12 study guides
10 podcast episodes
Plenty of process/teaching/thinking posts about comics, and how to analyse them, and sometimes how to teach them.
They say you should start things the way you want to finish them, so I guess I want to end 2019 doing a whole mess of work.
Here’s a quick visual guide for how I played the first week of 2019.
MAKING COMIC BOOK STUDY GUIDES
I read BEOWULF by David Rubin and Santiago Garcia and it is just utterly stunning.
I instantly knew I had to write a Comic Book Study Guide about it for my Patreon, so I launched into it with vigour, the above image showing what the front cover will look like.
I’ve enjoyed running the Patreon to create study guides to help thinking around comics, and explicit use in the classroom, and I’m putting together some plans and ideas for 2019 which should make it an exciting place to be and thing to do.
WRITING AN UNDAD ANTHO STORY
I’ve been brought in by Shane W Smith to contribute a story to his UNDAD series, whic is aces, and so I’ve been breaking all kinds of thoughts on this, circling around the exact thing I want to say with this idea of a suburban dad becoming a zombie and trying to reconcile that with the man he still is.
Oh, Newsletter, My Newsletter!
Every week you’ll find me writing my newsletter, in which I discuss my writing week, my process, my thoughts, fears, ideas, everything. I also dive into links for other good things for other good creative brains, some Kickstarter love, and hopefully you think about something differently, or get a smile from each weekly missive.
A Novel, My Novel
Dipping my toes back into prose, just to feel that power once more, and I’m enjoying the change of pace this brings. I don’t know where it’ll go, but I clearly don’t know where anything goes.
This story is always going to hit the back seat for the other comics writing, but it’s nice to have in my back pocket.
The Shiny New Project
I write lots of shiny new projects, but this one has really caught fire and spread throughout my brain. I can see and hear the lead character, which I’m loving, and it’s been a genuine treat to write this past week. You never know where that feeling comes from, or for how long it will stay, so I’m off to enjoy the good vinez.
Cubby House Library Fort
I took the kids to the local library, and we stocked up on all kinds of goodness, and then we returned home to tidy the cubby house and decorate it as a reading place. I need to get to hiding up in here way more often.
Every child deserves a reading space in their lives [so do most adults].
So, that’s been my first week, roughly – I didn’t want to screencap all of the many emails I’ve dealt with, and sundry other things.
For now, enjoy your first week into 2019, may it be productive, or restful, or relaxing…or whatever it is you need.
Nothing like an end of year round up. A time to reflect, a time to take stock, and a time to project.
Overall, 2018 has felt like a year of building pressure. Whether we get a glorious wave into 2019, I don’t know, and whether I have the balance to ride that wave and not get crushed I also do not know. But I’ve done my best to stay positive and keep wheels behind the scenes moving, so while I didn’t publish a lot this year, I did prep 4 pitches, and put the scripts for one project to bed, and wrote a tonne on another one, and have lined up a few one-shots with artists I’m excited to bring it all together with.
If everything I worked on in 2018 came out in 2019, it would be a stellar year. So we shall see.
And while I said I didn’t get much out in 2018, what did come out was stuff I’m crazy proud of. The BEAUTIFUL CANVAS tpb landed in Feb, collecting last year’s acclaimed mini-series, and the month before it we started the year strong with ETERNAL, and I’ve been saying if you only publish one new thing all year, but that thing is ETERNAL, then it’s been a good year. Eric Zawadzki and Dee Cunniffe deserve all the praise this year.
Now, onto some things we can list!
MY TOP COMIC OF 2018
I really dug some good good stuff this year. Image tops the list with so much quality: GIDEON FALLS was something I got caught up on recently, and that book is very fine, as is CEMETERY BEACH, for totally different reasons. SHANGHAI RED was my jam in the same way SINK at ComixTribe is. PAPER GIRLS and SAGA and DEADLY CLASS continue to be masterpieces, and I really enjoyed MY HEROES HAVE ALWAYS BEEN JUNKIES, but the top book really has to go to something that’s one of my very favourites from my very favourite creative team:
KILL OR BE KILLED
Just a stellar end to a wicked story where both Sean Phillips and Ed Brubaker were on superbly fine form.
