d sh ad owcovered al l eys. i m bu ed wi th th e powers of wi n ter, h en ce I ’ m worki n g on th e secon d d raft of th e Wi n terbou rn e. Th e story i d ea, m erci fu l l y, n ext book an d th i n ki n g seri ou sl y abou t d i d n ’ t l ast l on g , bu t I l i ked th e ti tl e, so I th e th i rd . kept i t.

IM: Is there a real town called Winterbourne?

IM: What is the hardest part about being published? S AB : I d on ’ t kn ow th at th ere i s a h ard

S AB : Th ere i s! I fou n d i t l ast year, q u i te part. M aybe bei n g expected to wri te by acci d en t, ou tsi d e of F erg u s, On tari o. m ore books? H ow h orri d th at a wri ter

IM: What did you do when you found Winterbourne? S AB : I pu l l ed m y car over an d g ot ou t to l ook arou n d . I m ay h ave even sl apped m ysel f to m ake su re i t wasn ’ t a

sh ou l d wri te m ore books.

IM: Did you have to do much editing after being accepted for publishing? Tell us about the process. S AB : M ore ed i ti n g th an I fi g u red I wou l d

h al l u ci n ati on .

I n d yfest M ag azi n e #88 S ept. 2 0 1 5

h ave to d o, yes. Th e ed i tor of S ci en ce F i cti on an d F an tasy Pu bl i cati on s wou l d sen d m e several ch apters at a ti m e, wi th th e ed i ts an d su g g esti on s h i g h l i g h ted . I wou l d ed i t an d sen d th em back an d we wou l d keep g oi n g back an d forth l i ke th at u n ti l i t was al l fi n i sh ed an d everyon e was sati sfi ed i t was th e best i t cou l d be.

IM: What did you learn while going through the editing process? S AB : Th at I real l y, RE ALLY l i ke pron ou n s.

IM: If you were to say anything to an aspiring writer, what would it be? S AB : Al ways be wri ti n g an d al ways be read i n g . I l ove TV an d I l ove m y com pu ter, bu t th ey’ l l steal th e sou l of you r book faster th an you can possi bl y i m ag i n e. D on ’ t l i sten to th e wh ys i n you r l i fe, l i sten to th e wh y n ots.

ON LI N E

F OLLOWTH ROU G H F i n d S . A at: www. sci fi fan tasypu bl i cati on s. com

ABOUT THE INTERVIEWER m ag . i n d yfestu sa. com /staff/ #D ou g l as_Owen

B y: S . A. B aker

I t was col d . Col d er th an sh e th ou g h t i t sh ou l d

g et on e al m ost h al f

be for m i d S eptem ber. S h e cou l d al read y see h er

open an d n oti ced h i m

breath i n th e ai r m ost n i g h ts, an d th e j acket sh e

stan d i n g i n fron t of th e

ord ered ou t of th e fal l catal og u e was n ei th er warm

wi n d ow, n aked from th e

en ou g h , n or d esi g n ed for a wom an wel l i n to h er

wai st an d l ooki n g at h er. N ot

n i n th m on th of preg n an cy. Practi cal i ty, sh e

stari n g bu t fi xed on h er j u st th e sam e. H e was

d eci d ed , was n ever on e of h er stron g est su i ts.

beau ti fu l ; fi t bu t n ot too m u scu l ar an d a sh ock of

S h e was 2 3 an d sh e h ad kn own th e m an wh ose

d ark h ai r th at fram ed h i s face perfectl y. B u t i t was

ch i l d sh e n ow carri ed , for a g ran d total of seven

h i s eyes, th ose bl u e eyes th at sh e cou l d see so

an d a h al f h ou rs.

cl earl y even th rou g h th e wh i sky cowl th at covered

S h e h ad g on e to th e h ou sewarm i n g party wi th

exactl y

h er vi si on . S h e cou l d see h er wh ol e l i fe i n si d e th at

n o d esi g n s apart from g etti n g d ru n k an d n ot

crystal bl u e g aze. H e h ad reach ed for h i s sh i rt

fal l i n g i n l ove. Wh en sh e saw th e tal l i sh m an

an d l et ou t a si g h fu l l of sati sfacti on .

