Wuzzup RLPeeps! We’re picking up here where we left off with the second of my wavy-gravy interview with A Trout in the Milk, where we continue our descent into behind-the-scenes heaviness.
And yes, the first half still lives right here.
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ATITM: How early on in RLP’s conception did Turi start to be an important character? I’m an adopted kid, so I always zero in on Adopted Kid stuff…Moses, Jesus, King Arthur, Superman…
DG: Turi got more important the more I wrote him; in earlier draft I always felt there wasn’t enough for him to do. I realized I hadn’t gotten his voice or his guts right; once he clicked, I just liked him a lot and started seeing all kinds of interesting place for him, and his role in the overarching story just grew and grew. He’s a blast to write. It was the same with Zoya; once I figured her cadence, her attitude out, I wanted her to be in all the scenes.
Yeah, Turi now seems like a very important character in the dynamic here, to my eyes anyway…and not just because he represents “something at stake” in terms of other characters’ needs or in terms of the plot, but because he counts as a character too, in his own right he’s part of the web of relationships, though since he’s just a kid he understandably doesn’t take centre stage in that way. I was a bit curious about this, on two levels: one is, I suppose, the level of mechanics…how to make characters interesting by themselves, how to give them texture, that sort of thing. Turi’s a kid, so how do you give him agency of his own, a status of his own in this world? Well, one way’s exactly what you’ve done, the imparting of special talent and special status. I don’t mean this to sound like what you’ve done is some kind of fantasy-story boilerplate, just that in a way it’s textbook mechanics: because that is what you can do, to give a character a reason to exist…you just in fact give them a reason to exist! Something to do, something that concerns them as well as other people: private interests, the implication of a somewhat-equal point of view. Why else are there so many “chosen one” stories in the world, after all, except that you can make a kid’s perspective explicitly a privileged one by giving them a special access to experience or talent or whatever…kids see what they’re not supposed to see all the time, but if the kid is Merlin or something then that seeing is valorized, elevated, codified…
Yeah, Turi is central to the whole RLP series… I don’t want to spoil things, but you’re going to see this even more so in MALA FAMA. As far as “agency of his own”, to me kids are just small adults the same way adults are just full-grown children, so I am writing him the same way I write Jude/etc. I get to have fun and make him cute, but he’s just as touched as Jude but way less fucked up (thus far) by it. Both Turi and Rory reflect a different way of dealing with the talents that Jude feels feels have “ruined everything”. So, a counter-point, as well as the future of the family.
…And the other way to do that is the stuff that, like I said, hits home to me as an adopted kid: the matter of what you know, or perhaps more “what you’re told versus what you know”. I was told I was adopted at a very young age, and have always thought that’s the healthy way to do such telling, so seeing the psychic kid who shares his father’s gift and his father’s “confidential” connections, so that definitely suggests lineage in a way a kid wouldn’t be inclined to question, and yet also just because of having those gifts in common…he might know? He might not know. He might know and not care? He might know but be too young to process it the way an older person might process it, into shock or self-questioning, so it might not matter. And for me at any rate, not knowing if he knows but certainly seeing that he could know without having been told, it makes him an absolutely fascinating reflector of what’s going on between all the adult characters. This kid might not be in the situation of figuring out his family isn’t like other families, but he might already know it, but I can’t yet tell! So…
…Is that why we got “A Series Of Tubes”, partly because you were growing into writing Turi, and wanted to write something that showed him more at the centre of things, less a complicating factor in the plot and more a human presence in the family? And maybe the mystery of what he knows or doesn’t know, that’s just plain part of what this family’s like too. It hadn’t occurred to me until the last page where he is, actually graphically, in the centre, you see…and that’s when it occurred to me that you could read ASOT as incorporating a theme of “safety”, or read it as an emotional breakthrough point where, not to sound too Hallmark-y, the family reasserts itself as a thing you belong to indefeasibly…and in which people have an active say over what definition of “normal” they’re going to be subject to…
Anyway I found the conclusion of ASOT to have a pleasantly defusing effect, much like Zoya sensibly pushing Jude away in the first book defused a narrative that RLP might have become all about, I mean in the sense that this could happen, this could be the story, but just because this is the most obvious story doesn’t mean we have to choose it for ourselves…there’s a movie I like, “The Barbarian Invasions”, where a son comes to take care of his dying father, and all through the movie there are points where the director shows you a possible narrative, “this is the one where it turns into the doomed romance”, “this is the one where it turns into the thing where the son gets in trouble with the mob”, and to all these possible narratives the father’s illness would just be the inciting action, the excuse, the background…but no, the director shows this possible movie and then says “but that’s not what we’re here for” and turns it back to the relationship between the father and the son. “Defuses” the obvious narrative possibilities, right? So ASOT made me think I was detecting something like that here too, yes we could have the story where boilerplate narrative gravity/destiny takes over, but we’re not going to have that one because everybody here gets to have choices…so: “safety”. Or at least: choice. When you’ve lived with a story as long as you’ve lived with RLP, does that become an interest, to prune events away from “inevitable” ends? To protect the characters from the easy temptations of their writer, by making sure they can exercise options? Or would you say instead (perhaps) “well what are you talking about, isn’t that how you write a story, by letting the characters choose things?”
