The end of February sees the London Super Comic Convention return for its second year, welcoming the great and good from the world of comics including Neal Adams, J Scott Campbell, Kieron Gillen, Frazer Irving and… well, there's loads of 'em. Check out the website and you'll see what we mean.
One such luminary is Mariah Huehner, the New York Times bestselling writer of the graphic novel True Blood: All Together Now, Anne Rice’s Servant of the Bones, Angel, Illyria: Haunted, and the upcoming Emily & The Strangers for Dark Horse Comics.
If that weren't enough she has also edited the New York Times Bestselling graphic adaption of Peter S. Beagles The Last Unicorn, Womanthology: Heroic, Womanthology: Space!, and the Eisner Award Winning Lucifer and Fables.
It's an impressive CV, so when the lovely organisers of LSCC asked if we'd like to interview the woman who's worked on so many titles we've enjoyed, we jumped at the chance.
One such luminary is Mariah Huehner, the New York Times bestselling writer of the graphic novel True Blood: All Together Now, Anne Rice’s Servant of the Bones, Angel, Illyria: Haunted, and the upcoming Emily & The Strangers for Dark Horse Comics.
If that weren't enough she has also edited the New York Times Bestselling graphic adaption of Peter S. Beagles The Last Unicorn, Womanthology: Heroic, Womanthology: Space!, and the Eisner Award Winning Lucifer and Fables.
It's an impressive CV, so when the lovely organisers of LSCC asked if we'd like to interview the woman who's worked on so many titles we've enjoyed, we jumped at the chance.
GG♥SF: You've written stories for True Blood books, Angel and BtVS and count Lucifer and Fables among the books you've edited. Basically, it sounds to us like you've got the best job ever - is that how you feel about it?
Mariah Huehner: I kind of really do, I have to say. It's still work and there are days when I want to throw my laptop across the room, but all in all, I'm very lucky. And I seriously can't believe the things working in comics has allowed me to do and experience. I've worked with the most amazingly talented and met some of my story idols. You really can't complain much when part of your job was meeting Alan Ball and going over story ideas.
What is it that you love most about this world?
MH: The comics world? I love the way you tell a story through words and pictures in a way that's different than any other storytelling medium, including film. I love how you can guide a reader through the story but they can still choose to linger over details at their own pace. I love the collaborative process of making a comic, of finding a story that's perfect for the format and no other.
What I love about the world in general is that it's always changing and full of as many stories as there are people to think them up and share them.
What's your opinion on the UK comics scene?
MH: Hm, this is a tough one. I've worked with a lot of UK creators over the years so I'm not sure I view it as all that removed from the US scene, and I'm not as familiar with it as I should be. They seem intertwined to me, especially when I worked at Vertigo. We sort of pilfered a lot of Brits when I was there.
I'm a huge Mike Carey fan, for instance, I'll read anything he writes and he's a lovely person to boot. Mark Buckingham is not only a wonderful artist but a truly sweet person who gives the best hugs. That sort of cross-pollination is one of the reasons I'm so excited to be going to the London Super Comic Convention. I haven't been to London before, so there's that. But there's also all the fellow writers artists I'll get to share a pint with, finally. So I guess my thoughts on UK comics are: they're great!
There's been a lot of debate in recent months about women in comics - with regard to how those working in the industry don't get the recognition they deserve, and how female fans are perceived - what's your take on it? Is it something you have strong opinions about?
MH: My opinions on it are so strong I've written a bunch of posts/blogs and have intense discussions pretty regularly on my Twitter. It's really important to me that we don't stop discussing it and working towards a more inclusive geek/nerd culture.
I was really disappointed in all the 'Fake Geek Girl' nonsense a few months ago and ended up writing a piece that was re-published on The Newstatesmen. There's just no way to get around the highly gendered nature of that mess. I've been doing this for over 10 years now and I know a LOT of other women in the industry. They are all talented, dedicated, amazing people who work hard to put out the books people love. So the combined effect of seeing them (or myself) either ignored or debased is disheartening to say the least. Women contribute so much to geek/nerd/comics culture, every day, in so many ways. The idea that any of us get to decide what is an "acceptable" way to be a nerd/geek for someone else is absurd.
Mariah Huehner: I kind of really do, I have to say. It's still work and there are days when I want to throw my laptop across the room, but all in all, I'm very lucky. And I seriously can't believe the things working in comics has allowed me to do and experience. I've worked with the most amazingly talented and met some of my story idols. You really can't complain much when part of your job was meeting Alan Ball and going over story ideas.
