As a follow up to my interview with Michael Oeming & Taki Soma about DICK TRACY FOREVER, I interviewed IDW Publishing Group Editor's Denton Tipton. We breakdown what a group editor does, his workload, why he watches Barney Miller, why Dick Tracy isn't obsolete, and hear about a great comic book convention in Spain, Salon Internacional de Comic de Granada.
Frank Gogol, who is a fan of the podcast, had an intriguing idea for a podcast--When does an independent comic book writer need to start working with an editor to move his or her skills and career forward?
We take a stab at answering that along with talking about the importance of colorists and letterers. What the publisher Source Point Press is all about, who are a few of Frank's favorite editors, and his new series DEAD END KIDS. (FYI--Issue one is available in stores now and issues 2 and 3 can still be ordered from Diamond.)
A heads up. There are a few f-bombs and other bad words in this one. It was an honor to have Mark Chiarello on the show. The genesis of this podcast came from a conversation Mark and I had over two years ago in Burbank.
After some gestation and a few reality checks, Portrait of an Editor was born. And today things come full circle. It's not the podcast we talked about. I don't think either of us could have pulled that off, but as the Rolling Stones sang, "You can't always get what you want…”
We also talk about Mark’s approach to editing, working with Darwyn Cooke, tricking Paul Levitz, and the education he received from Archie Goodwin.
My talk with Danny Fingeroth covers a lot of ground in this podcast: editing the Spider-Man line, what he thinks of the term "talent," his top three mentors (one of whom has already been on Portrait of an Editor), the state of today's comic book industry, and working with Stan Lee.
This episode hits many of the reasons for why I'm started this podcast: history, the kind of approach an editor takes with working with people, and mentors.
On today’s podcast, I interview Eric Harburn, Senior Editor for BOOM STUDIOS!
This interview went by fast as we covered everything from living in Los Angeles, covers and why crime and horror work in the medium. Also, the lightning round makes a re-appearance.
First, I talk with Mike Oeming about working with Shelly Bond on the Young Animal pop-up imprint, and the stunning work he did for the 18 issues of Cave Carson Has a Cybernetic Eye.
Then, just in time for this week's New Comic Book Day, Taki Soma and Michael talk about their amazing new mini-series DICK TRACY FOREVER.
Somewhere in there, we also discuss Mario Bava, and how Mike and Brian Michael Bendis finish each other's sentences.
Shelly Bond’s tenure at Vertigo Comics poured the foundation for the world of comics that we live in right now. Series that she edited revealed to the world that the comic book medium was capable of delivering numerous types of stories.
Shelly’s Black Crown line of comics showcases her aesthetics at their purest.
Along with covering her past and present we discuss how she edits a script, works with established and new talent, and we both geek out over Bill Willingham’s amazing superhero series The Elementals.
Mike Perkins returns to Portrait of an Editor to talk about the new Lois Lane series he is drawing and Greg Rucka is writing for DC Comics.
He discusses Lois Lane’s role in the DCU, the book’s look, tone, the rest of the team, and his overall experience working for DC.
Also, we talk about his work habits, including the eternal question to nap or not to nap during the workday.
Here’s the second half of my two-part interview with Greg Tumbarello. In this one, we talk about his approach to analyzing comic books scripts, the effort it takes to be an overnight success, recovering from losing a job, and upcoming projects that he edited – STILLETO and TUSKER.