Don’t you hate it when you read articles or watch programs that get the facts wrong and/or misrepresent the reality of your job? What about when the media does the same to the comic book industry, perpetuating out-of-date stereotypes under headlines containing the words “Pow!” and “Bam!”? Now imagine both situations happening to you at once... because it seems to me that this occurs quite often to CrossGen.

Traditionally, entertainment industries such as film, TV and video game companies -- even advertising agencies and newspapers -- have staff writers -- individuals who work onsite under one roof. But for some reason, a certain percentage within the comic book industry often casts a doubtful -- even hostile -- eye towards the Tampa-based company for embracing this tradition.

Is it because they work at a “Compound?” Is it because of that glowing Sigil? Heck, it could be because they work in a state filled with alligators and gloved mice. Whatever the reason, this small but dedicated group that often challenges the status quo -- a practice that the comic book industry usually champions in its heroes -- is surrounded by an air of mystery.

But if reading comic books like UNCANNY X-MEN has taught me one thing, it’s that misinformation and ignorance can often lead to negative emotions and prejudices. So let’s toss out the rumors we’ve heard and instead talk to someone who actually knows firsthand what it’s like to work for this upstart company. Let’s go Behind The Curtain with the writer of NEGATION, MYSTIC and ROUTE 666, Tony Bedard!

BTC: What made you want to write comic books? Additionally, was there anything in particular that attracted you to sign on as a staff writer for CrossGen?
Tony: I’ve wanted to make comics ever since sixth grade, when I made my own comic –- entitled MONSTERS MONTHLY MAGAZINE -- on notebook paper. I wonder how many people reading this interview used to do the same sort of thing?

BTC: I know I did! Okay, after your homemade efforts, where did your path take you?
Tony: There was a time when I wanted to draw comics as well as write them. Then I moved to New York and met some people who really drew for a living and I realized just how bad an artist I was! So I figured it was smarter just to write and let someone faster and better than me bring the stories to life. Anyway, I got a chance to do this professionally in 1992 when I interned at Valiant Comics. Before long, I was writing and editing a lot of Valiant books. I used to write their books set in the future, like MAGNUS ROBOT FIGHTER. I thought I was doing good work at the time, but it was really awful stuff. After the market imploded, Valiant cut half the staff, and I was one of those who got the boot.

I managed to stay in the business with writing and editing gigs at a succession of companies, several of which have since bitten the dust. Malibu, Broadway, Crusade… I started feeling like that “Pariah” guy from CRISIS ON INFINITE EARTHS who brought destruction to every world he visited!

I then settled down with an editing job at DC Comics, and was there for about three years when Mark Waid called to tell me that CrossGen wanted to give me a shot as their next staff writer. It was an offer I’d be crazy to refuse: steady (and better) pay, healthcare, benefits, and a chance to write, not edit. Honestly, I enjoy editing, especially with really good creators, but of course I’d rather produce my own stuff. Also, it didn’t look like I was going to rise much further at DC, whereas CrossGen was a new company that was still defining itself. But I was a little wary, after having so many companies crumble on me, about leaving a stable company like DC for a relative unknown. I asked around, and everyone who knew Mark Alessi personally said he was in it for the long haul. Jimmy Palmiotti crystallized it for me when asked me, “Who else is asking you to write?” No duh, huh? I took the job.

This has been a tremendous opportunity for me, and I thank Mark Waid for putting in the good word and getting me in here. I’m having a ball on MYSTIC, NEGATION and ROUTE 666, and they’re all fun for different reasons.

BTC: Writing, by it’s very nature, is a solitary task that, under the best circumstances, demands a work environment cut off from outside stimuli. How do you balance that with the onsite CrossGen working experience? In other words, how do you block out your surroundings? Or have you found working there has made writing a more communal effort?
Tony: The writers have offices with doors they can shut so they can keep out the chatter and concentrate, so “blocking out my surroundings” is really not much of a problem. The nice thing about being in the office is that when I need to take a break, which is pretty often -- you can’t just write eight hours straight unless you’re Chuck Dixon -- I can walk a few paces and check in with (penciler) Paul Pelletier on NEGATION, or (artist) Karl Moline on ROUTE 666. Being close to all these people pouring their hearts and souls into their work makes CrossGen a creatively charged atmosphere. In fact, this place reminds me of the best aspects of Valiant, back when a lot of the artists worked in the studio there.

