Comic Book Conversations #1: Erik Burnham & Dan Schoening

The very first edition of Comic Book Conversations - an ongoing interview segment about comic book creators’ careers, advice they can offer aspiring creators, and their thoughts on the industry – is here and it features two of the imaginative minds behind so many of IDW’s Ghostbusters comics: Erik Burnham and Dan Schoening! Now, let’s get to know ‘em a little better.

GREGG KATZMAN: How old were you when you realized you wanted to pursue a career in comics and what gave you that epiphany?

ERIK BURNHAM: I've told this story a lot -- a whole lot -- but I apparently knew when I was four years old. It was then that I told my mom (and she enjoys reminding me) that I either wanted to be a magician, or I wanted to make comics.

...And I don't have the manual dexterity required for prestidigitation.

Comics were around me from an early age, and I was reading and drawing a ton because of them. It just never seemed like anything other than the right thing.

DAN SCHOENING: I've always loved comic books, and grew up reading a lot of DC. The Justice League was my jam in the ‘80s. I originally trained as a character animator, and did work in the animation industry for around 10 years. It was really my love for Ghostbusters that brought me to illustrating comics. I'm beyond grateful to be working with colorist Luis Delgado, Erik, and Tom Waltz as well. A dream come to fruition to have an opportunity to add to the mythos of something I love with some of the coolest people I know. 

GK: Most of us experience some doubts while we're working towards our goals. If you guys experienced that, what helped you push through the negativity and keep working towards your dream?

EB: Not wanting to work at a job where I wasn't able to tell stories. I really feel this is what I was meant to do. (My only other non-entertainment option for making stuff up at this level is probably politics, and I don't look good in a suit.)

DS: That goes without saying, and even the most successful people have doubts that they aren't enough or worthy of what they receive. I feel the answer lies in following what makes you happy, what is it you're passionate about? When you find that, you can see a clearer image of your purpose here. It could be to inspire others, to make people feel through your art and it could also be that it makes you happy to create. As cliché as it sounds, life is a daily gift, so why not do what you love.

GK: How'd you break into the industry?

EB: Here's another story I told a lot... I got laid off from a radio station during a budget cut, and wound up unemployed and on the internet a lot. I started hanging around comic book message boards (I don't live anywhere near a shop, so this was how I kept up) and befriended folks. We'd talk about comics, sometimes complain about comics, and then decided to put our money where our mouths were. We created an 80 page anthology, which grew into a small company, which connected me with Tom Waltz, who later went on to work at IDW and gave me a shot at pitching for an anthology. (And then a toyline miniseries, a fast deadline tie-in, and eventually, the Ghostbusters property. I haven't left since.) That's a super condensed version of the 9 years between my first published work (August '02) and my first paid long-term project (September '11.)

DS: For comics, it was a pitch I created with the talented James Eatock (Cereal Geek Magazine) for a Ghostbusters comic. Unfortunately, it wasn't picked up, but I was asked by Tom Waltz not too long after to illustrate a Ghostbusters One Shot Holiday themed comic for IDW. Naturally, I jumped at the chance, as it was three of my favorite things: Drawing, Halloween, and Ghostbusters. 

GK: Aside from "keep writing and/or drawing" what advice can you give to aspiring comic creators? And what's the most professional way for them to get their foot in the door?

EB: First things first, finish stuff. And don't just finish stuff, finish stuff in a decent timeframe. Six months to get a (20 page comic) perfect is too long, unless that 20 pages is all you ever intend to do... but if so, you're probably not gunning to work in this industry anyway. So, finish stuff. And also, get good at short form -- 8 pagers. Not only are they less work to finish, they help you learn to trim stuff and still have a beginning/middle/end. Writers? Draw at least one of your scripts. There's no easier way to learn what can't be done with the space. No one needs to see it, but I feel you need to do it. Okay, all of that done? Good. Go back to point one -- keep finishing stuff -- and then, share it with an audience. The internet is great for that. If the work is good, and if it shows improvement from finished story to finished story, eventually, you'll get a shot somewhere. It may take a while, and may not be from where you expect, but a shot will appear. (Unless you get bored and give up before it happens, or have no desire for outside work and remain content doing your own thing, as many are.)

