Creating Comics as Journalism, Memoir, and Nonfi ction

This book provides student journalists, artists, designers, creative writers, and web producers with the tools and techniques they need to tell nonfi ction stories visually and graphically. Weaving together history, theory, and practical advice, seasoned nonfi ction comics professors and scholars Randy Duncan, Michael Ray Taylor, and David Stoddard present a hands-on approach to teach readers from a range of back- grounds how to develop and create a graphic nonfi ction story from start to fi nish. The book offers guidance on:

• how to fi nd stories and make use of appropriate facts and visuals

• nonfi ction narrative techniques

• artistic tools and techniques

• print, digital, and multimedia production

• legal and ethical considerations.

Interviews with well-known nonfi ction comics creators and editors discuss best practices and offer readers inspiration to begin creating their own work, and exer- cises at the end of each chapter encourage students to hone their skills.

Randy Duncan , professor of communication, Henderson State University, is co- founder of the Comics Arts Conference; co-author of The Power of Comics: History, Form and Culture; and co-editor of the Eisner-nominated Critical Approaches to Com- ics: Theories and Methods . He has received the M. Thomas Inge Award, the Inkpot Award, and a Peter Rollins Book Award for contributions to comics scholarship.

Michael Ray Taylor , professor of communication, Henderson State University, is the author of Dark Life, Caves , and Cave Passages, as well as a humorous ebook, The Cat Manual . He has written for Sports Illustrated , Audubon , Outside , and many other magazines, newspapers, documentary fi lms, and digital media.

David Stoddard is a professor of graphic and media design. He illustrates book covers, posters, and other popular culture work. He’s had work in exhibitions from coast to coast, and has presented papers on comics and pop culture at conferences such as Comic-Con San Diego; ComFor Passau, Germany; The College Media Asso- ciation, New York; and several other conferences. This page intentionally left blank Creating Comics as Journalism, Memoir, and Nonfi ction

Randy Duncan, Michael Ray Taylor, and David Stoddard First published 2016 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2016 Taylor & Francis The right of Randy Duncan, Michael Ray Taylor, and David Stoddard to be identifi ed as the authors of this work has been asserted by him/her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Duncan, Randy, 1958– author. Creating comics as journalism, memoir and nonfi ction / Randy Duncan, Michael Ray Taylor and David Stoddard. pages cm Includes bibliographical references and index. 1. Comic books, strips, etc.—Authorship. 2. Journalism—Authorship. 3. Biography as a literary form. I. Taylor, Michael Ray, 1959– author. II. Stoddard, David (David J.), author. III. Title. PN6714.D86 2015 741.5′9—dc23 2015009485 ISBN: 978-0-415-73007-5 (hbk) ISBN: 978-0-415-73008-2 (pbk) ISBN: 978-1-315-85060-3 (ebk)

Typeset in Stone Serif by Apex CoVantage, LLC Randy dedicates this volume to his collaborator and friend Matthew J. Smith. After six years I still look forward to our weekly telephone conversations. I’ll call you on Tuesday, Matt.

Michael dedicates this book to his two coauthors—professional colleagues, tennis buddies, traveling companions, willing and reluctant caving partners, double-blind wrinklers, and most of all great friends—and to his wife and children, who put up with all the time he spends with those two guys.

David dedicates his contribution to his two coauthors. Michael Ray Taylor and Randy Duncan are both impressively brilliant in some wonderfully symbiotic ways. It’s a rich experience to work with both. He also dedicates this book to another great editor and critic, as well as a pretty darn good wife, Lea Ann Alexander. This page intentionally left blank CONTENTS