MY TOP NOVEL OF 2018
Man, THE OUTSIDER from Stephen King could have run away with this, if I’d only stopped before the final hundred pages. It’s not *bad*, but it is not as blistering as the first half of the book. That first half is pound-for-pound King at his dark criminal best.
I also really dug PLATO WYNGARD AND THE ARMOUR OF THE GODS, the second novel from my two brothers, Marc and James Lindsay, but that feels a bit nepotistic, and would make them far too happy.
I took a few weeks to smash through HANGMAN, where Jack Heath writes such a ballistic crime novel that you can’t help but be impressed with the layers of familiarity he builds into his characters alongside the wild intricate puzzles and violent moments.
But there can only be one, so, I’ll lay this one at the feet of:
WE RIDE THE STORM
This fantasy epic from Devin Madson was something I bought because she showed the opening line on her table, and it’s a banger:
I honestly hadn’t read a fantasy book since my David Eddings days in high school, but I was keen to try this out. It’s Book One of a bigger story, so the opening hundred pages is a lot of table dressing, but by the final hundred pages it’s just fistfuls of food being slammed into your mouth faster than you can chew. And I mean that in a good way. The action and character drama continue to rise, and I was hooked on all three plot threads as they wind ever closer.
There were also two particular chapters where I finished them and thought…damn, that’s some good reading.
If you get the chance, track this down, it’s bloody, glorious, and bloody glorious.
MY TOP TV SHOW OF 2018
THE GOOD PLACE came so so close to running away with this one. The third season has been just as good as the rest, and in a way that’s different from S2, which went about it different from S1. The show is a titanic force, and I’m a better writer for having watched it, but something else from this year jumped ahead of it through sheer force of will. And it wasn’t DAREDEVIL S3, or GLOW S2, or THE KOMINSKY METHOD S1 which came out of nowhere to absolutely thrill me, nor was it my marathon catch up of three seasons of THE LEFTOVERS, which I’m discounting because it’s an older show. No, the top gong is kinda easily held onto by this one which should be absolutely obvious when you really think about it:
This show good, this show real good. Some of these episodes, mostly in the middle in and around the Teddy Perkins ep are just A+ analyses of the modern world as told through gonzo noir small screen cinema. So so perfect.
MY TOP MOVIE OF THE YEAR
It’s one thing to announce a tie, and it’s another to give that tie to two polar opposite things. Both of these flicks did what they needed to do nigh perfectly, and they left me in very different places, and I can barely separate them. One will be endlessly rewatchable, one will be a hard watch again, though I will. One is high pop bubble gum joy, one is brutal art house insanity. Both, though, are long. I can’t separate it, so I’m letting the chips fall where they may – the top flick[s] of 2018 are:
AVENGERS: INFINITY WAR and SUSPIRIA
Watching the Marvel Cinematic Universe come to this big break moment at the end of Infinity War was something to behold, a truly special feat. The movie is top notch event comic action fun. It’s *BIG* and it’s wild and it’s a smile injected into your lips. It’s not high art, and it shouldn’t be. It’s not a great character study, and it shouldn’t be because there are about 500 principal hero cast at play – though it is a study of Thanos, which is both as bold as it is brilliant, and it’s for that reason it crossed the line at the top.
However, across the aisle, SUSPIRIA does everything different, and is most likely the more true superior flick. It is high art, it’s weird, it’s a character study, or more of a location study, a look at witch hierarchy in dance schools. It’s unsettling, and everything holds huge gravity – which is funny when you consider the death count in Suspiria must be about 0.0000001% of the other cape-inclined movie. I feel like Suspiria is more likely to sit atop Best Of lists when we look back in 20 years, but Infinity War will be more remembered, and more wildly remembered, and will sit on its own Best Of lists, too, for its own reasons.
MY TOP PODCAST OF 2018
I’ve gone deep into WOW IN THE WORLD and STORY PIRATES with the kids on all commutes, and they’ve fed my brain in wonderfully small ways. SERIAL returned and was interesting, but lacked that central narrative engine that makes it a binge-worthy podcast. I also found it crazy depressing, to the point where it almost felt like it was inducing anxiety in me after listening for an ep, and maybe that’s a huge point: if listening to it all give me the shivers, imagine living it 😐
I’ve caught up on a tonne of the GOOGLE TEACHER TRIBE PODCAST just to keep my dayjob game tight, and it’s worked a treat, making me feel energised about all kinds of things for work, especially going into 2019.