As for the writing being communal, that’s no more true here than it is at any mainstream publisher, except that at Marvel or DC, the kibitzing is usually between the writer and editor. Here, the ideas are bounced around between the writer and his penciler, inker and colorist. This gets the whole team involved and gives everyone a sense of “ownership” in their creation. It also requires some editorial skills from the writer, since you need to keep all the good ideas and politely reject the bad ones. I’m finding it a very rewarding method, and I’m only too happy to steal the best story ideas my collaborators want to contribute. But I recognize that this environment isn’t for everyone. There are a lot of writers who just don’t want to hear it from their artists, or who would find it awkward to tell them “no, I don’t want to do that.”

As writers, we have the last call on the content of our stories. I enjoy getting feedback on scripts, but unless I’m fundamentally violating continuity, I don’t feel compelled to comply with every criticism. It’s very cool to have your judgment trusted to that extent.

BTC: I imagine that there’s no “typical” day for you at CrossGen, but can you describe a day in the life of Tony Bedard?
Tony: I feed my son, Tommy, his breakfast, bathe and dress him, and take him to daycare. He’s the most beautiful thing in the world, and despite the fact that I get to make funnybooks for a living, which is pretty friggin’ great, my Tommy-time is the best thing that happens to me each day. It’s all downhill from there.

I get to work around 8:30, because I like that quiet time before the office really gets going. I grab a cup of coffee, shut the door to my office, and then I’m off to whatever world I happen to be writing about that day. One of the great things about doing three monthlies is that no matter what I’m working on, if I burn out, I have something completely different to jump to. It’s not like I’m writing three superhero books, which are essentially the same despite the surface details. Instead, I have a fantasy book, a sci-fi book and a horror book, all set in completely different environments and starring characters who are distinct from each other.

Some days I’m more productive in the morning, others I’m on a roll in the afternoon. There are also a lot of other items, like solicitations copy, “story-so-far” text, backup features for trade paperbacks, etc. that I write, which break up the routine.

We writers also serve an editorial function in proofing the books for mistakes, or making improvements once we see the lettering and art all together. Here, I get to review the book’s progress several times before it’s off to the printer. In a normal freelance relationship where the writer isn’t working in the publishing office, the writer might send in a script, see copies of the art from the editor -- if he’s lucky! -- and then the first you see of the completed book is when it appears on the stands. Here, I have an unmatched level of control over the final product before it’s off to the printer.

BTC: I can relate. Since I was working at Marvel when I was fortunate enough to write a few projects for them, I was able to see several drafts before the final printing -- so I can vouch for how valuable that is. Okay, building upon the description of your individual days, can you outline your work week?
Tony: About once a week I proof a book before it goes to the printer. This involves having everyone on the creative team go over each page of the book, along with C.O.O. Gina Villa, Head Writer Barbara Kesel, Corporate Communications Director Ian Feller, and one of our art directors. Everybody has a chance to catch mistakes or suggest corrections. Also, every Friday the writers, Gina and Ian all go to lunch and discuss some aspect of our work. The topic changes every week, but it’s a great chance to catch up with each other, swap feedback and criticisms, etc.

I think some people get the idea that all this collaboration leads to stories that are written by committee. That is not the case. I’ve yet to write something for CrossGen that I felt compelled to do against my better judgment. Running one of those Fifth Week stunts or mega-crossovers at DC felt much more like “writing by committee” than this. Still, I know perfectly well that the CrossGen model would not work for everyone. Some of the writers I most admire in the business would absolutely hate this system. Some writers really need to be left alone to pursue their creative vision. I consider Garth Ennis and Warren Ellis friends, and I love their work, but I would never in a million years invite them to work on staff here simply because I know our setup runs counter to how they work.