Or have I got it all wrong.
The best answer I can give is that I’m finding an ebb and flow to the tension in the Tobin family as they deal with the end of the marriage and stay a family, and Turi is a huge part of that. That hug panel with Turi in the center of the page telegraphs that visually, but mostly I feel like there’s a storm of emotions between the three of them that exists behind the panels of the comic and spills out through the comics’ words and pictures in small drivets that can’t possibly show it all. Yet. Of course, I don’t ever want RLP to feel obvious… but as much as the PLOT of the series have long since been written, the emotional notes (like what’s happened here in ASOT) are happening more organically as I put the Tobins each through paces. There are things I’d planned for Turi that he wouldn’t do now, after his experiences in “Donnie Cheng” and so on. My Secret Decade-Old Plot Skeleton is an old and dusty thing that exists only to let the living meat walk around, and they don’t always obey one another. The characters do make choices, and so do I, and somewhere in the middle, what gets drawn is what makes sense at that moment and ideally makes their future less and less certain. “Safety” doesn’t make for good fiction.
Where does Ceci come from? How deep is her backstory, and how early on did you know what she was going to be like? Or like Jude were the seeds of her planted long ago in personal experience. Full disclosure, this catches my attention quite a bit because I once dated a woman from Mexico and some part of my brain goes “dingdingding! identity recognized! welcome Professor!” when Ceci swims into view…so maybe I just answered this question for you, “I just draw what I see in real life, duh”, but it is still curious to me that EVERY other major character has an “origin” or we wouldn’t believe them…”I answered an ad”…
Or maybe I am, once again, getting that a bit wrong. But anyway for me, with her particularly I find myself picking up an awful lot from an awful little…I guess this is a question of mechanics, again? Jude feels like he has a past in part because we know he has one, we’re told in so many words he has one, but Ceci pretty much starts on Page One. So during ASOT I found myself thinking, maybe her personality is more contained in the actual drawing of her than Jude’s is, and I’m just such an artistically-illiterate guy that I can’t tell? Or in other words: is writing and drawing just One Big Thing for you, or are you more likely to put elements together to deliberate/compensatory effect? “Jude’s way out there broadcasting himself all the time, and not particularly discriminately, so I can sort of open the pipe on him; Ceci’s a tougher nut to crack though, so her body language has to be just so”?
I see Ceci as the kind of second-generation Latinas I knew growing up in Miami: nice girls with bad tempers, probably went to church, wanted a husband and a good life, knew how to get flexible with the world to get those things to happen. She’s definitely a hustler in her own milieu, seeing the niche she could carve in the dying real estate market and going for it. We’re going to see more of Ceci’s past over the course of the series; of course she has one. She’s as much as a sour pickle as Jude is in a way… but they’re also different people than when they met.
The deeper history of her and Turi’s dad I’m not gonna get into here, beyond what I’ve already revealed: high school sweethearts, killed by drunk driver, luckily had donated to the sperm bank. Given that Turi is touched as well, he’s eventually going to want to meet him… and he’s got friends/family that can show him how to summon. That tale is a ways off yet but it’s a doozy.
I notice things about her like what kind of makeup she has on, or that she’s a very statuesque woman who is nevertheless not in perfect fitness-club-type shape…am I overreading, or are those details deliberate, or (instead) are they just part of a “spontaneous” mental image, as in “this is how I like to draw her, this is how she looks in my head, I’ve read all kinds of comics and know there’s all kinds of ways of doing figure drawings and I like to pick and choose: blobby elbows, knobby clavicles”? So easy to say “okay, Zoya’s drawn kinda zaftig as a contrast to Ceci”, you know? But Ceci doesn’t look just exactly like a lead actress on a cop show on TV either, she’s not drawn, to my eye anyway, as someone who looks good effortlessly…so, do you care about that sort of thing, is that why I’m seeing it, it’s not just my apophenia talking? She puts in a bit of work on her appearance?