But, I think this year goes again to OFF PANEL, the comic interview podcast where the creators are well picked and always get down to real talk. I still love this podcast, and still get a constant stream of quality inspiration and joy from it.
MY TOP MUSIC OF 2018
There was new Sarah Blasko this year, I got DEPTH OF FIELD and it’s a great writing record, but it lacks the punchy catchiness of her other albums, so I think sneaking in at the top might be the SUSPIRIA soundtrack.
And I think that’s a wrap. 2018 had some good stuff, and it also felt like mental quicksand. But walking into 2019 will feel like walking free, so I better make the most of it.
Here’s to building a better stronger list of live in yet another year.
2018 saw me publish only a small amount of comic work, but it was inspiring to end the year with one of those books getting a lot of attention in people’s lists of favourite work from 2018.
ETERNAL was created by me and Eric Zawadzki, with Dee Cunniffe on colours, and Dan Hill editing, with Black Mask Studios publishing it and it obviously stuck in people’s minds:
Paste Magazine lists us in the Top 25 Comics of 2018
Villain Media lists us as the best comic of 2018
Pipedream Comics lists us as one of the best comics of 2018
Big Comic Page gave us some end of year love
DoomRocket lsts us one of the best comics of 2018
Comicon puts us near the top of the list of best graphic novels of 2018
The Off Panel website rated us as one of the 20 best comics of 2018
Thanks to everyone who already bought a copy, loved it, or told a mate – this book is something I’m really proud of and it made 2018 a memorable year.
Over on twitter, I decided to do a little sharing of comics I think make great festive season gifts for others.
It is, by no means, an exhaustive list – it’s just some good stuff I know I would have loved under the tree, so maybe someone else will, too.
If you find something for a die hard comic fan in your life, or someone else who loves great stories, then I’m glad the system works.
A quick line about Movember – a global movement aimed at promoting awareness about men’s health issues, the reason why I’ve spent this month growing a mo, and a great opportunity for you to buy a comic and get an exclusive art print by Riley Rossmo for a good cause.
I believe in Movember because men’s health issues are an insidious seething mess. Depression, suicide, an inability to even go to the doc to get your prostate checked out. It’s rampant bullshit, housed in the septic tank of toxic masculinity, and I’m sick of the stench. I don’t want to be caught up in it, and I don’t want it wafting around for future generations.
The beauty of Movember is that it’s a visible cause – you see a mo this month, odds are it’s in support and solidarity of this great cause. We’re raising money for BeyondBlue, and other places, but we’re mostly just raising awareness.
Movember is personal to me – and let’s face it, there are thousands of good charities and causes to support, but we can’t do it all, so why this one? My father was a victim of the silent killer amongst men, and not a day goes by I don’t think about it in some respect, and it’s been 30 years. I wish Movember had existed back then, I wish men allowed themselves to talk more freely about their feelings back then.
I grow the mo for my dad, and also for my kids.
If you want more information about Movember, you can check the site via my mospace right here!
Or, maybe you want some sweet comics in support of a grand cause?
Right now, you can buy ETERNAL, my ogn with Eric Zawadzki and Dee Cunniffe from Black Mask Studios, on ownaindi.com and an exclusive Movember Viking print with art by superstar Riley Rossmo for just $30, with a portion of proceeds going to the Movember Foundation.
And if you buy anything else from me at any stage for the rest of Movember, I’ll be sharing money with Movember from all sales – so help yourself to some script downloads, or the BEAUTIFUL CANVAS issues, all for a good cause!
But, if you just want to spread the word about this great cause, maybe talk to the men in your life and see what’s up, then I’d be just as appreciative. I’m growing a mo to save a bro, and we should all let our love show.
I’m getting the feeling people don’t like Writing Rules, they don’t want a rigid structure of how it works to get worlds out of your brain, and they certainly didn’t warm to those laid down by Jonathan Franzen, but I’ll admit, I find them fascinating. A word I choose carefully.
