GO HOME PADDY

At a certain point, it was ready. The characters found their voices, the story had an organic life of its own, in other words, it escaped me. I’ve never worked this long on a single project, but this one keeps getting more interesting for me. And the idea of serializing it as a web-comic came later in the process. Reading a few web-comics myself, some of them long-form stories, some of them short strips (like Kate Beaton, my continuing favorite) it struck me that this was the 19th century serial-novel tradition, in its freshest incarnation. You know how people lined up on the docks to get the latest chapter of Great Expectations? Now I guess we have RSS feeds.
3. How are you enjoying the experience of working in web-comics? Have you felt a sense of community through the process?

I love it. Sailor Twain draws together some delightful, inspired, funny, articulate people from all kinds of backgrounds. There are also many more of the quiet ones, some of whom surface every so often in the discussions. It’s already been a wonder for me, meeting readers and contributors to the project’s research, with Hudson River history, poetry, boating details. There’s also a very unique feeling that comes from being received, page by page. That is priceless, and wouldn’t happen from only putting out the finished book in print. Plus, some of them are really careful readers, picking up on nuances and subtle story and character shifts, which is most rewarding. As for a sense of community, yes, it turns out that is the biggest discovery of all for me. At first the “companion blog” was an afterthought, with little tidbits to go alongside the story. But then it has grown into a part of the Sailor Twain experience, and the discussions sometimes take off in marvelous ways, with people I’m genuinely excited to meet.

The story is framed and scripted, but then as the saying goes “plan your work, and work your plan…” As I work on finished pages, Sailor Twain is constantly being

kneaded like pizza dough, adjusted, a scene performed differently, dialog trimmed or cut, and so forth. The interactive aspect probably influences that to some degree, but I’m careful to keep a good head-start on what’s appearing online, maybe to keep away the wrong pressures from my telling of the story.

In the last few years, I made several early versions—entire chapters in ink, then in watercolor washes—but I always had a frustrating sense it wasn’t the right mood, or the right look for characters who were deepening and layering themselves. Then came a piece of charcoal, and suddenly I could feel the industrial revolution, steel and smoke, coal and steam, rain and fog. . . It just came together, and nothing else would do. I love charcoal. It’s forgiving, it can be soft and hard, it can suggest things in the mist, just beyond our sight.

Yes, absolutely. First Second showcases some of the most inspiring comics authors working today, and I get to work with them, witness their process. Lots of inspiration there. But then with a project like Twain, I also had to close myself to outside influences at a certain point. I try not to bring my inner fanboy to the studio.

Tanya McKinnon is an agent, editor, and author. She has been an invaluable editorial partner on Sailor Twain, since before First Second began. From the start she was relentless with tough questions, questions and more questions. Having a mind like hers team up inside one’s vision is a rare blessing. Tanya not only pushed me to a depth I wouldn’t even have set my sights on, on my own—she also gave me renewed respect for what an editor can be. It’s always been easy to bash editors (and several comics authors do it regularly) but I believe in good editors, not meddlesome, or authoritarian editors… A true editor may or not work under that title. Some talented authors have their kibbitzers, coaches, trusted friends… But unless you can spare ten years to give yourself the necessary distance from your own work, an editor can provide some of that, much sooner. I think that’s invaluable, and many good works might have been great with a bit more of it.

Since before First Second started I’ve been working on my own projects. My routine involves a couple hours in the studio before heading to work in Manhattan. At first that was a discipline, but now it’s part of my daily well-being. So its always been there—only now, it’s out in the open.