"I've been stuck in the elevator, suspended in utter coffin blackness somewhere between the third and fourth floors—listening to the cables quiver, and every so often hearing the distant shouts of emergency workers saying, Hang in there buddy! or what sounds like a very heavy wrench clanking on assorted beams as it tumbles into the abyss—and even though my laptop’s on, it sheds no light...”
That’s one of Ed Park’s ever-suffering office workers trapped inside an elevator and typing a long love-letter in the void. It’s a single block of text banged out on a busted laptop-computer, the breathless conclusion to his first-novel, Personal Days.
In addition to dreaming up this surreal fable about contemporary cubicle culture, Ed Park is a founding editor at The Believer and literary blogger over at The Dizzies. He’s our special guest this week, explaining how he wrote his this book and giving us a glimpse into the mind of an editor.
Welcome to my deceptively simple feature, Five Easy Questions. In the spirit of Jack Nicholson’s mad piano player, I run a weekly set of quality conversations with writing pioneers—delivering some practical, unexpected advice about web writing.
Jason Boog:
The final third of your book makes use of one of my favorite literary forms--for a lack of better term, I'll call it the long, one-sentence stream-of-consciousness slam-bam prose style. As far as I know, no writer has ever given specific advice about how to handle this tricky form. How did you do it?
Ed Park:
The final section is both my favorite part of the book and the one that caused me the most agony. I knew, relatively early on in the composition process, that the final portion of the book would be, at last, in the voice of a single, identifiable character. Continue reading...
Here are some sketches for Josephine Pebbles. The top one is of the flying pirate ship that she rides on and the bottom one is Josephine herself. The manuscript is at a place I'm happy with, thank you so much Alicia, Viviane, Alexis and Frank! I never realized how essential it is to have others read your work! There is so much the writer can miss!
I'm putting the project on hold for about a week while I work on the Jack painting.
While working on Josephine Pebbles I also went back and overhauled the Bera The Troll story and I think it's much better now. I've also gone back to my original idea of doing it as a comic book, especially after reading Mouse Guard.
I'm finding I'm most driven to tell my own stories. This means bigger risks and less money, which I feel I can't afford. It makes things really complicated. And it throw the "get an agent" plan into total confusion. It's hard enough to be an illustrator, doing your own projects makes the path seem that much steeper. I'll keep working on my own projects as well as working on my portfolio, though. Has anyone else any feelings on this? How do you balance things?
I did this one during art school. I could never settle on anything when I was in school, I was always in state of change in my art work, constantly between styles and medium. I was never commited to a particular project for long. This is still a problem for me. I was just complaining to Frank Gardner that I often feel in a state of indecision, I want to be working on one thing but I get distracted by other offers and ideas. Should I get an agent? Should I use less gouache and more water colour? Or should I just switch to pencil as a primary medium? Should I be building up my portfolio or working on a new book? For me the problem is with priorities and sticking with a decision once I've made it.
I've spent much of the last week mulling over the whole question of what agency to go with. I talked to several agents, a bunch of talented artists and other contacts in the children's book business. They all had great advice, and they all contradicted one another. My wife and I made a list of pros and cons of going with one agency over another, but the cons could be seen as pros and the pros cons. In the end I decided to wait before getting an agent. I had a long conversation with an agent who was extremely honest and generous with his thoughts. Talking to him I realized my work isn't where I want it, I don't want to push my work internationally until I know what I'm pushing. I've decided to spend some time developing a set of sample pictures that fully represent how I want to be known. I spent yesterday sketching and making lists of new paintings. So now I have a plan. I'm going to spend some time building up my portfolio and then look for an agent. Thanks to everyone who gave their thoughts on this. I hope I've made the right decision, it was more of a gut decision than anything.
The above pictures are a couple of dinosaur sketches I did for a project over the summer.
Here's a piece I posted a few months ago but I wanted to post it again. I really like it. Not a whole lot to report. The agent search continues. I'm working on a new water colour for my portfolio, it's from the Grimm story Fitcher's Bird. I realized I need more kids in my portfolio. It's rainy and slippery here. I think that covers it.
This is a spot illustration for an up coming book. Well, yesterday I took the plunge and contacted a handful of agencies. I'll tell you all how it goes. I'm really blown away by the generosity of all the artists who gave their thoughts on this subject. Thank you so much for taking the time for sharing your experiences. I especially want to thank- Susan Mitchell, Gretel Parker, Phyllis Harris, Tara Chang, Jennifer Thermes, Alicia Padron and Ambera Wellmann. I'm extremely grateful that I can ask such an amazing group of artists questions like this. If any one wants some great information on agencies check out the comments on my last post( A map found in the basement ) .
There is good money in writing and illustrating your own stuff though - you might get less books done but you'd get marketed as the originator and author and get more leverage - and full royalties - and the money for the writing...
You could get a picture book agent if you like when you like, they deal with the whole package. Or an illustration agent who also deals with picture books and doesn't expect you to churn out commissions full-time while you're working on a book. Maybe you'll find you can write and draw your own stuff and still do part-time one-off commissions - you do so much work all the time!
Josephine looks lovelyyy!
Thanks Viviane!
I have it in my head that I have to establish a name doing other peoples stories before I do my own.
I'm hoping that doing the Jo Pebbles book will help me take that leap. I like the idea of having an agent and doing my own stories. That reall hadn't ocurred to me. When I was a kid I always pictured myself writing and drawing my own stories and now I'm in that position that I have to really think about it and how I can make that happen. I really admire the fact that you and Alexis do that. It's very inspiring. Some of my ideas will take some time and that's really what's putting me off.
Eric, your artwork is lovely!:)
I'm currently working on my own comic book. Like you,I'm interested in creating & illustrating my own stories, but I have to juggle between comissions, other personal projects...etc. Such a lifestyle requires disciline, but once you put your foot in the door, as they say...:) I have many thoughts on this, but there's not enough space here;) Good luck with your work, I'll be coming back!
I love seeing the Pebbles book come together. Great drawings as usual.
Sorry I have no advice to offer on your question.
Josephine is even more beautiful than what I imagined.... I really love her...
Thank you so much, Bojana!
It's good to know you share my thoughts on this.I'm going ahead with my own projects but it makes me so nervous. Thank for your kind words too. Your work is lovely and I'll be buying your comic!( wether I can read it or not.)
Thanks Frank! There's not much to say, I guess. I'm really just venting my frustration. Not that I'm not greatful for what I'm doing, I am.
Thank you so much, Alicia! I'll post more drawings as I finish them.
Josephine looks to have lots of character.
The hand in the post below is really scary.......
Thanks Elizabeth!
I'm really excited about this book.
I'll tell you more about it as it progresses.
I think the ship is totally awesome. If I were a kid, that's exactly what I'd want it to look like: full of bells and whistles.
Balance is so tough. I say, as long as you're working on SOMEthing, you're good. Writing it down and making lists does wonders too, if you have a lot on the go.
Thanks Ambera!
I really love the flying pirate ship! Good luke in the project!!!
Thanks Claudia!
This work is lovely!
Thanks Merce!