I want to know what the masters think we should hold in our highest esteem, I want to know it from my peers, and nascent writers, and plenty of others. I want to look into everyone’s head and see what roads they follow. I won’t necessarily follow those rules, or even care about them, but the process of having them to read absolutely fascinates me. It’ll tell me more about the person’s mindset and style than it will about any universal truth of writing.
I dig books about writing, I dig blogs and podcasts and tweets about writing. I use them like I’m building up a pantry, but when I write I’m just cooking. I might have everything stockpiled, but I’ll only take out what I need for a specific recipe when the time comes. You dig?
But, in the spirit, I wanted to attempt to carve out my own ten tips, just suggestions, just from me, and then I could see what I thought rose to the top, so here goes:
The RKL Top 10 Writing
1 – Your story must be about stuff. And that stuff isn’t just a list of the things that happen, it’s why those things will matter to the reader, the truths beneath it all, the theme. Your writing will be amateur until you have something of meaning to say.
2 – Write so 1000 people will absolutely love you, not so 100,000 will think you’re kinda alright.
3 – Write about whatever gets you excited to sit down and write.
4 – Set small writing goals. 500 words/2 script pages a day. Then blast through them, sometimes.
5 – Have only one tab open while you’re writing.
6 – Think on paper.
7 – Are all your default lead characters straight white dudes? Why?
8 – Write whatever you want. Any genre, any length, any format. You might not find a paying home for it, but you’ll be true to yourself.
9 – Be inspired by your heroes, but don’t ape them. Let them fuel you with the courage to be yourself.
10 – Recharge your brain so it has more to write about. Read comics, watch movies, study the world, live life.
These points are very clearly by me, for me, and just for me. If you find them interesting, I’m glad. If they help you sharpen your own Top 10, fantastic. If your 10 are the polar opposite of mine, fill your boots, I bet we can still be mates.
I write about stuff like this all the time in my newsletter, statistically, there’s a chance one of you will like it, so here’s the link – tinyletter.com/ryanklindsay
I think the main reason I love the internet is because it gave me more spaces and places to think.
I loved the public and school libraries as a kid, I’d wander in, find stuff to touch, touch it all, and then settle on some of the touched to take home. I could buy some books, and secondhand book stores are my constant must see attraction in all new and foreign towns, but I could never buy enough. But I could always borrow things.
I sampled a bunch of new authors because of the freedom of libraries. I looked through all kinds of non-fic reference material because it was there to browse. I like to fill my brain with things, and sometimes I even re-use those things later.
Then came the internet – and I could find so so many things.
I set up my Google Reader [rip to this blessed resource] to collect a multitude of sites and blogs and slap them into a readable scroll. I filled my eyes with ideas and hypotheses and I tried to make sense of it all. Free script downloadable pdfs flowed freely, and op-eds about writing swirled into my brain, and in-depth analyses about my favourite works and creators of fiction were caught in my net. It was amazing, I won’t lie.
You can learn a lot by reading something that isn’t something already on your shelves. So the internet became a place where I could comb, for free, through things.
Now, curating this since social media’s empire rose and fell has become a skill, but it’s an important one because there’s good stuff out there, and if you want it you can most definitely find it.
Or you can make it yourself.
I launched a Patreon to fund me making comic book study guides and the campaign is going amazing. I’ve sent out pdf guides for people looking to study all kinds of comics from GHOSTS by Raina Talgemeier to BATMAN: YEAR ONE by David Mazzucchelli and Frank Miller. I’ve also got podcasts on there where I unpack parts of a study guide, or where I just chat about a great comic I’ve read before. It’s fun, and it’s my way of providing a little something extra to the internet for people to dig.
You can head across to support and get all the old study guides, and be ready for the new one:
The comic list above is the Good Stuff, and I’ll also be talking about it in a podcast on there very very soon.
I want a future where people discuss comics, and think about theme, and enjoy their fiction on a deeper level. I hope it helps in any way.
Wait, bad translation – trust in the process.
Dan Hill has been saying this to me for years. And he’s been right every time. Chuck Wendig just now, at that link above, chimed in. The writing process is a hell of a thing, and it feels designed to break you, for some unknown reason. Every time you stumble, falter, it feels like the first time.