si tti n g on th e sofa watch i n g tel evi si on , sh e h ad

“B est ti m e of th e d ay, ” h e h ad sai d .

reason ed th at h al f a pl an was better th an n on e at

“Wh at? ” sh e croaked .

al l . Wi th i n an h ou r of h er arri val , sh e h ad been

“I was sayi n g th at th i s i s th e best ti m e of th e

d ru n k en ou g h to tal k to h i m . After two h ou rs, sh e

d ay, fi rst th i n g i n th e m orn i n g . ” H i s voi ce h ad a

bord ered on sl oppy, h an g i n g on h i s every word ,

l yri cal , sou l fu l sou n d to i t. N on d escri pt an d sl i g h tl y

an d at th ree h ou rs, sh e was u n bu tton i n g h i s sh i rt

B ri ti sh sou n d i n g , sh e wou l d n orm al l y h ave

i n th e taxi on th e way back to h er apartm en t.

l oath ed i t bu t i t served to en d ear h i m to h er.

S h e h ad h ad too m an y partn ers, sh e th ou g h t,

m ost of th em an on ym ou s faces an d wi l l i n g

bod i es. S h e h ad fel t rootl ess an d u n apol og eti c

“I d on ’ t expect I ’ l l be seei n g you ag ai n . ” sh e

h ad sai d .

“Th ere are n o ch an ce m eeti n g s, ” h e sai d .

an d h er l i fe h ad becom e a ci rcl e of sel f

“E veryon e wh o com es i n to you r l i fe m akes a h ol e

d eprecati on , sel fm ed i cati on , an d sel fd eg rad ati on

i n i t th at on l y th ey can fi l l ag ai n . ”

S h e was h ead i n g d own a tu n n el sh e cou l d n ’ t see

th e oth er si d e of an d sh e d i d n ’ t care i f sh e m ad e i t

“S o I . . . won ’ t see you ag ai n ? ” sh e h ad asked ,

n ot q u i te g etti n g th e g i st of wh at h e sai d .

back to th e l i g h t u n scath ed or n ot. S h e h ad

“We wi l l see each oth er ag ai n . I prom i se. ”

pu sh ed h i m d own on to h er bed an d th rew h ersel f

“Look, ” sh e beg an to speak th rou g h i m possi bl y

on top of h i m ; sh e ki ssed h i m h ard an d d eep an d

d ry l i ps. “I am n ot i n th e h abi t of bri n g i n g h om e

h ad forg otten for a m om en t h ow ash am ed sh e

stran g e m en . ”

wou l d feel abou t h ersel f i n th e m orn i n g .

Th e su n l i g h t h ad pou red across h er face

th rou g h wi n d ows sh e swore sh e h ad covered wi th

H e fi n i sh ed bu tton i n g h i s sh i rt an d crossed th e

room to wh ere sh e l ay i n bed .

“Yes, you are, ” h e sai d i n a ton e th at l eft h er

cu rtai n s th e n i g h t before. S h e attem pted to open

feel i n g ash am ed bu t at th e sam e ti m e, l et h er

an eye bu t th e th u n d er i n si d e h er sku l l was

kn ow th at h e d i d n ’ t sh are h er sh am e.

m aki n g i t n earl y i m possi bl e. S h e h ad m an ag ed to

S h e h ad tri ed to ri se to m eet h i m bu t th e

WH E RE TO G E T TH I S h ttp: //www. sci fi fan tasypu bl i cati on s. com /

B y: S . A. B aker

n au sea d an ci n g abou t i n th e pi t of h er stom ach ,

d efen sel ess an d

forced h er back d own . H e ben t l ow an d ki ssed h er

exposed i n to th e worl d .

foreh ead . S h e wrapped h er arm s arou n d h i m an d

S h e cou l d cal l an

was su rpri sed to fi n d h i m retu rn i n g th e h u g . S h e

am bu l an ce, bu t th at

fel t a warm th en vel op h er, l i ke a warm bl an ket

seem ed l i ke too m u ch of a

an d a bowl of sou p from h er m oth er. S h e fel t a

an d th e fi re d epartm en t wou l d l i kel y tu rn u p fi rst.