No, those details are deliberate: I think Cecilia was effortlessly beautiful, and she’s still got it now if/when she tries. That makes her way real to me instead of some porny “comic babe” or Hollywood actress type that populate most comics. I’ve never liked working with those action-figure characters (unless I’m tearing them down); they’re horribly fucking boring to me. I don’t like mixing with them in real life either; I’m way more attracted (in every sense) to strange kinds of beauty, individual touches that are considered “imperfections” by today’s monoculture that can’t be replicated. Zoya is a great example of that; her face is modeled after a friend of mine who I think is absolutely beautiful, in her face you can see her family history, made modern. I suppose that’s true of everyone, but I wanted all of RLP’s characters to feel real.
So do you think of it like that, in that “compensatory” way? Do you have, not just a model sheet, but a “drawing scheme” for when you sit down with these characters? I suppose an easier way to have said all that would just be: “who’s your favourite character to draw, or for you is drawing them the same as writing them?”
With any comic, the look of the characters are part of the storytelling, and should transmit visual information about who they are. I do have “model sheets” that exist in my head, and a few post-its on the computer screen so I don’t forget Zoya’s star tattoos on her eyes/ass or the white glare on Jude’s glasses or Cecilia’s triangle of sexy birthmarks; there are visual tics I added to each of them probably more for my own amusement that serve a function in my eyes. For example: if you watch the white glare on Jude’s glasses, they’re used less as a lighting tool and more like an extra set of cartoon eyebrows to telegraph emotion. To me it makes Jude that much more expressive in a subconscious way.
I also make sure they don’t have UNIFORMS they always appear in, because, y’know, real people change their clothes. Yes, Jude’s striped shirt is almost-ever-present, but that’s also a commentary on his laundry habits. There are sets of alternating outfits for each of them (and more to come), and as the company starts to make more money, everyone’s look will slide to adjust.
The processes of writing and the drawing are nothing alike for me; they’re complete opposites in fact. Writing isn’t easy but it’s always joyful, never torture. I’m very free when I write and almost always walk away happy. Drawing is a daily tooth-pulling excruciating extraction, and I’m never, ever 100% satisfied with my work. I spend MANY HOURS on each page and I’m usually a mumbling, babbling, spent mess by the end, ready for wine and dinner and some quiet time offline afterwards.
Yes, every major character has an origin, and I’ve tried to have their visual design mirror that. There are types I grew up around and borrowed from, others that grew from their character skeletons and appeared in layers. My only main player that popped out looks-first was Kako, and to be honest, he’s RLP’s Wolverine. I don’t want to get into the specifics of where he comes from, tell the Definitive Origin. I don’t need or want to know that; it makes him less interesting to me.
Wolverine, eh? So, not to sound too crazy, but…on yet another design level, it occurs to me that there’s a lot of, hmm, earthiness in RLP, you can tell these people probably smell about the same as regular people in the real world, Jude probably smells like he rolled in a dead bird on the beach, Ceci’s breath is probably a bit yeasty on occasion, Zoya probably smells a bit…I’m sorry, it’s just that I have a really acute sense of smell, I’m like the Wolverine of my webcomic?…Zoya probably brings a slight milkiness with her when she enters a room…
Oh, I suppose this could be considered an appreciation of craft, but it does embarrass me a bit to say I regularly imagine how they all smell…
I can honestly say I’ve never been asked that before! I agree that Zoya would have a slight milkiness to her skin, always very clean, while Ceci would be a mix of musky perfume with cigarette smoke. Jude is dirty clothes, cigarettes and adrenaline-sweat for sure, but that’s the occupational hazard talking.