Foreword by Josh Neufeld ix Preface xiii Acknowledgments xv

CHAPTER 1 Nonfi ction Comics 1

CHAPTER 2 The History of Nonfi ction Comics 13

CHAPTER 3 Creative Approaches to Finding Stories 58

CHAPTER 4 Using the Comics Form for Nonfi ction 79

CHAPTER 5 Finding Facts 102

CHAPTER 6 Finding Visuals 118

CHAPTER 7 Nonfi ction Narrative Techniques 138

CHAPTER 8 The Artist’s Tools and Techniques 170

CHAPTER 9 Publication and the Production Process 199

CHAPTER 10 Legal and Ethical Considerations 225

Bibliography 245 Index 253

vii This page intentionally left blank FOREWORD

Hello, my name is Josh Neufeld and I’m a comics journalist . I phrase that as if I’m at a twelve-step meeting because I feel a bit like an addict. I didn’t choose to become a cartoonist who makes nonfi ction comics using journalistic techniques—the career chose me. I started out as a simple comic book artist , a high school kid who dreamed of one day drawing The Teen Titans when George Pérez retired. Along the way I began writing my own stories, about sword-wielding superheroes and the like, but they were rote, uninspired. Then, as I grew older and went away to college, and became more engaged with the “real” world—politics, art history, women —I grew disen- chanted with comics. I found other forms of creative fulfi llment. I worked in the business department of The Nation , a venerable weekly magazine of politics and society. And I even tried my hand at journalism—if you call writing fi lm reviews for alternative weeklies a form of journalism. I took a further break from comics soon afterward, as I embarked on a year- and-a-half long foreign adventure, backpacking with my girlfriend through South- east Asia, Europe, and parts of the Middle East. And weirdly enough, while living in Prague, I got my hands on an excerpt of a forthcoming book by a cartoonist named Scott McCloud. It’s not an overstatement to say that McCloud’s seminal work, Understanding Comics , changed my life. In the book, McCloud stressed that “the art form—the medium —known as comics is a vessel which can hold any number of ideas and images .” This relatively basic concept—that comics can be used to tell any kind of story—hit me like a lightning bolt. A lightning bolt that jolted me back into comics-making mode. Having also seen the work of Peter Kuper on my trip, upon returning to the States I returned to the drawing board, this time making comics about my real-life travel experiences. I had also discovered Harvey Pekar, who in his long-running autobiographical series American Splendor proved that “ordinary life is pretty com- plex stuff.” Seeing that Pekar used comic book artists to illustrate his stories, I sent him some samples of my work, and after he had “vetted” me on the phone in his own unique way, he sent me a one-pager to draw. That piece led to a longer story, and then another one, and before long I had become one of his regular illustrators, a collaboration that lasted on and off for fi fteen years. Working with Pekar (as well as the writer David Greenberger, of Duplex Planet Illustrated fame) was like taking a crash-course in the craft of nonfi ction comics. I discovered lots and lots of other great cartoonists during this period: Dan Clowes, Peter Bagge, Chris Ware, Art Spiegelman, Julie Doucet, R. Crumb, Seth,

ix x FOREWORD BY JOSH NEUFELD

David Mazzucchelli, Alison Bechdel—the list goes on and on. But the moment I read Joe Sacco’s Palestine was when another path opened before me. In Sacco’s sto- ries of Palestinians living under Israeli occupation, I saw for the fi rst time the merg- ing of my interests, past and present. Here was clearly a great cartoonist—a great sequential artist—merged with an actual journalist: a truth-teller. What I’ve always loved about the form of comics is its dynamism, its strength at showing rather than telling. After all, there are some things you can convey in comics that you can’t express only in words. The medium’s unique combination of pictures and text and the fragmented narrative of the panel-by-panel format engage the reader in a particularly active role of interpretation and inference. If I had a problem with autobiographical/“literary” comics—including my own—it was that they were often so myopic, so internal. They felt stultifi ed, preserved in amber, not using the form to its fullest. Well, Sacco was using all the power of the comics form to tell important real-life stories—stories that spoke to our current world. While illustrated journalism isn’t entirely new, the medium as a genre is relatively new. And Sacco, to my mind, is still its best practitioner. I devoured everything Sacco produced during this period, as he created works of comics journalism about areas of confl ict like the Middle East and the former Yugoslavia. As I continued reading Sacco’s work, I was frustrated with the lack of other comics journalism. There were examples here and there (Guy Delisle springs to mind, as do alt-weekly cartoonists like Tom Tomorrow, Matt Bors, and Jen Sorensen), but they were few and far between. So when my friend R. Walker proposed that we do a series of comics on fi nancial fi gures—all based on press reports—I was eager to collaborate. The result, Titans of Finance, published as a 24-page comic in 2001, turned a few heads. And cemented my feeling that I was becoming less interested in telling my own true-life stories—and more interested in telling other people’s. Then, in 2005, Hurricane Katrina devastated the Gulf Coast and swamped New Orleans. One thing led to another; I joined the Red Cross, and a short time later I was deployed as a disaster response worker to the hurricane zone. Flash- forward another year, and I was writing and drawing my fi rst solo piece of comics journalism, A.D.: New Orleans After the Deluge. I went down to the region many times, found my subjects, interviewed them repeatedly, and crafted A.D. from that research. The project took off, was eventually published as a book by Pantheon . . . and I was hooked. Pretty much everything I’ve done since then has been journalism in comics form. I illustrated a nonfi ction graphic novel with Brooke Gladstone of the NPR show On the Media. I won a Knight-Wallace journalism fellowship at the Univer- sity of Michigan. And I’ve made journalistic comics for mainstream outlets like Al Jazeera America , The Atavist , Medium , and more. What’s been so exciting about the comics journalism landscape in the last half- decade is how crowded it has suddenly become. Not only are there American outlets FOREWORD BY JOSH NEUFELD xi like Symbolia , The Cartoon Picayune , and Medium ’s “The Nib,” but comics journalism is proliferating in Europe, Canada, India—all the world over!