tear tri ckl e d own h er face bu t n ot from sad n ess at

Wh at i f th ere was a real l y attracti ve fi rem an , th e

h i s l eavi n g ; rath er i t was from th e j oy of h avi n g

ki n d wi th a sq u are ch i n an d stron g wh i te teeth ,

m et h i m at al l . S h e fel t l i ke h er h eart m i g h t

wh o sm i l ed al l th e ti m e an d l au g h ed at al l of h er

expl od e an d l eak m ol ten su g ar. S h e was

j okes, n o m atter h ow bad th ey were. Wh at i f h e

em barrassed at h ersel f for feel i n g d eci d ed l y

saw h er as real l y q u i te pretty u n ti l th e wh ol e

teen ag ed an d g ooey; sti l l sh e d i d n ’ t pu l l away

bi rth i n g th i n g ki cked i n to h i g h g ear an d sh e beg an

from th e em brace. S h e d rew cl oser to i t an d fel t

to l ook l i ke a g ri m aci n g , n i g h tm ari sh bl ob of fl esh ,

th e warm th rad i ate from every pore of h i m . S h e

wai l i n g an d g ru n ti n g l i ke a wel l stu ck boar? Wh at

fel t pu re an d i n n ocen t, sh e fel t rad i an t an d

i f sh e j u st d rove h ersel f to th e d am n ed h ospi tal

beau ti fu l . S h e fel t l oved .

an d h oped sh e h ad en ou g h ch an g e for parki n g for

Ti m e h ad si n ce com e an d g on e an d th ere was

n o si g n of h i m , bu t sh e kn ew th ere wou l d n ’ t be

both er

th e d u rati on ?

Th e con tracti on s seem ed to cal m a l i ttl e as

an d , after fou r weeks an d a l ot of h an d wri n g i n g ,

sh e u n l ocked th e d oor of h er car. S h e su pposed

wh en th e sti ck sh e peed on tu rn ed bri g h t bl u e,

th e baby l i ked th e i d ea of arri vi n g to th e h ospi tal

sh e kn ew th at i n a way h e wou l d be wi th h er

on i ts own term s—sh e d i d too. Wh en h er water

forever an d th at was al l ri g h t.

broke, sh e g ot ou t of bed an d pu t on h er sh oes

At exactl y 9 m on th s, 2 2 h ou rs, an d 4 1 . 2

an d th e u n com fortabl e fal l j acket. N ow th e

secon d s, th e ch i l d g rowi n g i n si d e of h er d eci d ed i t

col d n ess of th e n i g h t ai r ag ai n st h er wet sweat

was ti m e to g et ou t an d en j oy th e worl d . At fi rst

pan ts l eft h er wi sh i n g sh e h ad ch an g ed h er

sh e th ou g h t sh e h ad m essed th e bed i n h er sl eep.

cl oth es. S h e th ou g h t of g oi n g back i n th e

I t wou l d n ’ t h ave been th e fi rst ti m e for th at. B u t

apartm en t to cl ean u p an d pu t on som eth i n g d ri er

wh en th e cru sh i n g spasm of a con tracti on pu sh ed

an d warm er bu t th e baby d i d n ’ t l i ke th i s ki n d of

h er kn ees u p arou n d h er ch i n , sh e was pretty

practi cal th i n ki n g an d sen t h er a con tracti on th at

certai n sh e wasn ’ t d ru n k an d th at h er baby was

n earl y d ropped h er to h er kn ees.

on i ts way ou t even i f sh e was. S h e won d ered

wh at sh e sh ou l d d o n ext—sh ou l d sh e cal l a cab?

Th at m i g h t take too l on g an d th e th ou g h t of

“Al l ri g h t, al l ri g h t, ” sh e sai d ou t l ou d . “We’ re

g oi n g . ”

S h e pu l l ed ou t of th e parki n g l ot an d h ead ed

h avi n g th i s ch i l d i n h er g ru bby apartm en t was n ot

west, sh e h ad practi ced th i s rou te en d l essl y,

on e sh e rel i sh ed . S u re, i t was okay to l i ve i n bu t i t

fi g u ri n g sh e wou l d d ri ve h ersel f or at th e very

was far from th e steri l e en vi ron m en t on e h opes to

l east, tel l th e cab d ri ver th e fastest way to g et

be i n wh en bri n g i n g som eth i n g com pl etel y

th ere. H er favori te son g cam e on th e rad i o an d

WH E RE TO G E T TH I S h ttp: //www. sci fi fan tasypu bl i cati on s. com /

B y: S . A. B aker

sh e san g al on g as sh e pu l l ed u p to th e red l i g h t.