So I hope you keep doing RLP forever, I hope it’s as deathless as the X-Men. But your Twitter feed and RLP mailing list (nice touch having it be “Zoya”, by the way) seems to be full of “whoops peeps gotta go, little hiatus, many plates in the air you know, back soon love ya”. Could you talk a little bit about your workload, energy-level, busyness, sense of opportunity at the present time? Are you in that mode where you practically trip over a new project each day, and do you make your living through your art or do you have a day job? Some artists never do slow down, like Kirby it all just keeps ramping up like a mass driver until they go into orbit…but some move into other forms of art, poetry from short stories, sculpture from drawing, industrial design from graffiti…etc. etc…sometimes from gradually-changing interests, and sometimes from (I presume) not being able to make a living at one or the other thing, or from not feeling like they’ve got any freedom, or from feeling like a market for what they want to do doesn’t exist…
Thanks, man; I intend to keep RLP moving for a long time until we reach The End. These guys are very real to me. And those “whoops peeps” messages (like yesterday’s) are such a badge of Webcomicker Shame to me, but there’s only so much I can take care of while producing something of quality. I know RLP is a lot more nuanced in execution and process-complicated to produce than your average daily Robo-Ninjas-Love-Cupcakes webcomic, so I ask my readers to roll with the schedule hiccups so I can keep the comics smart and slick. I certainly do the same with the series I follow, i.e. Vince Gilligan’s Breaking Bad; I don’t mind it being away as long as it’s the best thing I’ve ever seen when it’s on.
And yes, I do my fair share of project-juggling, but all my other babies are still fetal at the moment. I have a lot of ideas, some of them are even good, and I know I will never live long enough to complete a tenth of them, so I have to prioritize and fight for the really good ones. I definitely don’t slow down; I am working when I go for a walk in the city with my headphones on, when I’m in the shower, when I’m washing dishes. ImaginationLand is just where my brain goes on auto-pilot, and that’s why I don’t have another job: because THAT’S WHERE I’M SUPPOSED TO BE. Sometimes it’s a confusing circus, simultaneous spectacles, forgotten characters sealed up in the walls banging to get out, but I’m learning to deal with them until I can get them out. The Tobins were getting louder and louder for almost a decade before I let them out; like I say, I used to call RLP “my tumor” because it just grew and grew until my brain felt squeezed. It’s a relief in that way to actually be telling the stories now. That’s morbid; sorry.
I do not have a day job; I haven’t since late 2005, with varying degrees of competence and success. I also do a lot of freelance illustration work, but some years are better than others with that stuff. Last year was quite good; this year’s been pretty dry thus far, though I was just featured in Taschen’s ILLUSTRATION NOW! 4 ***[LINK]*** so I’m hoping some new clients will find me through that.
That’s why I’ve been so prolific with RLP: for the first 200 pages, I was getting paid, when the series ran for 6 months on Tor.com. I used that money to move down to Brazil and clear as much else as possible out of my field of vision. Drawing RLP takes a huge chunk of my time and energy; if I just wrote and collaborated with other artists, I don’t think I’d have as many pauses and certainly be a helluva lot more prolific. Ask me this again in a few years; I’m curious to see what I say then.
Or I could just ask you again now! How would you characterize your career thus far, and what would you wish for it in the future, and what would you tell young people? I guess is the obvious way of putting that. But, say…how would you characterize your career thus far, Dan? The Internet is clogged with webcomickers holding forth and giving advice and making recommendations and predicting future trends…do you have any truck with any of that? I notice you don’t sell RLP coffee mugs, do you just not want to be a coffee-mug millionaire?
My career thus far has been… pretty cool, I guess? I mean, I’ve gotten to do unique things with my talents and don’t see any signs of stopping. I definitely made some big mistakes with Shooting War and “08″ and I’m happy to have made them on project that were not 100% my blood and guts. I learn a lot with every project that rolls forward to the next, and I know I’m very lucky for that. All the mistakes made too, everything rolls forward from project to project.
I try not to be the “sage old advice-giver”, partly because I don’t think I’ve earned it yet, and partly because I’d rather be making the comics than stopping, but I have done a good amount of speaking/moderating/organizing panels at conferences where comics and culture and technology overlap. But that stuff’s easy: I did a lot of debate team stuff in high school and I like speaking to crowds once in a while, but mostly I do it to meet new people. There’s a certain class of cat you meet at SXSW Interactive or MIT or whatever that I rarely happen across on Twitter/etc, and it’s nice see each other’s presentations and have a drink after. I’ve met some really cool friends doing that. Most of the time, my work has me alone in a room working in isolation, so it’s a breath of fresh humanity.
And no, I do not sell coffee mugs… yet. I don’t think anyone makes millions with coffee-mugs. I’ve been planning a store for what feels like a year already, and it’s coming soon, but it’s more intended to make some pocket change for me and give people physical mementos from something that only now exists on the web.