* * * Because of everything that’s happened, I’m so grateful for the book you hold in your hands. As I explained, my training (such as it was) was in comics; I had to learn to be a journalist later. Fortunately, I had certain . . . personality traits that make some parts of the journalistic process intuitive. I’m already an obsessive collector of information, a hoarder of facts. From an early age, I took photos documenting my life, retained copies of all my correspondence, kept large clipping (reference) fi les. And thanks to computers and the Internet, all this obsessive cataloguing is easier than ever. My facility with all this information was vital when I was telling autobiographical stories, and it is all useful when I’m telling other people’s stories as well. But the other issues related to comics journalism are what continue to confront and sometimes confound me: the nature of visual truth, journalistic ethics, the question of objectivity, transparency. And maybe most importantly, the sweet spot of where my impulses as both a nonfi ction storyteller and a creative artist merge. Unlike other more traditional forms of journalism (think newspapers and magazines), comics speak in an intimate voice. As I mentioned before, comics are essentially an action- and dialogue-fueled medium. As a creator, I always face the challenge of framing the story “in-scene” rather than through “voiceover” narra- tion. Explanatory captions tend to slow the story down, creating a staccato feeling instead of a rhythmic fl ow. So I often turn to novelistic techniques to craft a dra- matic story—while of course adhering to the facts. Whenever possible, I use actual dialogue from my sources and from interviews. But I reserve the right to compress scenes, eliminate minor characters, and even (in rare cases) invent dialogue—as long as these techniques serve to convey the emotional truth of the story. This type of process is at the heart of the kind of comics journalism I practice. And I believe the reader accepts certain creative liberties, because comics appeal to a larger “emo- tion set”—and possibly a smaller “fact set,” than, say, a newspaper’s dry recap of yesterday’s news. But this trust can be broken if the comic becomes too fanciful. That’s the challenge—what should our “best practices” be? So, I’m really grate- ful to Randy Duncan, Michael Ray Taylor, and David Stoddard for Creating Comics as Journalism, Memoir, and Nonfi ction. The issues they discuss herein, and the exercises they’ve developed, will be a resource for me—and I suspect many other nonfi ction cartoonists—for years to come.

Josh Neufeld Brooklyn January 23, 2015 This page intentionally left blank PREFACE

“Drawing is still basically the same as it has been since prehistoric times,” wrote subway artist Keith Haring. “It brings together man and the world. It lives through magic” (n.p.; March 18, 1982; 2010). Long before Instagram and Facebook, even before photography and fi lm, humans used images, sometimes a sequence of images, to share with other humans the interesting things they had seen. Tens of thousands of years ago our ancestors mixed dirt or charcoal with ani- mal fat or their own saliva to paint images of animals on the walls of hundreds of caves. As art historian Paul G. Bahn (1998) points out, prehistoric art “has a syntax, rules and structure” (195), and some cave paintings depict a hunt in a sequence of images that might be considered the fi rst crude manifestation of the comics art form. Sol Davison speculates that some of the paintings done deep within caves might have been a personal ritual, “a wish, a prayer” meant to produce a successful hunt, and not produced for general viewing (Davison 2008, para 19). In this book we will consider works of sequential art that are defi nitely meant to be shared, because they are produced with the intent to educate and infl uence other humans.

WHAT ARE COMICS?