“I ’ m taki n g a ri d e wi th m y best fri en d , ” sh e

san g . “U n g h , ” sh e g asped as th e con tracti on h i t,

th e baby l i ked th e son g too.

Th e l i g h t tu rn ed an d sh e d rove on toward th e

h ospi tal .

I n sti n ct took h ol d

ag ai n an d th e wave of

th e con tracti on th at

wash ed over h er m ad e h er

of th e ch i l d i n si d e h er before th e

th i n k

car sh e was

d ri vi n g , sh e g rasped h er bel l y wi th both h an d s

“I h ope h e n ever l ets m e d own ag ai n , u n g h , ”

sh e g asped . “C’ m on ! I t’ s j u st a l i ttl e fu rth er, n ot

yet! ”

an d l et g o of th e steeri n g wh eel . S h e saw th e

I m pal a d ri ver’ s face as th e two cars becam e on e.

I t was h i m .

S h e was n ow stopped at th e l i g h t two bl ocks

from th e h ospi tal an d worri ed th at sh e wou l d n ’ t

m ake i t th at far. Th e vi si on of th e fi rem an seei n g

h er m ake h orri bl e bi rth i n g faces spu rred h er on

an d so sh e tu rn ed u p th e rad i o an d san g l ou d er.

“H e kn ows wh ere h e’ s taki n g m e! ”

Th e con tracti on th at cam e was so i n ten se; sh e

h ad to brace h ersel f ag ai n st th e passen g er seat

to keep from cu rl i n g u p i n a bal l an d sobbi n g . I n

d oi n g so, sh e kn ocked h er pu rse to th e fl oor.

G ood sen se wou l d h ave tol d h er to l et i t fal l , bu t

i n sti n ct tol d h er th at som eth i n g was fal l i n g an d

sh e n eed ed to retri eve i t. I n sti n ct i s som eti m es a

vi ci ou s an d powerfu l th i n g an d h er arm sh ot

d own ward , toward th e fal l i n g bag , before h er

brai n h ad ti m e to real i ze wh at sh e was d oi n g . Th e

rad i o bl ared an d i n an i n stan t, sh e resu m ed h er

rol e i n a ch ai n reacti on th at beg an th e n i g h t sh e

m et th e m an at th e party.

‘ Taki n g m e wh ere I wan t to be. . . ’

H er h ead d i pped bel ow th e d ash board for a

spl i t secon d . Th at was al l i t took.

Ti m e seem ed to sl ow an d i n th e h ou rs i t took

for h er l ook back u p over th e d ash board , th e n avy

bl u e Ch evy I m pal a h ad crossed th e cen ter l i n e

an d was n ow beari n g d own on h er.

‘ Prom i ses m e I ’ m as safe as h ou ses, as l on g

as I rem em ber wh o’ s weari n g th e trou sers. ’

‘ N ever wan t to com e d own . ’

Th e two cars em braced an d sh e th ou g h t, for a

m om en t, th at i t was m u ch q u i eter th an sh e

i m ag i n ed i t wou l d be. A bi t of a th u d an d a j ostl e

an d i n a m om en t sh e wou l d be exch an g i n g

pl easan tri es an d i n su ran ce i n form ati on wi th h i m

an d d i scu ssi n g th e best possi bl e way to rai se

th ei r ch i l d . A h eartbeat passed an d sh e fel t th e

rou g h m u si c of th e wi n d ow expl od i n g besi d e h er

an d sprayi n g h er face wi th a h u n d red an g ry

h orn ets.

‘ I ’ m taki n g a ri d e wi th m y best fri en d . ’

S h e fel t a ti g h tn ess i n h er ch est an d fou n d i t h ard

to g et h er breath . S h e th ou g h t of th e baby an d

started to pan i c bu t fel t sl i g h tl y cal m er wh en sh e

fel t i t ki ck. S h e wan ted to si t u p bu t cou l d n ’ t, sh e

wan ted to scream for h el p bu t d i d n ’ t h ave th e

en erg y to g et i t ou t. S h e open ed h er eyes an d

th ere h e was, stan d i n g over h er, h ol d i n g h er i n th e

d eepest bl u e h al fstare on ce m ore. S h e tri ed to

ri se an d m eet h i m bu t th e steeri n g col u m n forced

h er back d own . H e ben t l ow an d ki ssed h er

foreh ead .

