ABRIAN CURINGTON with E. C. MURRAY

The graphic novelist Abrian Curington herself as “an illustrator specializing in light-hearted fantasy stories that champion fun, adventure, and conquering the obstacles of life.” She has published a short young adult, graphic novel, Bellmage, and as well as a longer one, Woolmancy, a tale to two best friends and the dynamics of trust in which she wanted “to show a capable main character, who chooses to rely on others. To show friendship, without turning to romance. To champion the weaving community and reference magic as part of the excitement of being alive…” What’s not to love?  

1.)       When you were growing up (where was that?), were you encouraged to pursue your art?

 I grew up in Western Washington in the Tacoma area. University Place specifically, but only locals seem to know where that is. My mother noticed that I was artistically-inclined at a young age, but I was equally interested in math and science. Yes, I am the rare, math-loving artist.

 She always stressed that I should do whatever I wanted, as long as I used my creativity and challenged my mind, lest my gifts be wasted. Running a creative business certainly checks both boxes.

2.)       How were art and story-telling significant in your childhood?

I was always lost in a book. A book with intricate illustrations was even better. I was read to, and spent a lot of time asking about things. Everything was a “what if” to me. For example, I made a map and was going to save Seattle. I’m not entirely sure what from what, but I was pretty sure I could just go straight on Pearl Street and make it there (this is actually how you get to the zoo from my house, but who knew). At that point, I was at an age where I knew I was just pretending, but it was fun. Even now, I spend a lot of time in my head, imagining my way through life. Everything is still a “what if.” 

3.)    You graduated with a degree in fine art. What led to you from there to writing graphic novels?

I’ll be honest and say that my degree had nothing to do with my path to graphic novels. When I was in middle school, or even earlier, I decided that I was going to make comics. By high school, graphic novels were appearing on the scene and that seemed even more appealing. I went to college in order to get general, fundamental arts training, and to have a degree in order to get a day job while I pursued my career. The great thing about the arts is that you don’t need a degree in order to illustrate.

While in college, it was clear that I was an illustrator, not a fine artist, though we would have class discussions about whether all art was just art, or not. I would create “pretty pictures” (yes, that is a direct quote) that had a clear narrative, as opposed to some of my colleagues who were pouring emotion, almost literally, onto their canvases. I didn’t get the atelier-like technique training that I was hoping for either, so I turned on my natural research instincts and read as much as I could about art technique, illustration and art business on my own. By the time I graduated, I was sold on the notion of visual storytelling. Comics, illustrated prose, anything that tells a story with pictures.

3.)       What can you communicate through graphic stories that is different from writing a story without your artwork?

Graphic stories are interesting in that they can convey a different sense of pacing than prose. This is both a blessing and a curse.

For example, in prose, if I want to pause for effect, I’ll write a short sentence, skip to the next line, and add white space. In a comic, that beat could be a repeated image, it could be literal white space, a change in facial expression… there are a lot more options. I could decide to have a page turn where suddenly everything is upside down and in tints of pink. You get smacked by that immediately, whereas, in prose, there would be the barrier of description to get through.

The reader also feels the story differently. Reading about a character’s struggles can be deeply impactful, but seeing the hurt on their face invokes a different response in the reader. Not necessarily better, just different.

The “curse” of graphic novels is that once you do turn the page, you can see everything that happens on the next two pages. So it’s easier for the reader to jump ahead and spoil things for themselves. You have to be really intentional about layout and page turns.

4.)       Do your graphic stories have an overreaching theme?

My first reaction is to say no, since each story is standalone, but if I look back, I tend to write about people figuring out where they fit, in this big, wide world. This could be examining trust and navigating friendship, like in Woolmancy, or understanding that it’s okay to not know what your gift is yet, as I tackled in Bellmage. In my next project, I get to tackle pursing a the dream you think you want, only to find… maybe it’s not what you wanted after all.

5.)       How long did it take for you to complete your graphic novel, Woolmancy? What was the hardest part?

Writing was spread over a year, but if I were to compact it, writing probably took about three months. Add nine months of page creation and formatting the book, and I clocked in at one year. The hardest part technically was nailing the story, as it kept shifting subtly until I realized what it was really about. The hardest part mentally is the same with every book: Keep making pages. I cranked out five pages, roughs to colors, every week for eight months.

If you’re early in your artistic career, and don’t have that customer proof that people are going to love your book, this is where the bulk of doubt creeps in. It’s so much work with nothing to show for it, until months later, and you wonder if you should just quit. Thankfully I knew people were anticipating the book, so I was always pushing to finish it.

6.)       You funded your project with Kickstarter. Do you have any advice for writers hoping to use a Kickstarter campaign?

I have too much advice on running a Kickstarter. I went through both free and paid training on Kickstarter through Tyler James’ Comixlaunch content. Emphasis on the free, since I nailed my first campaign, just by using free trainings and information on the internet.

One key point, though: Do not launch until the project is finished. I know, we all want to be paid while we work, but there are way too many Kickstarters that are egregiously delayed or just never fulfilled because the project was not finished before the campaign started. On the creator side, you don’t want the stress of being delayed either. Stress kills.

So, nail down an exact budget, contact a printer and be ready to hit the print button before the Kickstarter launches. Oh, and shoot for a short print run (even as low as 50) for a first book. You’re testing the waters here. Gauge your audience, see what the demand is for the book, and print that amount plus some extra.

7.)       What tips can you give to aspiring graphic writer?

The catch with visual storytelling is that there are two halves: Writing and art. If you are a writer: You can write about whatever you want. Just write. Once you start working with an artist, talk to them about what script format they typically work with. If you want practice in formatting before you get an artist, just search for comic script templates. You’ll see that they vary and you can adapt the template to fit you. If you’re going to pitch your book to a publisher or agent, it shows that you have some skin in the game if you hire an artist and work up some sample pages. Yes, it’s a cost out of your pocket, and that may be painful, but very worth it. Please pay them what they are worth.

If you are an artist and a writer: Guess what? You get to write however you want. Since you are the one who is going to interpret the script, you don’t have to craft it in any special way. Some people don’t write a script at all. They just thumbnail the pages and add dialogue as they go, working from a general plot outline. I personally have written terse prose and thumbnailed from that, and I have written full scripts. Use whatever works.

Thank you so much, Abrian. Readers, find out more by visiting BlueCatCo.com to check out Abrian’s work and stories, or find her on Twitter and Instagram @AbrianCArt. Abrian illustrates book covers, works with writers for interior art, and is very responsive to questions via email Abrian@BlueCatCo.com.