What is it that you love most about this world?
MH: The comics world? I love the way you tell a story through words and pictures in a way that's different than any other storytelling medium, including film. I love how you can guide a reader through the story but they can still choose to linger over details at their own pace. I love the collaborative process of making a comic, of finding a story that's perfect for the format and no other.
What I love about the world in general is that it's always changing and full of as many stories as there are people to think them up and share them.
What's your opinion on the UK comics scene?
MH: Hm, this is a tough one. I've worked with a lot of UK creators over the years so I'm not sure I view it as all that removed from the US scene, and I'm not as familiar with it as I should be. They seem intertwined to me, especially when I worked at Vertigo. We sort of pilfered a lot of Brits when I was there.
I'm a huge Mike Carey fan, for instance, I'll read anything he writes and he's a lovely person to boot. Mark Buckingham is not only a wonderful artist but a truly sweet person who gives the best hugs. That sort of cross-pollination is one of the reasons I'm so excited to be going to the London Super Comic Convention. I haven't been to London before, so there's that. But there's also all the fellow writers artists I'll get to share a pint with, finally. So I guess my thoughts on UK comics are: they're great!
There's been a lot of debate in recent months about women in comics - with regard to how those working in the industry don't get the recognition they deserve, and how female fans are perceived - what's your take on it? Is it something you have strong opinions about?
MH: My opinions on it are so strong I've written a bunch of posts/blogs and have intense discussions pretty regularly on my Twitter. It's really important to me that we don't stop discussing it and working towards a more inclusive geek/nerd culture.
I was really disappointed in all the 'Fake Geek Girl' nonsense a few months ago and ended up writing a piece that was re-published on The Newstatesmen. There's just no way to get around the highly gendered nature of that mess. I've been doing this for over 10 years now and I know a LOT of other women in the industry. They are all talented, dedicated, amazing people who work hard to put out the books people love. So the combined effect of seeing them (or myself) either ignored or debased is disheartening to say the least. Women contribute so much to geek/nerd/comics culture, every day, in so many ways. The idea that any of us get to decide what is an "acceptable" way to be a nerd/geek for someone else is absurd.
I have no interest in participating in any sort of gatekeeping behavior. I don't care how someone identifies as a geek/nerd, what they love, or how they display that love, so long as they're having a good time and not hurting anyone. Which they aren't, no matter what some folks might think. Someone else's costume choice, or character preference, or story obsession, can't hurt you. So, trying to define geeky/nerdery along gender lines or claiming anything is being "ruined" by fictional "fake" geek girls is just beyond obtuse. No one can ruin the things you love unless you let them. And frankly, cos-playing and the like are fun. They bring a whole other dimension to things. I do think a lot of girls and women express their geek/nerd differently, or often with more craft-based activities, and that's pretty awesome. People need to stop assuming they know what a geek/nerd "really" is.
That said, conventions like Geek Girl in Seattle are, I think, actively challenging those idea and I always come away feeling really hopeful and encouraged. This past year there was a LOT of discussion about this topic because of a similar issues with gamers and Anita Sarkeesian. The parallels are undeniable and I've gotten my own share of nasty remarks. It's hard at first, but, I'd rather be visible and talking about it than not. It's important because I want more people reading comics and participating with the industry, not less. The more inclusive we are the more likely that is.
You've worked on comic book adaptations for some of our favourite shows - how does that experience differ from working on original titles? Do you feel pressure to meet fan expectation?
MH: Each licensed property is different, depending on who you're working with and the story world. You typically have certain defined parameters, characters, and "rules". And they go through an approval process with the licensor. Something that's creator owned is your own, so while you still need to work with an editor, it's your world. You call the shots. They're both challenging. With licensed work you have an established world to adhere to and add to, while still maintaining the "feel" of the original in whatever medium it was originally in. With your own work you have to set limits for yourself or the story can go off track and become a mess. And in that sense it's all on you, which is quite a lot of pressure. With a license you can kind of rest on "well, that's how this character was in the show/movie, so, we can't mess with that!"
For instance, both True Blood and Angel involved vampires and various supernatural characters. But the worlds are quite unique, the tone and pacing differ, and the characters are on journeys that might have thematic similarities, but require individual arcs. Not to mention dramatically different "voices". Whedon has a very specific rhythm to his dialog and so does Ball, they are not interchangeable. So we were always adjusting, making sure you could "hear" the character voices in your head as much as possible.