The term “comics” is sometimes used very broadly to refer to a variety of drawn media. Some of these mediums will not be considered in this book because they do not possess the defi ning characteristics of the comics art form. No animation. Pictures in a comic do not move and readers control the pace at which they view the image. Okay, there are a few online comics that are exceptions to both of those characteristics. The digital work CIA: Operation Ajax makes subtle use of movement and sound, but is still an example of the comics art form. How- ever, if too much audio and animation is introduced into a digital comic, it becomes animation and is no longer comics. No editorial cartoons. They generally take the form of a drawing within a single frame. Comics have multiple panels arranged in a sequence. Of course, some edito- rial cartoons have a sequence of actions occurring within that one box. If frames were drawn, or even just imagined, around each of those actions would the cartoon then become comics? Opinions vary. No caricature, in and of itself. Caricature, an exaggerated drawing that makes someone look comical or grotesque, is one of the primary tools of editorial cartoons and often appears in comics. However, a single drawing does not a comic make.

xiii xiv PREFACE

No illustrated books. Many children’s books come close to being comics. There are pictures on every page, but those pictures merely illustrate what is described in one segment of the text on that page. The words and pictures are not integrated into a panel. There is seldom an interdependence in which word and picture together create a meaning that neither can communicate individually. There are examples of hybrid books, part illustrated and part comics. The biographical portions of R. Crumb’s Kafka (2004) are an illustrated book, but interspersed through the book are adaptations of Kafka’s stories in comics form. You probably noticed that as soon as we attempted to establish boundaries we acknowledged exceptions that blurred the boundaries. The point is, don’t be overly concerned about defi nitions and boundaries. As a creator, don’t worry about what you call it; just make something that fi ts your vision and serves your purpose. The critics and scholars will supply the labels. As scholars, we are going to designate that this book will be about how nonfi c- tion content can be communicated in what we consider to be the comics art form: comic strips, comic books, and graphic novels. ACKNOWLEDGMENTS

This book would not have been possible without the help of many people who gra- ciously shared their expertise, their artwork, and their moral support. A big thanks to Cathy Lett for her hard work as bibliography wrangler. We are grateful to Erica Wetter, Simon Jacobs, and all the crew at Routledge for their guidance and patience. For the sidebar material that enriches the book we want to thank Peter Bagge, Douglas Gilpin, Marc Greenberg, Paul Hoppe, William Jones, Jr., Peter Kuper, Carol Lay, Amy Nyberg, Erin Polgreen, Margaret Renkl of Chapter 16, Randy Reynaldo, R.W. Ridley, Cord Scott, and Andy Warner. For writ- ing the perfect foreword, helping us shape content through nonfi ction comics workshops, and generally serving as inspiration. We thank Josh Neufeld. Others who contributed in many ways include Angela Boswell, Travis Langley, Martin Halpern, and David Sesser of the HSU Writers’ Group; Lea Ann Alexander, Valerie Bodell, Nathan Butler, Neil Cohn, Cody Daniels, Sean Fitzgibbons, Rick Geary, Daniel Merlin Goodbrey, Richard Graham, Michele Lee Hardesty, Heath Herring and L. B. Ezell, Ian Jones, Michael Kesulov, Josh Kramer, Nicholas Langley, Ash- ley Loftin, Mason McCloud, Christopher Murray, Robert O’Nale, Lauren Penick, Ronna Pennington, Amy Porter, Leonard Rifas, Jarod Rosello, Rich Shivener, Jami Smith, Joe Sacco, Gary Simmons, Nick Sousanis, Ellis College of Arts and Sci- ences, Jeet Jeer, Timothy Hodler, The Comics Journal, Mike Stoltz, Comic-Con International: San Diego, and Matthew Sutherlin.

xv This page intentionally left blank CHAPTER 1

Nonfi ction Comics

Telling true stories with art is as old as humanity itself. Over 17,000 years ago, Paleo- lithic hunters depicted the animals they pursued in exquisite detail on the walls of Lascaux Cave in France. The Bayeux Tapestry, a visual history of events leading to the Norman conquest of England, stretches over 70 meters long and was woven in the 1070s. Despite the many ancient traditions of using art to share true stories, the widespread popularity of nonfi ction comics is a new phenomenon. Until the turn of the 21st century, most nonfi ction in comics form was published in graphic novels and traditional comic books. Many were obscure, although a few, like Art Spiegel- man’s 1986 memoir Maus , became highly praised bestsellers. But recently the genre has found space within increasingly mainstream print and digital publications. Joe Sacco’s comics journalism appears in such popular venues as Time, The New York Times Magazine, Details, Harper’s and Foreign Policy. Unilever, a multinational consumer goods company, used a comic book as part of its 2014 global Handwash- ing Behavior Change Programme to educate children about the fi ve occasions they should wash their hands with soap each day. The company printed twenty million copies of its School of 5 comic book, distributing them in twenty-three countries (Unilever 2014). All nine articles in the Summer 2012 issue of the academic journal Visual Arts Research were written in comics form. Symbolia , launched in 2012 and formatted for the iPad, showcases nonfi ction comics. Although one issue incorpo- rated traditional fi ctional comics, it remained primarily a digital platform for non- fi ction in comics form until it suspended publication in 2015. Also in 2012, the U.S. Department of Defense, through its Defense Advanced Research Projects Agency (DARPA), began Phase 1 of a Graphic Novel Art Ther- apy (GNAT) initiative. The objective of the program is “to help Service Members express combat-related experiences through personal narratives in a graphic novel/ sequential art format that will enable them to process their memories and emotions through healthy, constructive activities” (DARPA). In short, comics published as journalism, memoir, and nonfi ction have become an increasingly popular art form, available to anyone with a nonfi ction story to tell. The three sidebars included with this chapter introduce three professionals working in the fi eld, who answer some of the same questions about what they do in different ways. This book was created to help would-be creators tell such stories. But before anyone can start to draw a nonfi ction comic, they must fi rst defi ne “nonfi ction.”