Editing this together now, it occurs to me that I’d like a mug with a wraparound of three or four panels cut from a given strip’s belly meat, something to make guests say “okay, whatthefuck IS this?”, so I can shrug and say “there’s a URL on the bottom, why don’t you go find out?” That, I think, would be a fun game. And…
Okay: games. Not to sound like an OKCupid quiz, but…How Cross-Disciplinary Are You? Do you have a non-artistic background, an academic background, you wanted to be a marine biologist, you wanted to be an architect…you wanted to be a musician, you idolized Arthur Conan Doyle, you were always interested in stonemasonry?
I always hated school but I’ve always been a rabid reader. I didn’t study art in college; I began as a Psych major and graduated with degrees in Film and English Literature, which have served me well in storytelling, however accidentally. Deep down, I always knew it would be comics.
And are all your air-plates comics-related now? Or are there things in other media we should be pricking up our ears for?
My first love is writing prose, and I’ve got a few prose fiction projects curling around my skull, banging pots and pans. At the moment they’re in the crib, but when they start walking I’ll have to get them out.
So as per the Interviewer’s Code, I have to ask about influences, but that’s pretty oppressive, right? Like making a Top Ten list. So let me try to spin it less harshly a bit…
1. Who do you love, who no one else has ever heard of?
I don’t know how obscure this is, but RLP was deeply influenced by the films of Kiyoshi Kurosawa (see: SAKEBI and KAIRO); I also really dug Gaspar Nöe’s ENTER THE VOID that came out last year and made my cringe at my own limited abilities when I went back to work on Jude’s next drug trip sequence.
As far as comics, I’m a big fan of Michel Fiffe; he’s holding a copy of his first printed ZEGAS comic for me in New York, and once I get it, I am gonna immediately take it to a cafe and devour it.
2. How do you use the Internet, do you read blogs? Magazines? Do you belong to any weird online communities?
I read constantly, hours each day; blogs, magazine sites, my RSS reader is always full and I’m always burning it down. I’m using Instapaper as well to send longer articles to my phone to read in downtime. RSS-while-working for the short stuff and quiet time for the longer pieces.
I also play movies in the corner of my screen while I draw and listen to loads of podcasts while I work, especially comedy interview podcasts like Kevin Pollak or Marc Maron. Once upon a time, I used to want to be a comedian; maybe part of me still does, even though I don’t think I’m necessarily that kind of funny.
My main internet use, other than research, is to keep connected to people; I’m a long ways from just about everyone I know right now, and having Skype and AIM and Twitter and email have been essential to my emotional health. My work isolates me already and moving to another continent without speaking the language (at first) definitely amplified that.
3. Do artists look at famous actors? I’ve always imagined that they do, looking for “protagonistic moments”, a face and a bit of lighting and perhaps some mood music…some fortuitous body poses, pieces of staging or blocking, ideas for how to present a human figure. Is that a kind of influence you think of much? Or do you see other people doing that and wonder about it?
Nah; I try to shoot as much of my own photo references for RLP’s characters as possible to keep people from seeing actors in my work. Sometimes I have to use that crutch when I am under the gun but I’m never happy with it, and I don’t like it when clearly recognize actors-as-comic-characters in other artists’ work; modern superhero comics are egregiously bad in that department. They might as well list the actors referenced as “Starring _____ as _____…” roles.
4. What’s your favourite Brendan McCarthy book?
I’m really partial to FREAKWAVE for sheer nuttiness and PARADAX! for its what-superhero-comics-could’ve-been feel. He’s a huge inspiration to me, even though my work is nothing at all like his. Wait, I think ROGAN GOSH has to be in that last sentence too. See?
5. When you were young, what did you read comics-wise? How did your tastes change over time as you got older?
I grew up reading Silver, Bronze, Modern age comics all at once in literal bags of comics. In the early eighties, my dad and I used to sell blank VHS tapes at a local flea market in Florida on weekends to bring in extra money, and if I worked hard, he’d give me a few bucks to buy a plastic bag full of random mismatched comics from some other vendors’ garage, never sequential issues or even the same titles. It was like learning comics by shotgun.
I remember coming home with those trash bags full of comics and my little brother Steven’s eyes lighting up; we had a closet full of these moldy old comics and we’d sneak out of bed at night and read comics all night by flashlight together. That’s a very specific and happy memory for me and that warm-fuzzy association of comics and love probably kept me coming back to the medium on some weird bent-circuit level.
