The New Times interviewed me for a feature on local comic artists. Check it out!
Well, it finally happened. I skated right past a Monday update deadline. Today’s Eleanor — actually, yesterday’s Eleanor — is officially late. For about two minutes I felt really bad about this, but then I realized that now I’ve opened the door to even greater disappointments, all of which I’m looking forward to sharing with you.
I kind of had a feeling I’d blow this week’s update, though. I could shoulder the blame completely, but I’m going to spread it around. Like, for example, on my landlords, who three years ago gave us the keys to our home and said, “We’re so glad to have a couple renting from us who will be here long-term.” They stressed the ‘long-term’ part so often, actually, that it caught us off-guard when a month ago they met me for coffee and said, Well, it’s time for us to retire, so we need to sell the house. You can buy it, they said, but if you’re not interested, then you’ll have to move on.
Long-term, my ass.
So if you want to assign blame, I recommend the landlords, our mustache-twirling villains of 2012. If not for them, I’d have been promptly sharing today’s Eleanor page with you, instead of renting a big truck and stuffing it with our every earthly possession.
I suppose the one thing that might mitigate this blown update is that the page I was supposed to post yesterday is actually one that might be familiar to some readers already, as it’s the end result of the “making of” example found elsewhere on the site.
Alright, I’m letting it go.
I do quite like today’s page, although I’ll confess, its portrayal of the nervously-anticipated hospital rush bears little similarity to the one my wife and I made last December. You know how people always ask authors how much their stories are influenced by real life? Well, my wife and I had a baby. Paul and Agnes are about to have a baby. That’s pretty much where the similarities end.
As a writer – and as an illustrator, as it turns out — I greatly prefer spending my time describing scenes to writing action. (I have a soft spot for good dialogue, but I don’t profess to be that great at writing it.) I say this because today’s page is a great example of the care I put into setting versus the rush evident in my scenes of people and conversations. Look closely at the backdrop of the page. I think I did a pretty good job with the rising floodwaters. (I spent hours and hours on that part.) Now look at the action in the foreground. Maybe it’s just me, but looking at this page now, I think it’s clear where I spent my time.
Alright, this page is late enough, so I will stop stalling. Enjoy your week, and thank you, as always, for spending a tiny bit of your time here in Eleanor’s story.