Paul Allor Prepares Fugitoid For Arrival [Interview – Part 2]

For the second part of our massive interview with Paul Allor, we bring you our chat about his upcoming “TMNT” one-shot starring Fugitoid, in stores tomorrow. Not only that, but we’ve paired this up with a preview of the book to whet your appetite, so grab a drink and pull the seat up because this one’s got all the information you could ever need and want.

You work on “Clockwork” also got you a gig at IDW, writing the upcoming Fugitoid issue of the TMNT Micro-Series. Can you tell us a bit about how this opportunity came about?

Sure. After Clockwork came out, I sent it out to several editors in the comics industry. One of them, Bobby Curnow, is the editor of the Turtles franchise and several other awesome books at IDW. Bobby enjoyed it, and we started talking. I let him know that I’d love to work with him and to please keep me in mind for pitch opportunities. A bit later, he let me pitch on a few different things, and I hit a bullseye with this one.

What was your previous experience with the Turtle franchise like? Were you a fan of the original Eastman/Laird comic?

Unfortunately, since I didn’t read comics as a kid I wasn’t a fan of the original comic as it was coming out. I did catch up with it after I started reading in adulthood, and really enjoyed the Hell out of it. It was like finding the source code of one of my childhood loves.

Because other than the comic, I was a HUGE Turtles fan as a kid. They had a huge impact on (unfortunately) my vocabulary and (fortunately) my storytelling sensibility. It was my first exposure to that kind of large-canvas storytelling, where you take a core cast of characters, but then build out from there, creating countless enemies and allies, each more imaginative than the next, all with their own agenda, bouncing against each other in countless different ways. The narrative drive, and imaginative fire, of the universe was just extraordinary.

So in the case of the Fugitoid issue, you’re pretty much in charge of relaunching the character for the new series since he hasn’t been seen before. What would you say, if any, are the added difficulties or pressure that come with a task of this kind?

Well, I wouldn’t say “in charge,” but it’s definitely been awesome to work with the IDW team, along with artist Paul McCaffrey and colorist John Paul Bove on bringing this character into IDW continuity. It’s a huge honor, and I have been pretty delighted at how much leveraged editor Bobby Curnow has given me to bring new ideas to the table and reshape the character to fit with what IDW is doing.

In terms of difficulties, this is my first big work-for-hire project, and the first time I’ve worked within an established continuity, which has been interesting. It’s definitely an interesting challenge; at times it felt like solving a puzzle while also telling a story. But honestly, to me that made it kind of a blast. I love a challenge, and I’d like to think I tackled this one pretty well.

There was definitely added pressure as well, given how beloved this franchise is, and how many fans respect and adore this particular character. Tis is a huge opportunity. This book will be read by thousands upon thousands of people, whereas the readership on my previous work numbers in the hundreds. Given that, I think it would have been very easy to feel overwhelmed, and make things much tougher on myself. But that wouldn’t have been an external difficulty; it would have been internal. It would have been me opening the door to those pressures, and inviting them in.

And I did feel myself doing that early on in the writing process. I had to make a conscious decision to close that door. I had to remind myself that the best way to show my own respect of the character, and the fans, was by telling the best story I could, while also staying true to the character and the universe. So I did my best to shut everything else out, and just focus on that.

Compared to the past iteration of the character, how does your version of the fugitive android fit into the relaunch of the Turtle franchise? Or is “continuity” a non-entity in your work?

IDW definitely has a plan for the Fugitoid. And while this issue serves as a strong stand-alone story, it also sets up Fugitoid’s continued role in the franchise. That’s probably all I should say!

Did you find it at all difficult when making the transition from writing comics about your own characters and universes to something as big as a TMNT comic?

One of the biggest things was the continuity issue, as we discussed. And obviously, I’m working here with an editor and licensors. But when I sat down in front of my computer screen to write, I treated it exactly the same as I do my own work. I aimed for the same blend of moral complexity and dynamic action that you’ll find in my creator-owned work.

In terms of breaking into comics, your particular story does reiterate the idea that if you work hard, make comics and put them out there that you can be noticed. If you could give any pieces of advice to other aspiring creators, what would it be?

First, if you’re just starting out, start small. Tackle five-page stories, and eight-page stories, before you try a one-shot. Then tackle one-shots before you try a mini, and so on.

Second, don’t rush to publish. A lot of people disagree with this one, so take it with a grain of salt. A lot of people say you should just get a comic out there. But I think there’s a lot of value to practicing your craft for a while — or even for several years, like I did — before you put anything out there. If you’re forgive a moment of hubris, I think Clockwork is a fairly strong debut. And I think the reason it’s a fairly strong debut is due entirely to the years of writing mostly-crappy stories, building my craft up one page, one panel, one line at a time.

Third, learn about every aspect of the industry. Even if you’re a writer with no artistic ability (like me), you should still learn everything you can about sequential art, about coloring, lettering, design work, production, printing, marketing, distribution, legal issues, accounting issues. Everything.

And finally — I mentioned Andy Schmidt’s Comics Experience. Check it out. It changed my life. I absolutely would not have the skills and know-how to have pursued this TMNT issue without it.

All things considered, given how you came to comics — both as a fan and a writer of — would you say that now is the best or the worst time to try and break in, or even somewhere in between? Given all the materials available for comic making and all the different publishing options around (self-publish, indie houses, etc).

I can’t really say whether it’s better or worse than it used to be, because this is the only climate I’m familiar with. Like you said, there are a lot of advantages right now, and I prefer to just focus in on those. The Internet has made the comics industry incredibly small. As a creator in Indiana, I can easily communicate with editors in New York, San Diego and Portland, and with artists and writers anywhere on the globe. And the proliferation of digital print-on-demand options has made it easier for a self-published creator to make a small print run (at, granted, a much higher per-unit cost).

And if, like a lot of people say, it is harder to break in than it used to be, I guess all I can say to that is… okay. So what? I don’t see why that should change my game plan. So instead of wringing my hands about the state of the industry, I’d rather improve my craft, work my tail off and try my best to put out great comics.

Another thing to consider is that, when you’re talking about the top publishers, for both licensed properties and creator-owned work, I think it should be extremely hard to break in. Like everyone, I want the quality of my comics to be as high as they can be. And one of the ways to make that happen is by only publishing the absolute best of the best. By only working with writers who are serious about their craft, who are dedicated to great storytelling, and who have shown a willingness to put in the time and work it takes to work your way up to the highest level of the industry. I don’t want to stumble my way into a comics career. I don’t want to get in because the bar was low and I knew the right people. I want to get in because I’ve earned a chance by spending years developing my craft and working up to a professional level.

Besides the upcoming Fugitoid issue of the Micro-Series, what else can you tease us about what’s coming up for you?

Nothing that’s been announced yet, but I have a fantasy one-shot coming out with Thomas Boatwright, which we should be announcing VERY soon. I also have a mini-series coming out with a really awesome small-press publisher.

If people want to keep up with me, they can do so on Twitter at @PaulAllor, Facebook at www.facebook.com/Paul.Allor, or at www.paulallor.com. Or they can just reach out at paul@govtcomics.com.