DS: Aside from drawing every day, connect with those you admire. Be it online, or better yet in person at a convention or signing. Be polite, be PATIENT and believe that you are capable. Like Doc Brown says, if you put your mind to it, you can accomplish anything. 

GK: What's it like having the opportunity to create new stories for such iconic franchises like the Ghostbusters and the Ninja Turtles?

EB: It's fun! I mean, that's not a very deep answer, but it is the truth. Building worlds for stuff I've loved for decades is an amazing gift to be given.

DS: Like I mentioned before, a dream come true. I also was huge on TMNT as a kid, so having an opportunity to interpret them alongside the boys in grey is something I'll always be proud of. 

GK: What's the best and worst part about being a comic book creator?

EB: Getting to do a job I love is the best. I never regret sitting down to work.  The worst? Oh.... probably the financial balancing act that comes with any type of freelance employment.

Still, you gotta take the bad with the good in everything you do!

DS: The best parts are making a living doing what I love and inspiring others. The worst thing is the lack of sleep, lol. Seriously.

GK: What's the biggest misconception about the comic book industry?

EB: A lot of fans assume they know a lot more about the business aspects of the industry (from publishing to distribution to retail) than they actually do, and they get mad that things are or aren't being done a certain way because of it.

Here's one broad example; there's a segment of fans that are mad comics aren't sold in convenience stores to the extent they used to be. Well, these days the same floorspace that held a spinner rack can hold a gift card display that doesn't need to be maintained monthly and holds higher profits per sale.

The misperception that comics would sell better there ignores the fact that the needed monthly maintenance and lower (than most gift cards) price point means it's not worth the store's effort to stock comics.

Similar misperceptions can be found from creative to retail (story decisions, when and why something should be cancelled, subscription list etiquette) and since many fans feel a connection to the industry (in the same way hardcore sports fans refer to the teams as "we") they stay stubborn about their points of view, and that just causes stress, and the stress gets passed on. Of course it's out of love, but man!

I really went too far in answering this question. I'm sorry about that.

DS: That comics are for a specific group of people. Comics are for everyone, and there are literally hundreds to choose from that will interest any reader.

GK: From what I remember, both of you read reviews of your work. What's that experience like and does it influence your work as you move forward? How often do you find the (hopefully constructive) criticism helpful? Is there any feedback you'd like to give reviewers?

EB: I've been doing it less. When there's a good (read: well written and constructive) review, it absolutely helps me learn. Retcon Punch's reviews of the ongoing TMNT book are an example of what I mean. They go over a lot of things with a critical eye, and find things to discuss, plus and minus, that makes it seem like they're trying to understand the work on a deeper level. Even when they ding some things, and they do, the pieces are generally great.

But there are lots of review sites and reviewers, and most don't give me much to work with. "It sucked" or "it was awesome" doesn't help much either way. Heh.

Feedback? Since there's no one way to rate a review, I wish reviewers would dump the stars/number rating. I know it's for the TL;DR crowd. I get it. But sometimes I'll read a thoughtful review that would've got me to pick up a book, but the rating suggests it's "not worth your time." Please don't just summarize the plot and say it was good or bad. And yes, we can often tell when you folks review solely off material from the 7 page previews that are sent out by the publishers.

And of course, at least credit everyone involved in the issue. Writer. Artist. Colorist. Letterer. Spell the names right, they're right in front of you. AND GEEZ, NEVER TAG SOMEONE IN A REVIEW WHERE YOU SAVAGE THEM.

I had to get all that off my chest... but as I said, I'm starting to read less reviews than I used to, and not just for my work. They don't often give me a compelling picture as to why I should or shouldn't experience a piece of entertainment anymore. And geez, what else are they for?