I drifted in/out of comics, way out in the nineties when things just sucked… but I found my way back into the culture through LOVE & ROCKETS, which was on the racks of a record store I used to hang out at in Miami in my teens. I didn’t know that kind of comic existed… and that was what reignited my love for the medium: the idea that I could tell any kind of stories with it. From there, it’s been a constant thing in my life.
I’m probably pickier now than ever before with the comics I read, but that’s probably because the good stuff is better than ever, and there’s so much more to sift through, and I’ve got less layabout time to enjoy other people’s work when I should be making my own.
6. You’re bilingual, right?
Yes; just about. I’m getting there; I’ve done TV interviews now in Portuguese, and it’s definitely an immigrant’s Portuguese not a college student’s. It’s easier for me to explain complex things in writing because I can edit and correct my mistakes instead of just barfing words down the front of my shirt like an idiot. I’m getting better every week though. My wife is proud of me.
7. What made you think of moving to Brazil? Was it a sudden decision?
My wife is a paulistana, born and raised here in São Paulo; we met in NYC and after a while we were both sick of the city’s energy and the changes in the US, its culture and the politics. We were going to move to Canada where people are less psychotic, and our stopping in Brazil for a few months to visit Lil’s family here and kick around for a few months while we applied for residency in Canada was supposed to be temporary… but it’s funky and interesting and inspiring here and we’ve been here almost two years now.
I really like the proximity of travel to totally different places in South America I’ve never been; we’ve had a lot of in and out of country experiences here that I never would’ve had if we’d moved to, say, Toronto.
8. What do you miss about living in the States?
Other than my friends and family? I miss proper charcuterie culture; cheese is my fucking catnip and kryptonite, and I got really spoiled by funky artisinal cheeses living in NYC. The selections of nice cheeses here are lacking and unnecessarily expensive for the quality you get.
9. What about Brazil makes it worth it? (the breakfast fruit, I’m guessing)
More than anything, my level of relaxation. The Brazilian Dan is way more mellow and quiet than the New York Dan, who I was getting pretty tired of myself. There’s something about losing yourself in the Brazilian chaos that makes it harder to be such a selfish little fuck. I like that a lot.
Life here in São Paulo has a million problems, but on the whole, people are pretty sweet here. For all the traffic and pollution and poverty, there’s always people making out in the street, birds chirping, some drunk in the street doing something unintentionally hilarious. There’s a traditional, Old World charm and gentility here that the US has completely NEW-NEW-NEW-ed itself out of… and some of those good things are worth keeping.
10. Do you feel like RLP invites any obvious comparisons with other people’s work? Or any un-obvious ones? Or indeed any comparisons no one is ever going to think of who’s not you?
I don’t really think my comics look or read like anyone else’s; I’ve heard some nice comparisons that I’m too polite to repeat. I feel like my conscious influences for RLP come more from outside of comics.
I really think this may be the last one, but I can’t think of a good question. Is there a question I haven’t asked, that I should’ve? Something you’re proud of that you wanted to talk about, but I was just so damn fixated on stuff that doesn’t matter?
Nah. This is the longest interview I’ve ever done, and I appreciate the deep thought you put into all the questions.
What are you proudest of, in RLP?
I am proudest of that last story “A Series of Tubes”; I learned a lot about how to do RLP better over the course of that story and I love the way the plot wiggles across multiple narratives and pushes the core story forward by the end with just a few new dangles.
And what do you ultimately wish for it?
Ultimately, I want to be able to put out a new RLP book in print every 12-18 months until I’ve told the whole story, but the publishing market is so fucked up right now, and the comics microcosm even more so, that I’m focusing on digital strategies that I can control myself for now. But yeah, I’d love to have BIG SEXY BOOKS and a “home” for the series with a publishing house I’m proud to be a partner with.
Okay, WHEW, Dan! I think I just might’ve covered all my interview questions, anyway I tried hard. Would really like to get this up before “Mala Fama”…OH FUCK, that’s a thing I forgot to ask. “Where is RLP going from here, we’ve had a lot of interregnum pieces, what’s going to…?”
Next up is the first part of the Big Second Novel, MALA FAMA; I’m traveling to New York next week and then to Rio de Janeiro, so look for the new RLP stuff to start hitting at the beginning of November. Things are going to get darker.
Shit, that can’t be good.
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I’ve got more stuff to talk about soon as we get closer to the new stuff. Stay tuned, RLPeeps!