1 2 NONFICTION COMICS

FIGURE 1.1 The U.S. Defense Advanced Research Project Agency (DARPA) has created nonfi ction comics authoring tools for soldiers to use as a therapy for post-traumatic stress.

PAUL HOPPE

Paul Hoppe is a New York-based illustrator, designer, and author who enjoys venturing into a variety of fi elds. He has worked in Editorial Illustration, Chil- dren’s Books, Comics, Advertising, Graphic Design, and in the summers he teaches in the Illustration Summer Residency at the School of Visual Arts. Born in Poland and raised in Germany, he now works out of studio 515 in the Pencil Factory, in Greenpoint, Brooklyn. Randy Duncan asked Hoppe (and the other two comics journalists interviewed

(Continued ) NONFICTION COMICS 3

in this chapter) the same set of questions about what they do for a panel discussion in 2010.

Duncan: Have you done other work you consider to be comics journalism? Hoppe: I have worked on a couple projects about neighborhoods of Brook- lyn and other location inspired short stories. There is a story “Walk- ing through Red Hook” that I did in 2000 that is both about the atmosphere and the changes/gentrifi cation in that neighborhood. I put it together as a self-published little book. Also I did several panorama drawings that are sort of a sequence in itself, read from left to right, about the Parade for the Greek Indepen- dence in Manhattan, again Red Hook, and a diner in the city, and in the new Syncopated , I did a story about Coney Island. Duncan: Beyond the usual suspects (Sacco, Rall, Kuper, Burford, Russell), do you know of other cartoonists who have done journalism in com- ics form? Hoppe: My friend Chris Butzer, with whom I started Rabid Rabbit Magazine a couple years ago, is doing quite a bit of nonfi ction work. His Get- tysburg: The Graphic Novel has been doing well. Josh Neufeld is also a very good example of nonfi ction comics and reportage work. Duncan: What do you think can be gained from creating a comic about an event rather than just writing about the event? Hoppe: Obviously the visuals offer additional benefi ts, and you create a different form of communication. Writing is one way of tell- ing a story, doing a story with word and text is a different one. The dynamics between picture and words create different kinds of narratives, different ways of storytelling. You see part of what the author saw, but also you’re fi lling in the gaps of what is not depicted and only written in words. For the artist, it is great to capture the look and feel of a place, communicating it to others via their drawings. You can bring the experience to life, somewhere between a written story and a fi lm. For the reader, drawings add an additional dimension of informa- tion, just like they do with fi ction books that are illustrated, or chil- dren’s books. Rather than “just” the written word, they see some of the things the artist saw, with their eyes. It’s an additional sensation, experiencing part of the atmosphere. And also seeing the “hand,” the personality. A great drawing can fascinate and capture the reader not necessar- ily in a better way than a written word, but in a different way. Looking

(Continued ) 4 NONFICTION COMICS

at Scott McCloud’s Understanding Comics in this respect is just as rel- evant as it is to fi ction comics. Duncan: Snapping pictures of an event takes only seconds, but drawing a number of panels depicting the event can be quite laborious. Why is creating a comic worth the extra time? What does the comics form offer that photography does not? Hoppe: It feels more personal. In a weird way it can feel more real and believ- able. And just visually there are some possibilities that photos don’t have. You can emphasize things, utilize perspective in interesting ways, leave unimportant stuff out. You can incorporate type and image into each other. Duncan: Why do you choose to do fi rst-person comics reportage, injecting yourself into the story? Hoppe: The decision for me is not really about injecting myself into the story. Some stories don’t have anything to do with me personally, whether they are fi ctional or not fi ctional. Others are connected to me and/or my life, the very idea of the story has to do with me, with my life, or with the experience of me going to a place and exploring it. It just depends what kind of story or project I’m working on. Some of these stories are like diary entries to begin with. Instead of creating a story, the experience of going to that particular place is the story. And then I arrange, streamline, rearrange until I have a narrative. But the very essence of the story is that I myself went to, e.g., Red Hook, and how I reacted to it, and what experiences I had. Of course these two kinds of stories can mix. As with any kind of storytelling, including writing, there are varying degrees of realism and fi ctionalizing.