BTC: So what sort of writer would you invite to work on staff? What are the most important traits to have as a CrossGen writer?
Tony: I guess they’re just the traits any good writer would need. Tell a good,
clear story filled with surprises and give the readers their money’s worth.
Also, remember that we are producing stories for a mainstream audience, so
while we do deal with Beyond that, I think we look for people who are mature and work well with others. Chuck Dixon’s turned out to be a prime example of what we’re looking for. He’s a very accomplished and admired writer, but he doesn’t have a big ego about what he does, and he manages to get his artists involved in their books without the inmates taking over the asylum, so to speak. And if there’s something he doesn’t like, you can bet the farm Chuck will handle it like a grown-up.

BTC: On the flip side, do you see each writer at CrossGen bringing in unique skills to the team effort?
Tony: Sure. Every creator at every company has their particular strengths. For example, if I was a penciler, I’d love to work with Ron Marz, who really understands how to give an artist room to bring their own vision to a story.

Ron always keeps in mind that this is a visual medium, so he leaves plenty of breathing space in a plot, so an artist can stretch his wings. Chuck always writes stories that are driven by action. He knows a character is defined by what they do, not what they say. I think Chuck consistently delivers the reader their money’s worth –- which is hard to do when the average book runs around three bucks these days! Of course, we have a fairly diverse line, including books like MERIDIAN, which is more introspective in tone and more accessible to girl readers than many comics out there. I’m thankful we have someone like Barbara Kesel to give that book its unique feel.

BTC: Looking at your books specifically, I see you get to write magical adventure (MYSTIC), a sci-fi thriller (NEGATION) and “monster movie” horror (ROUTE 666). Expanding upon what you said earlier, what are the positives and negatives of working with such a variety of your subject matter and characters?
Tony: As I alluded to, switching gears from one script to the next keeps things very interesting for me. Just like you don’t want to eat the same thing every day, I’d rather not write the same genre every single time I sit down at the computer. The most challenging switch is ROUTE 666. I’m naturally inclined to write adventure stories, but the pacing and focus of a horror tale is very different indeed. Often, I’ll map out a ROUTE plot, then change it all around the next day when I give it a second look and realize it’s too heavy on the action and skimps on the suspense. I’m still not satisfied with my approach to horror writing, but that’s just incentive to keep trying to improve.

BTC: I see that December’s MYSTIC #31 was what CrossGen calls a “Key Issue” for the series. For those that may have missed it, what is a “Key Issue” and what occurs in that issue to make it a good entry point for the adventures of Giselle Villard, party girl turned reluctant mage?
Tony: A Key Issue is one where some major turning point occurs for the character or the series. It’s also a good jumping-on point for new readers. Despite the fact that we try to make every issue new reader friendly, some folks who haven’t tried our books are intimidated by what they think is an impenetrable continuity. These books exist to show that it’s just not so. Specifically, the MYSTIC Key Issue introduces a new regular artist (the outstanding Aaron Lopresti), along with a new major villain who will dominate the action for months to come. You can pick it up without ever having read an issue of MYSTIC and pretty much “get it” right away. You’ll also have fun reading it, as MYSTIC is a book with a lot of action and humor. And, yes, cheesecake. But, y’know, cheesecake is good for you.

BTC: It is indeed a tasty dessert. All right, looking ahead, I see that NEGATION #15, hitting shops on February 12th, is another Key Issue. What do you have planned for Obregon Kaine and his rag-tag crew of fugitives?
Tony: NEGATION #15 focuses solely on our star, Kaine, and his nemesis, Komptin. They’re trapped together on a very hostile planet, and they’re up against some pretty original alien monsters –- at least, I haven’t seen any like these before. Paul Pelletier, who does such an outstanding job penciling this book, really outdid himself on the design for what we affectionately call the “butt-monsters.” After the widescreen spectacle of the previous few issues, this one really gets back to the core of what makes Kaine’s character so cool -- it’ll show you why he got a mention in Entertainment Weekly’s 2002 year-end special. This story also underscores how flat-out weird the Negation Universe is.

NEGATION has been a real surprise to me. It’s the most collaborative book I work on, and it really is greater than the sum of its parts. It’s my attempt to live up to the inventiveness and sheer fun of the books I loved back in college, like NEXUS. If anyone out there hasn’t tried it, they’re missing out on a thrill ride!