I think writing is like love. In hindsight you see the good, you see the bad, you see it all and you don’t die for every part of it. But in the moment, oh man, I’m a mess. I catastrophise, I glorify, I obfuscate [even from myself], and I have no clue. I’m lost, like it’s my first time, and I can’t get a clear view. And I don’t think I’d have it any other way.
I’m constantly hitting a wall in my stories where I’m absolutely certain I’ve borked it. Sometimes it comes early, sometimes late. Right now I’m breaking a story with an artist, and I’ve already gone through this phase. Right now I’m also writing a script for a #6 issue and I have the same feeling. It’s ridiculous, but it’s only because I want the best story possible.
I say this a lot, but a story can work, the acts can all be in the right place, and the story clicks – but that doesn’t mean it’s worth a damn. A character wanting something, being unable to get it, and then overcoming something to get it is a story, but it won’t always be a good one. So I dig deeper, I try to better understand all the elements, and the more I discover, the less I know what to do with it all.
But it always seems to come together in the end. I remember NEGATIVE SPACE #1 had, I think, nearly a dozen drafts, which takes me to a direct quote from Wendig:
“The first draft — and in particular the first 5-10k of that first draft — is just me chopping vegetables. It’s prep. It’s learning the recipe. It’s dumping out the puzzle pieces. It’s wandering through a new house in the dark, learning its layout, its topography, and how not to break my pinky toe on the fucking coffee table.”
Those first issues are where all the hard work is done, it’s all set up, and from memory NEGATIVE SPACE #4 only had like 3-4 drafts, because by then you’ve got the story and tone and voice and other conventions sorted. Then you just make the magic happen.
So when I’m breaking a story, I just have to give myself permission to go wandering in it. I’m discovering the landscape, slowly mapping it out, and to respect what I find I’m going to need to take my time.
You can find content like this, sometimes, on my weekly newsletter: tinyletter.com/ryanklindsay
I’m also making comic book study guides on Patreon!
Ever since I was a kid, I knew I wanted to be a writer.
My house was awash in words, we read voraciously, we wrote as exploration. Before the age of ten, I declared I would grow up to be a writer [and a teacher]. And here I stand, both.
I teach kids now who I can easily see being writers when they grow up, they’re good with words, they like to express ideas and thoughts, and I know some of them will get there. I see my job as an opportunity to guide them, to tell them it’s possible, and to enjoy the ride with them.
I often think this means I have to push them into a specific writing path, or push them to finish, or push them at all. I think that’s wrong. Or, probably more accurately described as misguided.
My job is to be there with them, to make it enjoyable.
I started thinking about my own childhood history with writing. What did I write? How often? About what? Why?
I remember writing some short stories, and they were always wet trash. But I enjoyed the challenge. I wouldn’t always finish them, which I constantly took as a sign of failure – and here I sit upon a throne of failed pitches, and unfinished documents, and I see the fallacy of that idea. All writing is practice for the one that finally makes it through. Everything builds up to it.
I thought I’d be a novelist, so I tackled prose fiction. But I also had a hankering to be a journalist, so I wrote weird articles. I was a massive basketball fan, so I’d watch games and take notes so I could write newspaper articles after the game. I don’t think I ever finished one of those articles, but just aiming to do it was a clear sign as to where my head was at. I’d type up fake basketball game statistics, like you’d find in Basketball Digest.
I also kept a book where I’d write reviews of movies I’d watch. They’d get a rating, a short review, and I don’t even know if I ever considered an audience for this stuff. Man, I was decades ahead of Letterboxd and the like.
I bounced in and out of words, I kept notepads and notebooks of ideas and thoughts and reviews and stories, and it was all building my skill set.
I now see kids who write all kinds of things outside of school; stories, journals, reports. Inside school we write; stories, newspapers, websites, podcast scripts, we turn comic pages into narratives, and make poems out of amazing titles.
I want to make writing fun. I had a blast writing my stupid basketball articles and movie reviews. I liked writing a newspaper front page with a movie review, and a fake article. I thought my short stories were ace, right up until the point where I knew they weren’t and I walked away.
I wonder what other people wrote when they were kids. I wonder what we still let ourselves write now as adults.
The exploration of the world through words is a hell of a thing. We should all do it from time to time.