DEFINING NONFICTION: WHAT IS TRUTH?

This question has dogged philosophers for thousands of years. “The only true wis- dom is in knowing you know nothing,” Socrates famously said—a statement that appears borne out by 21st century life in fi elds as varied as politics, digital commu- nication and quantum physics. As the writer Oscar Wilde put it, “The truth is rarely pure and never simple.” All anyone can say with certainty is that the person claim- ing to know the full truth of any subject is likely to be misguided or lying. Yet most cultures and individuals hold strong convictions, if not of what con- stitutes absolute truth and absolute falsehood, at least of what is meant by the word “truth.” Likewise, literary conventions have settled on common defi nitions NONFICTION COMICS 5 of “fi ction” and “nonfi ction.” As the terms are used in the world’s libraries and bookstores, if not in heady philosophical arguments, “fi ction” is always a made-up story, and “nonfi ction” is always a depiction of reality, to the best of an author’s ability to discover that reality. Fiction writers can invent characters, events, places or a combination of all three, while nonfi ction authors—at least, the ethical ones— are constrained to make the people, places, and events in their stories as accurate as possible. The complication in this simple literary convention: that phrase “accurate as possible” allows a lot of wiggle room. Have the events in a story been verifi ed by multiple sources? Are the facts attributed to reliable authorities? Does an eye-witness account of a bank robbery accurately refl ect what happened? Can one person’s expe- rience of an Italian village while on a short vacation count as a true rendering of the place? Can another’s memory of a traumatic childhood event be verifi ed by any liv- ing person or physical evidence? Can a narrative or artistic style change the meaning of a story that is otherwise verifi able? These are the kinds of questions asked by critics of nonfi ction. Thus, those who want to create nonfi ction comics should have some idea of how to answer such questions about their chosen stories before they begin.

PETER BAGGE

While enrolled in the School of Visual Arts in New York City in 1977, Peter Bagge discovered under- ground comics, and the work of R. Crumb in par- ticular, turning “what had been a vague interest in cartooning into a passion.” He became managing editor of Crumb’s Weirdo magazine and created sev- eral series of his own, such as Comical Funnies , Neat Stuff , and Hate . His work has appeared in periodicals ranging from Mad Magazine and Weekly World News to Details and Discover . Born in Peekskill, New York, he has lived in Seattle since 1984.

Duncan: I know you have been doing a feature for Reason for nearly a decade and last year began a strip for Discover. Have you done other work you consider to be comics journalism? Bagge: The fi rst time I attempted it was in the late ’90s. Under Art Spie- gleman’s suggestion and supervision, Details magazine sent me to Aspen to cover that year’s HBO Comedy Festival. I was to make a four-page comic reporting on the event, which was part of a short lived series Details was running at the time. That format served as the

(Continued ) 6 NONFICTION COMICS

basis and inspiration for the work I did later for Reason . Also prior to Reason, I briefl y did reporter/journalist type work for a website called Suck.com, though for them I wrote essays that I also illustrated. Duncan: Beyond the usual suspects (Sacco, Rall, Kuper, Burford, Russell), do you know of other cartoonists who have done journalism in comics form? Bagge: I recall Harvey Kurtzman doing something like this for Help! Maga- zine in the early ’60s. He sent Jack Davis to cover the newly formed Mets baseball team, and a very young Robert Crumb to do the same in Harlem. They both turned in random illustrated observations rather than a story with one thread to it. Duncan: What do you think can be gained from creating a comic about an event rather than just writing about the event? Bagge: The cartoonist is both the reporter and the photographer, combin- ing both into a single pair of ears and eyes. Drawing an event is a very different—and in many ways better —way to capture scenes at an event than video or photography can. Duncan: Snapping pictures of an event takes only seconds, but drawing a number of panels depicting the event can be quite laborious. Why is creating a comic worth the extra time? What does the comics form offer that photography does not? Bagge: The drawing is a regurgitation of many sights and sounds the art- ist took in at that particular moment, rather than a split second of some random action. The artist’s interpretation may be biased and not be 100 percent accurate, but neither is a photo necessarily, since we all know how a photo can “lie” or misrepresent as well.