DS: I do from time to time! Early on, some comments would trigger me in a way I perceived as negative. However, as I've gotten older, I have become more aware that comments, be it positive or negative belong to the person whom is expressing them, and not to me. Not everyone will enjoy the art style of the comics I draw, but that is ok. The key is that I enjoy it. That being said, when people offer constructive criticism, and it inspires me, I will make alterations and tweaks. I enjoy listening to what the fans share, it inspires me to no end. 

GK: What's your favorite comic book - could be an issue, story arc, or run - and why should people go check it out?

EB: I hate these questions, but only because there's a combination of option paralysis and the fact that my answer inevitably changes in five minutes. Many of my favorites are favorites because they tie to memories, so that really wouldn't translate to a recommendation.

I'm going to go with Darwyn Cooke's PARKER adaptations. They're gorgeous, minimalist, and a school on how to make comics. Talk to me again in five minutes I may be talking up Blacksad or Spider-Man or -- save yourself! I will recommend again!

DS: My favorite, that is tough! The first one that comes to mind is the graphic novel, "The Incredible Hulk and the Thing: The Big Change" by Jim Starlin and Bernie Wrightson. It's just so much fun to read, and the art, genius.

GK: If you could change something about the comic book industry, what would it be and why?

EB: Creatively, the industry is already starting to move in the direction it should -- genres of all kinds, not necessarily serialized, that appeal to a wider audience. It's a slow journey, but they're taking the steps. I'd like if more of the audience followed creative voices rather than strictly books/characters alone. This too is starting to change. I'd also love if the writers get more credit/less money and the artists get more money/less credit paradigm shifted more towards the middle for both, but that's my wallet talking.

In all honesty, the thing that has really saved comics from going the way of many better-selling periodicals that don't exist anymore is the same that that has kept LPs around long enough to enjoy a resurgence in the modern day: they're as much a niche collectible as they are a form of entertainment. I think we need to plan for a future where collectability (from variant covers to just having 'the whole run') is not so much of what we rely on to sustain ourselves. How we do that -- man, everyone is going to have a different answer and as much of a chance to be wrong than right. But we need to keep it in mind. Again, I really feel with the words and the pictures having so much depth these days that we're heading the right way. But slowly -- we're walking through a fog and hoping we hit the bridge instead of the cliff. I like to think we'll hit the bridge.

DS: I'd like to see more female creators in the field. I have seen so many female artists that can draw the most amazing circles around me, and I'd love nothing more than to see them illustrating stories they'd like to tell.

GK: Is there anything you'd like to add about your career and upcoming work?

EB: As far as a career, I'm grateful to have one, full stop.

Upcoming? Well, for the first few months of the year I know I'll be co-writing an arc of Red Sonja (12-16) at Dynamite with the very busy Amy Chu, drawn up by Carlos Gomez. At IDW, I'm doing a Ghostbusters annual followed by an 8 issue series featuring appearances by all the proton-pack wearing GBs we've seen across media, and that's with my pals Danny Schoening and Luis Antonio Delgado. Beyond that, I have other irons in the fire that may heat up enough for 2018... or not ‘til later. Maybe I'll even venture to other media, we'll see. Projects tend to materialize in unpredictable ways. Maybe I'll have something creator owned ready for the back half of the year, another Ghostbusters or TMNT project, or something completely unexpected. The point of this rambling is: I'm game for all of the above, and I'm still excited.

DS: As for myself, I'm very excited to see where the new Ghostbusters: Crossing Over arc will take the characters, and what crazy things Erik will conjure up for me to draw!

GK: Thanks, Erik and Dan!

Thank you so much for reading the first edition of Comic Book Conversations! Several more interviews featuring talented people from various parts of the industry are on the way. If you’d like to be interviewed for this segment, please reach out on Twitter or send me an email at greggkatzman@gmail.com