“E veryth i n g i s g oi n g to be al l ri g h t, ” h e sai d .

S h e wan ted to repl y, wan ted to say a th ou san d

th i n g s to h i m , wan ted to say a si n g l e word to h i m ,

to an yon e, bu t sh e cou l d n ’ t. H e h el d h er h an d for

a m om en t an d sh e th ou g h t h e m i g h t h ave sai d

WH E RE TO G E T TH I S h ttp: //www. sci fi fan tasypu bl i cati on s. com /

B y: S . A. B aker

som eth i n g bu t sh e wasn ’ t su re. S h e cou l d feel h i s

voi ce, sh e fel t h ersel f

warm th i n h er h an d an d i t was l i ke sl i d i n g i n to a

take an oth er si p of

bu bbl e bath after th ree or fou r g l asses of wi n e.

wi n e an d i n ch a l i ttl e

d eeper i n to th e water.

“I t’ s n earl y ti m e, ” h e sai d .

S h e cou l d feel h i m pu l l i n g off h er paj am a

S h e was i n u p to h er wai st

n ow

bottom s an d sh e wan ted to tel l h i m to stop bu t th e

an d was keen l y aware th at sh e d i d n ’ t actu al l y

wi n e was so g ood an d th e bath l ooked so warm

care abou t an yth i n g bu t g etti n g i n to th i s tu b an d

an d i n vi ti n g . S h e pu t on e foot i n . S h e was

g oi n g to sl eep.

su d d en l y aware of a pressu re u n d ern eath h er, l i ke

an el eph an t pu sh i n g a g rape th rou g h th e back of

“N earl y th ere, ” h e sai d to h er as sh e fel t th e

water ri se over h er ch est.

h er spi n e wi th a steam sh ovel . Wi th th e oth er foot

“M m m m . . . ” sh e pu rred .

i n th e water n ow, th e pressu re su bsi d ed a l i ttl e.

S h e fel t th e warm th of th e water en vel op h er

“Th at’ s j u st fi n e, ” h e sai d .

wh ol e bod y, fel t th e bu bbl es ti ckl e h er n ose an d

S h e h ad been worri ed abou t som eth i n g ,

fou g h t to keep h er eyes from cl osi n g .

som eth i n g sh e cou l d n ’ t q u i te rem em ber. H er car?

“You d i d so wel l , ” h e sai d .

D i d sh e l ock th e d oor to h er apartm en t wh en sh e

S h e saw h i m as sh e h ad seen h i m th at fi rst

l eft? S u d d en l y i t cam e fl ood i n g back—th e baby.

m orn i n g , g l owi n g i n th e n ew l i g h t of a n ew d ay,

S h e h ad been on h er way to h ave a baby. D i d sh e

sh e saw h er son i n h i s arm s wri g g l i n g an d cryi n g

h ave th e baby? H ow was th e baby? S h e beg an to

i n th e sam e g l ow. S h e fel t th e soft h eat of th e

pan i c an d tri ed to si t u p, wri th i n g an d wri g g l i n g

tears rol l i n g d own h er ch eeks, h er h eart sm i l ed

an d tryi n g to g et away from th e pai n th at was al l

an d th e sl eep took h er.

over h er n ow.

“S h h h … ” h e sai d an d i n th e cal m n ess of h i s

WH E RE TO G E T TH I S h ttp: //www. sci fi fan tasypu bl i cati on s. com /

N E XT I S S U E J oi n u s for a cover featu re on Arvi d N el son , an d tal ks wi th J oh n Ostran d er an d Tom M an d rake, Lee F ran ci s, an d M att J org en son . M ore S n eak Peeks, arti cl es, an d h opefu l l y som e n ew featu res for th e m ag azi n e to d ebu t.

Th e Retu rn of th e

G et Read y F or

Al l th e S m al l Press g ood n ess we can bri n g to you ! S pread th e word !