When I've worked on original titles, my own or as an editor, it's a little different. The creator is usually intimately involved and invested in the story, so the challenge there is making sure the story they want to tell is the story that's coming across.
As for fan pressure: Yes and no. I mean, I certainly care what fans think, you want them to read and enjoy the work. There's no point to it if they don't. At the same time, you can't write stories based on what fans want because that's different for each one. Stories by committee rarely turn out that coherent. So you have to trust that you're telling a worthwhile story and hope they think so, too. I find that if you're sincerely doing that, telling a story you believe in, fans will see that.
Do you have a favourite project on your CV - something that was particularly close to your heart?
MH: You know, I'm proud of everything that I've worked on for various reasons. One of the most recent books I've worked on, Emily & The Strangers for Dark Horse, is something I'm very pleased with. Getting to write for tween/teen girl audience with a character like Emily, who's snarky and inventive, was fantastic.
There's also Illyria: Haunted, which is something that's very personal to me, because of the strong emotional attachment I have to A Hole in the World (the Angel ep). I also told this short, two-page story in Womanthology: Heroic, about a small moment in a zombie Apocalypse I was really pleased with because it's tough to write something in such a small amount of pages. I chose to draw it as well so it was particularly challenging.
A project I'm working on called Monstrous Parts is an anthology combining prose, comics, poetry, and art, to discuss women and body image. That's intensely personal, but the people participating are amazing, and I should be launching a crowd-funding campaign for it in February or March.
What can you tell us about the titles you're working on at the moment? Do you have any secrets or spoilers you can spill?
MH: Well, my latest comic, Emily & The Strangers comes out on January 30th from Dark Horse Comics. I co-wrote it with Emily's creator, Rob Reger, and it was a complete blast. The artist, Emily Ivie, is so incredible, I can't even tell you. There are gadgets and inventions and science and ghosts and rock 'n' roll. I really hope people check it out.
Obviously there's aforementioned Monstrous Project, and I have a few pitches in to a few places, and I'm working on a short story I can't talk about just yet. So it's going to be a busy year, thankfully.
As a creator, what do conventions mean to you?
MH: For me, they're a really lovely way to interact with fans and fellow creators. I've had nothing but wonderful experiences with fans at signings and it means a lot to hear from them directly. I honestly love the whole sort of experience of conventions, with people enjoying their geek/nerdery and having a good time together.
Do you attend them as a fan, too?
MH: Not for a few years now, I can't ever seem to find the time! I do still get to have fan moments, though, where I meet creators whose work I love and get to chat with them a little. Cons like Geek Girl I find more "relaxing" where I can actually attend panels and hang out more.
What's the weirdest (printable!) experience you've ever had at a con?
MH: I don't think I've had any non-printable experiences at cons, thankfully. As for weirdest... I think the most surreal was doing press and signings for the first True Blood: All Together Now hardcover at NYCC. We did an actual press junket type thing, photo stuff, interviews, and signings with hundreds of people. That was completely strange but awesome.
What are you looking forward to at LSCC? What are your must-sees, should you get the time?
MH: If I don't get to see Mike Carey and Mark Buckingham and, at the very least, have some tea, I will be super disappointed. But mostly I'm just really keen to check out the con. They have an awesome guest list and panels, so, I'm sure I'll be making a schedule for myself as it gets closer. Wandering around cons, though, has always yielded the most interesting finds for me. I'm looking forward to seeing what surprises it has in store.
That said, conventions like Geek Girl in Seattle are, I think, actively challenging those idea and I always come away feeling really hopeful and encouraged. This past year there was a LOT of discussion about this topic because of a similar issues with gamers and Anita Sarkeesian. The parallels are undeniable and I've gotten my own share of nasty remarks. It's hard at first, but, I'd rather be visible and talking about it than not. It's important because I want more people reading comics and participating with the industry, not less. The more inclusive we are the more likely that is.
You've worked on comic book adaptations for some of our favourite shows - how does that experience differ from working on original titles? Do you feel pressure to meet fan expectation?