While widespread publication of nonfi ction comics may be a relatively new phe- nomenon, best practices for nonfi ction writing have emerged over many decades from professionals working in the fi elds of journalism, history, documentary pho- tography, and education. Standards within these fi elds translate well to the comics form. Since some standards must be followed for any work to be called “true,” creat- ing comics as nonfi ction requires an ethical component that does not exist for other kinds of comics. The common public perception of comics is that they strive for fantasy, for escape from reality, while the creators of nonfi ction comics are ethically bound to share and highlight reality. Because nonfi ction also carries a risk of legal action for such causes as libel, invasion of privacy, or endangering the public, the creators of nonfi ction comics become legally bound to reality as well. In 2006, author James Frey became the subject of an international scandal when critics discovered that signifi cant parts of his bestselling 2004 memoir, A Million NONFICTION COMICS 7

Little Pieces, never happened. The magazine journalist Stephen Glass became the subject of negative books and a Hollywood movie after it was revealed that as many as half of his published stories contained fabricated events and people. On the other hand, every year journalists and historians who remain faithful to reality are celebrated with Pulitzer prizes and other awards for bringing little-known stories to light. The drive to discover truth and share it, as exhibited by the best journalists, is also shared by the best creators of nonfi ction comics. Whether exposing daily life in a war zone, looking at the history of salt, or telling the personal story of a failed relationship, the authors of nonfi ction comics follow a journalistic calling to uncover truth. Like most journalists, they use words to artistically shape their ren- dering of that truth. But unlike traditional journalists, they rely even more heavily on art. The best writing has always had the ability to make readers laugh or cry, to touch the core of what it means to be human. The best art can accomplish this in an instant. Feelings conveyed by artists like Vincent Van Gogh or Marc Chagall can overwhelm viewers with a single glance. When coupled in a nonfi ction comic, art and carefully gathered facts allow readers to see not only the world as it is, but themselves as they are. It is an immensely powerful medium.

CAROL LAY

Shortly after art school and some adver- tising work, Carol Lay fell in love with comics and taught herself to ink, write, pencil, and color stories. She eventually worked for Hanna-Barbera comics, West- ern Publishing, DC and Marvel Comics, among others, before selling her own serialized strip to LA Weekly. Since then her work has appeared in Entertainment Weekly , Newsweek , The Village Voice , and many other leading magazines.

Duncan: I believe you did a piece on the Burning Man Festival for More Magazine . Lay: Yes. Before it could make it into the magazine, they got a new editor who killed the piece (new editors always kill the progeny of their predecessors). I did a few other pieces for More before that—one on “speed-dating” and three single-page jobs. Duncan: Have you done other work you consider to be comics journalism?

(Continued ) 8 NONFICTION COMICS

Lay: I also did eight or nine pieces of cartoon journalism for The New Yorker in 1994. They appeared in The Talk of the Town section and were a lot of fun to do because it gave this shy gal a good excuse to go out and ask New Yorkers questions and otherwise engage them. I did a four-page piece on the L.A. Glamourcon for Details , but a new editor came in and killed it before it could get to print, so it ran on Salon. Duncan: Do you know of other cartoonists who have done journalism in comics form? Lay: A lot of cartoonists did the Talk of the Town jobs. Eventually, Fran- coise Mouly narrowed the fi eld to four of us who rotated assign- ments. Robert Grossman, Dave Mazzuchelli, and I forget who else. Then a new T of the T editor came in and kicked out the cartoon- ists. Soon after, Spiegelman got a number of people to do the Details comic—Kim Deitch, Charles Burns, Kaz, Kuper, and others. This was in the late ’90s. Then a new editor came in and killed the process. (Do you notice a theme here?) Crumb did a piece about going to the Oscars. Duncan: What do you think can be gained from creating a comic about an event rather than just writing about the event? Lay: Comics have assets and defects. The beauty is in the form and the way images integrated with text relay a fi xed (the author’s) vision rather than letting the reader create her or his own visual interpretation, which might be vague or wrong. This could also be done with a lot of photos, but I love the way comics story-telling works holistically. I’ve also read that the brain digests and retains information better when it is presented in story form, and comics is the best medium for that. A limitation is that not as much infor- mation can be packed into the space allowed, so topics for cartoon journalism are usually (but not always) lighter, rather than infor- mation-dense subjects. But serious subjects are good topics—Sacco does a good job humanizing confl icts that would be otherwise abstract to me. Duncan: Snapping pictures of an event takes only seconds, but drawing a number of panels depicting the event can be quite laborious. Why is creating a comic worth the extra time? What does the comics form offer that photography does not? Lay: The simple answer to that is that drawing comics is what cartoon- ists do. (We are “hooked on comics.”) But integrating text and image can convey story in ways that illustrating a text piece with