BTC: I gotta agree with you there, Tony. I like entertainment that shocks me with the unexpected, that makes me feel that anything can happen to the main characters -- and will cast members be dropping like flies, NEGATION certainly delivers on that count! Moving on to your third title, the death of Cassie Starkweather’s friend in the first issue of ROUTE 666 -- you know, the scene that’ll make anyone look twice at gymnasium bleachers -- was one of the most gruesome scenes I’ve ever read in a comic book. What are the tricks to effectively using horror in comic books? I’ve heard some industry executives say that it can’t be done... what do you say?
Tony: It can’t be done. At least, not the same way it works in movies, or even in books. A big element in an effective horror story is the timing of the storytelling. Movies and prose both do a better job of controlling the tempo of the story than comics. Horror in comics can’t really startle you unless you’re turning the page, and comic books don’t have creepy, atmospheric soundtracks to help raise suspense or add punch to sudden shocks. So, I think the best you can do is to present something that is just plain disturbing –- I mean really messed up –- so that you’re turning it over in your mind for days, thinking about it. It’s not the sudden shock, but the creepy concept that works best in horror comics. I also try to remember the things that always scared me as a child, and work them in to the story. That’s where the school bleachers bit came from. I also used to be scared of the toilet flushing when I was very little. ROUTE 666 #8 has a pretty outlandish scene playing off that old phobia.

BTC: I fear for the Tidy Bowl Man! Okay, the Compendiums, comic books, graphic novels, Comicsontheweb.com, the new Traveler format... how do you feel seeing your work being delivered to the masses in a growing list of formats? And do you find it ironic that some describe CrossGen, a smaller company, as an industry innovator?
Tony: It’s ironic, and yet it makes sense. The incentive isn’t there for Marvel or DC to expend great effort on publishing ventures that aren’t proven winners. In Marvel’s case, they can’t risk a dime until their finances are fixed. In DC’s case, they’re better off not making waves and reminding the top dogs at AOL that they actually publish comics. The worst thing that could happen to DC is for Ted Turner to go on a tirade about how DC publishes the world’s most recognizable characters and yet Superman only sells 50,000 copies a month. It’s a balancing act there between publishing some good work and yet not attracting the wrong kind of attention.

Unfortunately, over the long haul the industry has painted itself in a corner, with high cover prices, dwindling direct market outlets and dwindling readership. One of my very favorite things about Alessi’s vision for CrossGen is his mission to fundamentally revitalize the way the comics industry does business. We’re doing things to grow the readership out there in mainstream America and around the world. Let’s face it, comic books are a dying art form right now, and we need to take drastic steps to keep from ending up like Vaudeville. Even if the initiatives this company is taking in different formats, outlets, online, etc. don’t work, I’d rather fail courageously than play it safe and go out with a whimper.

BTC: Finally, Tampa Bay sports teams are kicking major butt on the football field and hockey rink... so confess: are any of the players Sigil-Bearers?
Tony: I doubt it, but we’ve got a lot of hardcore sports fans here in the studio. In fact, we’ve got a lot of real bruisers working here. This is the macho-est comics company I’ve ever worked for -- which is a little like saying it’s the coolest high school math club around. Still, in a street fight, I’d take the CrossGen staff over any other company in the comics biz.

Uh-oh… I think I hear Ron Garney marching over from Marvel to kick my ass into next week. Gotta go… !

BTC: Hoo-boy, those are definitely some fightin’ words! Thanks for taking the time to take us inside the CrossGen studio, Tony. And watch out for those butt-monsters!

Okay, friends, I’ll see you next week as we once again go “Behind The Curtain!”

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During a 10 year run as a copywriter and all-around “Marketing Man” at Marvel, Bill Rosemann often chatted with many of the industry's most talented and cool creators. Now living in Miami, he talks to lizards that scurry around his poolside "office." Bill and his lizards can be reached at: WilliamRosemann@aol.com.

The Behind The Curtain Archive

February 6, 2003 - Josh Blaylock: Giving The Devil His Due January 30 , 2003 - Brian Cunningham: Off To See The Wizard January 23 , 2003 - Adam Fortier: Transforming At Dreamwave! January 16 , 2003 - Ben Abernathy: In The Eye of the WildStorm January 9 , 2003 - Jim McLauchlin January 2 , 2003 - Eddie Berganza December 27 , 2002 - Tony Bedard December 19 , 2002 - Mike Marts