Bill Nichols’ Prescription:
Comics 10ccs of the Process with
Mark Armstrong Allard
What inspires you to create and keeps you going?
As a writer/author (and I know interviewers hate these kind of vague, categorical answers, but) I’m honestly driven by to create my works by the desire to tell stories. This has changed for me over time from wanting to craft and tell stories that are unique to stories that I feel are important, or have some perceived value that I feel is needed, to my audience, either current or expanding.
Do you have a set routine?
Honestly, no. I used to, but the pandemic changed everything and crushed the routine I had in-place. I used to work four-on, four-off and my four-off was dedicated solely to writing. However, the pandemic killed that career path and the gig work I’ve picked up since has been so sporadic and unscheduled, that I write now in an equally sporadic fashion.
In a way, however, it’s kind of nice, in its own way, as it leads to the writing feeling fresh every time I get to revisit it. So, ebbs and flows with that trade-off, really.
A big up, or “flow”, of it has been that I’ve scored more paid writing gigs since the pandemic, teaching/workshop gigs with the likes of Regina Public Library, Canadian Society of Children’s Authors, Illustrators and Performers (CANSCAIP) and others.
What kind of output do you try to achieve?
Because I write in whole, complete graphic novel form, with finding the funding for illustrators, letterers, colourists, etc, I aim to have a book out every two to two and a half years. Most of the time this works out, as I’ve learned that timeline from experience.
Sometimes you get lucky and have a much faster turn around, but a good barometer of time to aim for is the aforementioned 2 to 2½ years.
What inspires you WHEN you create? Music? Noise? Silence?
I have found, through trial and error, that not listening to my lifelong love for all sub-genres of Metal while writing is actually for the best. What does help me and get those mental juices flowing is music, ideally vocal-free, that is thematic to what I’m writing at any given moment in-time.
For example, I have found – while writing the sequel to Siegfried: Dragon Slayer – that Fantasy or Nordic pagan music is most beneficial.
Who was the first comic book creator that influenced you to pursue this?
The first time I remember recognising a name in comic book creation as a kid, and becoming a fan of said creator, was with Richard Elson. I was a huge fan of the British kids comedy comics, The Beano and The Dandy, in my single digits. Then, around 10 years-old, I remember that being the time that Fleetway Publications’ Sonic The Hedgehog licensed comic, aptly named Sonic The Comic, came out. I remember being blown away by Richard Elson’s art on Sonic The Comic.
I think that planted the seed in me way back then, that what I really wanted to do with love of stories, was make them and make them in comics. I got sidetracked with film-making, but finally found my way back in my late twenties.
When did you realize you could follow this path yourself?
For me, personally, I never realised that working class people like me could actually make comics and pursue publishers, until I met my now-wife, Elaine M. Will, in the final couple years of my twenties.
Elaine was already an accomplished comic book creator at that point, with an acclaimed graphic novel – 2013’s Look Straight Ahead (Alternative Comics/Renegade Arts Entertainment) – under her belt.
When learning this, when getting to know Elaine, during our courtship, the same awe I had absorbing comics as a kid came flowing back to me. I knew then, that my waning connection with film-making needed to be disconnected and that I just had to pursue comics for storytelling instead.
What do you find to be a challenge in creating?
The funding is, by far, the biggest challenge of comic book creator. My biggest conviction in going into creating a new graphic novel is making sure that I secure funding to pay for the hired hands (illustrators, colourists, letterers, et al) and that said funding is equal to their requested page rate multiplied by the page of the project, I reject the idea of talking said hired hands into not being paid for the work and waiting for remuneration from sales; because – even if you’re a huge name in the industry – the sales are never guaranteed, especially at a level that would fully remunerate the huge time sink they poured into it.
There are governmental/public arts boards that can be applied to for funding, there’s crowdfunding websites and other options, but that doesn’t mean that securing the funding is easy; behind the scenes, there’s a lot of work that goes into securing that funding. For the arts boards, there’s sinking time into learning how to apply – successfully – for a grant, as well as the money management and the record-keeping necessary for your end-of-project report. For crowdfunding, it’s far more than just crunching the numbers to create your budget, you essentially are having to create a marketing strategy to promote said crowdfunding campaign and you’re doing your own PR too; it’s so far much more than just saying to your buddies “hey, could you throw ten bucks my way?”.
It creates a lot of work that either detracts from your creative process or potentially delays it.
What else do you have to learn?
This one is easy to answer: If I knew, I would’ve learned it already and, much like every facet of life itself, that’s the thrill of the ride; you’ll have the joy of experience – and affirmation of existence itself – when you learn what the journey has to teach you.
What keeps you motivated to get better?
The readers, my fans and followers. I purposefully take every single opportunity I am granted to thank them, because none of their sticking around is guaranteed and I am genuinely thankful, from the bottom of my heart, for that.
They are my inspiration to improve and learn from what progressing in this creative industry teaches me.
Can you turn your brain (creativity) off (and on)?
I can, absolutely, but it eventually leads to big depressive funk, so I don’t enjoy it.
Boosters Shots (love the theme, by the way):
What advice do you have for aspiring creators?
The biggest, and most salient, piece of advice I can give to aspiring comic book creators is this: Don’t let negativity scare you. Make the comics you want to make, learn from your journey, progress and keep going.
Oh, and let me know once you have work out in the world, so that I can cheer you on.
Do you ever worry about running out of ideas?
No, but I do worry about doing a good idea disservice by losing sight of what made it a good idea in the first place; as many writers do.
How do you handle the slow times?
Sometimes I take a well-earned break for a short while or enjoy good, narrative-driven movies to help get the creative juices flowing for future projects (the same way that prose authors might with reading novels).
How do you feel about the industry?
Oh, that’s a big question with a big scope.
I won’t answer it directly, but I will indirectly imply that I respect the idea of unionisation that writers in screenwriting and prose have, as well as actors, performers, et al.
And do you have a website you would want to direct folks to?
Website is www.markallardwill.com
Mark
DISCLAIMER: The opinions expressed by the above creator are theirs. This interview may not be reprinted or reposted without permission.
Bill Nichols
Author, Artist, Editor for ShoutFyre.com
Bill is the creator of Arteest & Ursula comics, writer for Ringtail Cafe, co-creator of Savage Family, writer and inker of HellGirl: Demonseed. Editor for ShoutFyre and Sketch Magazine. Co-author of Camelot Forever novel series.