(Continued ) NONFICTION COMICS 9

photos can’t. Cartoonists get to use word balloons and sound effects in ways that make the piece more cinematic, which helps draw in the reader. Both cartooning and photo-illustrated journal- ism are worthy vehicles for reportage—the quality depends on the skill of the journalist. A cartoon might be more of a fabricatio —a cartoonist can inject emotion through body language or gesture, or combine effects to create a stronger image where photogra- phy (if you disallow manipulation) is usually more actual. The “poetic” availability of cartooned imagery can therefore be a plus or a minus, depending again on the integrity and skill of the author.

“I think it is one of the most personal and intimate ways to tell true stories,” says Josh Neufeld, author of A.D.: New Orleans After the Deluge . “Readers feel like they are having an actual conversation with characters, rather than reading quotes in a newspaper or seeing talking heads on T.V.” (2014). This book examines the prac- tices of leading creators of nonfi ction comics like Neufeld, Joe Sacco, Dan Archer, Marjane Satrapi, and others. It also presents the differing approaches to the medium taken by journalists, artists, historians, and the writers of memoirs. Very few individuals have all the skills needed to gather facts and conduct inter- views, write narrative nonfi ction and create moving artwork. Most novices who fi rst attempt the form arrive at it from a background of journalism or art, meaning they arrive with at least one defi cit in the required skill set. Journalists, for example, typi- cally have had little training in illustration or image composition, and may wish to use electronic photo editing techniques to add an illustrative style or quality to their work. Artists and designers may not know how to conduct interviews or to avoid the potential legal pitfalls of telling the personal stories of real people. And while web producers may be skilled with animation and constructing layered page content, they may know nothing of the language of comics, the use of sequential art to build narrative. The goal of this book is to make it possible for anyone, especially those with some practice in one of the component fi elds, to begin creating nonfi ction com- ics in a wide variety of styles as dictated by a particular educational setting or rhetorical purpose: journalism, memoir, history, advocacy, science education— basically any type of nonfi ction that currently exists as prose or digital content. Journalists, artists, designers, creative writers, web producers, and others, whether working alone or in collaborative efforts, will together create the blueprint for the future of illustrated truth. This book attempts to provide them with some of the necessary tools. FIGURES 1.2A AND 1.2B Dan Archer explained graphic journalism this way in a 2011 interactive comic for The Poynter Institute. In the original, clicking on an illustration led to embedded content supporting and enhancing the facts presented. To experience the original work and see more by Dan Archer, visit http://www.archcomix.com. © 2011 Dan Archer. FIGURES 1.2A AND 1.2B (Continued) 12 NONFICTION COMICS

SUGGESTED EXERCISES

1) Read the fi rst chapter of a book of narrative journalism or history, such as Sebastian Junger’s War , Jon Krakauer’s Into the Wild, Hampton Sides’s In the Kingdom of Ice , or H.G. Bissinger’s Friday Night Lights . Select four individual sentences that seem to capture at least part of the essence of the chapter, and for each sentence, draw a rough sketch (crude stick fi gures are fi ne) of a comic panel that would combine words and image to convey the same meaning as the sentence. When you have your four panels, examine the story they tell in sequence, and answer these questions: (i) What challenges can you foresee in telling the story in this manner? (ii) What advantages can you see?

2) Read a book or shorter piece created by one of the professionals men- tioned in this chapter, then answer these questions: (i) What facts did the author have to gather, and how might he or she have found them? (ii) What characters are portrayed in the work, and does their portrayal include any chance that the real people might be dissatisfi ed with the manner in which they are depicted? (iii) What stories from your own experience might be similar to the example you read? References Abbott, Alysia . “‘We Just Sat and Held Each Other’: How It Feels to Watch Your Life Story Onstage.” The Atlantic, November 12, 2013. http://www.theatlantic.com/entertainment/archive/2013/11/we-just-sat-and-held-each-other-how- it-feels-to-watch-your-life-story-onstage/281369/ Abel, Jessica , and Matt Madden . Drawing Words and Writing Pictures: Making Comics: Manga, Graphic Novels, and beyond. New York: First Second, 2008. 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