MH: Each licensed property is different, depending on who you're working with and the story world. You typically have certain defined parameters, characters, and "rules". And they go through an approval process with the licensor. Something that's creator owned is your own, so while you still need to work with an editor, it's your world. You call the shots. They're both challenging. With licensed work you have an established world to adhere to and add to, while still maintaining the "feel" of the original in whatever medium it was originally in. With your own work you have to set limits for yourself or the story can go off track and become a mess. And in that sense it's all on you, which is quite a lot of pressure. With a license you can kind of rest on "well, that's how this character was in the show/movie, so, we can't mess with that!"
For instance, both True Blood and Angel involved vampires and various supernatural characters. But the worlds are quite unique, the tone and pacing differ, and the characters are on journeys that might have thematic similarities, but require individual arcs. Not to mention dramatically different "voices". Whedon has a very specific rhythm to his dialog and so does Ball, they are not interchangeable. So we were always adjusting, making sure you could "hear" the character voices in your head as much as possible.
When I've worked on original titles, my own or as an editor, it's a little different. The creator is usually intimately involved and invested in the story, so the challenge there is making sure the story they want to tell is the story that's coming across.
As for fan pressure: Yes and no. I mean, I certainly care what fans think, you want them to read and enjoy the work. There's no point to it if they don't. At the same time, you can't write stories based on what fans want because that's different for each one. Stories by committee rarely turn out that coherent. So you have to trust that you're telling a worthwhile story and hope they think so, too. I find that if you're sincerely doing that, telling a story you believe in, fans will see that.
Do you have a favourite project on your CV - something that was particularly close to your heart?
MH: You know, I'm proud of everything that I've worked on for various reasons. One of the most recent books I've worked on, Emily & The Strangers for Dark Horse, is something I'm very pleased with. Getting to write for tween/teen girl audience with a character like Emily, who's snarky and inventive, was fantastic.
There's also Illyria: Haunted, which is something that's very personal to me, because of the strong emotional attachment I have to A Hole in the World (the Angel ep). I also told this short, two-page story in Womanthology: Heroic, about a small moment in a zombie Apocalypse I was really pleased with because it's tough to write something in such a small amount of pages. I chose to draw it as well so it was particularly challenging.
A project I'm working on called Monstrous Parts is an anthology combining prose, comics, poetry, and art, to discuss women and body image. That's intensely personal, but the people participating are amazing, and I should be launching a crowd-funding campaign for it in February or March.
What can you tell us about the titles you're working on at the moment? Do you have any secrets or spoilers you can spill?
MH: Well, my latest comic, Emily & The Strangers comes out on January 30th from Dark Horse Comics. I co-wrote it with Emily's creator, Rob Reger, and it was a complete blast. The artist, Emily Ivie, is so incredible, I can't even tell you. There are gadgets and inventions and science and ghosts and rock 'n' roll. I really hope people check it out.
Obviously there's aforementioned Monstrous Project, and I have a few pitches in to a few places, and I'm working on a short story I can't talk about just yet. So it's going to be a busy year, thankfully.
As a creator, what do conventions mean to you?
MH: For me, they're a really lovely way to interact with fans and fellow creators. I've had nothing but wonderful experiences with fans at signings and it means a lot to hear from them directly. I honestly love the whole sort of experience of conventions, with people enjoying their geek/nerdery and having a good time together.
Do you attend them as a fan, too?
MH: Not for a few years now, I can't ever seem to find the time! I do still get to have fan moments, though, where I meet creators whose work I love and get to chat with them a little. Cons like Geek Girl I find more "relaxing" where I can actually attend panels and hang out more.
What's the weirdest (printable!) experience you've ever had at a con?
MH: I don't think I've had any non-printable experiences at cons, thankfully. As for weirdest... I think the most surreal was doing press and signings for the first True Blood: All Together Now hardcover at NYCC. We did an actual press junket type thing, photo stuff, interviews, and signings with hundreds of people. That was completely strange but awesome.
What are you looking forward to at LSCC? What are your must-sees, should you get the time?
MH: If I don't get to see Mike Carey and Mark Buckingham and, at the very least, have some tea, I will be super disappointed. But mostly I'm just really keen to check out the con. They have an awesome guest list and panels, so, I'm sure I'll be making a schedule for myself as it gets closer. Wandering around cons, though, has always yielded the most interesting finds for me. I'm looking forward to seeing what surprises it has in store.
The London Super Comic Convention takes place on February 23rd and 24th at the Excel Centre, London. Get yourself some tickets and we'll see you at the bar.
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