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agt_spookyI don't think I've seen this posted anywhere, so I thought I'd share - Sequential Tart has an interview with Alex Irvine, author of the upcoming book, The Supernatural Book of Monsters, Demons, Spirits, and Ghouls.
There's also a picture of the cover of the book at Alex's blog HERE. Just scroll down a bit to see it.
Sequential Tart: Working on a Supernatural project seems like a good fit for you — your fiction has been noted for the way it creates a dark American mythology, which is rather like what the show sets out to do. How did the project come about?
Alex Irvine: I'd done some background work for DC related to the show before, while various licensed projects were under consideration, and I'd also worked with DC on a Batman novel recently. So I think I just happened to be standing around when the decision was made to do the monster book, and they thought I might be a good fit. It could be that the nature of my fiction, which as you noted is often preoccupied with American mythology, had something to do with it as well. I think you're right that this preoccupation is something my fiction has in common with the show.
ST: Can you tell us much at this stage about your Supernatural book? I've read that it takes the form of John Winchester's journal — is this still correct?
AI: That was always part of the idea, and the way the book looks as it's going into print still has strong elements of that. Along with extracts from John's journals, the book takes the form of Sam and Dean talking about their experiences fighting various "monsters, spirits, demons, and ghouls," and along the way they offer a sort of introductory mythology — not just of the actual creatures they've encountered in the episodes, but everything. It's a rambling tour through the mythologies and folklore of numerous cultures, narrated by Sam and Dean, who use their own battles as touchstones to talk about the natures of different supernatural beings. There's a long section on demonology that incorporates the show's individual mythology as well as extracts from the medieval tradition; there's an extended bit on vampire and revenant folklore; you'll learn quite a bit about hoodoo ... you get the picture. I made sure to include as much of the specific stuff from the show — the sigil of Azazel, goofer dust, oil of Abramelin, that kind of thing — as I could, but I also tried to use the show as a springboard for a gee-whiz (but well researched, I hope) look at the really amazing depth of human ingenuity when it comes to inventing monsters.
ST: What was the experience of writing the book like? Were there any stories you got to lore-up on that you were particularly grabbed by?
AI: All of them. I'm a mythology nerd, and a research nerd to boot, and I had a great time doing the reading for this book. I read about three dozen books, probably more, running the gamut from scholarly histories of folklore to collections of folktales to medieval demonology texts and Kabbalah ... bits of sacred texts including the Qu'ran, the Bible, some Hindu stuff ... tons of Renaissance material on witchcraft (much of which, sadly, didn't make it into the book because the witchcraft section went in a different direction) ... yeah, more than three dozen. About ten years ago I ran across a bunch of collections of regional folklore at a library sale and bought them for like a quarter apiece. Finally, with this project, I got to put them to work, and it was worth the wait.
I'm not ashamed to say that I learned plenty during this project that I plan to steal for my own writing (especially if anyone ever decides they want me to write an episode of the show; I'm ready). Homunculus stories! Wow, are there some great ones. And African witch/vampire lore is utterly fascinating.
ST: Was it difficult to catalog the mythology of a program that's still in the constant process of re-shaping that mythology? Did you have much contact with the production team?
AI: Some. Eric Kripke commented on an early draft of the book, and was very helpful. He, and the rest of the show's team, also gave me lots of room to roam, which was much appreciated. As far as cataloging the mythology of the show, there were occasional moments when I had to tread lightly because so much of the show's mythology has yet to be revealed. I've seen the scripts through the end of this season, and there are some fine flourishes coming — but there was no way to treat some of it in the book without giving away much of what's to come in the show. The solution, such as it was, involved setting the voice of the book at a certain moment in the show's chronology and telling the story to that point. Who knows, maybe when the show has run its course and the secrets are all out there will be an updated guide. That would be fun.
In general, though, the open-ended state of the show right now meant that I had all kinds of leeway to explore mythologies and lores related to the material of specific episodes, which added a whole different layer of interest to the project — and this is probably where I should mention that the book is illustrated by Dan Panosian, who has turned in some killer images. All the more reason to pick it up when it comes out!
ST: I'd like to hear about the prose superhero novels you've done; Batman: Inferno and your upcoming Ultimates novel. Are there particular challenges in transferring characters like this from their usual visual — or even, at times, audio-visual — media into the novel format?
AI: Well, there certainly were times when I wished I could have scripted out a stirring fight scene and had someone draw it, that's for sure. Comics have a kind of immediacy of action that is hard to match in prose narrative, simply because when you read a comic, your eyes process images, whereas when you read a prose description, your eyes process words and then your brain invents the rest. Having said that, I think that there's a lot of depth in the best comic book characters, and that the medium of comics isn't always ideally suited to explore that depth because only prose can really capture the interiority of the mind. I mean, who wouldn't like to get into the Joker's head for a little while and really see how things look from in there? That was one of the primary attractions of these books for me. What's it really like to be Captain America? Or Thor, especially in his revisionist Ultimates characterization?
That's the challenge, to make a character who is primarily understood through the protocols of visual narrative come to life in prose. It's really something to sink your teeth into. I wouldn't mind doing it again ... although I'd also love to tackle any of those characters in a comic book format.
ST: Do you have a particular superhero character or setting you've enjoyed writing? Why?
AI: I have a soft spot for Batman, because his psychology is so un-heroic. When you get right down to it, Batman isn't doing what he does out of a heroic impulse; he's doing it because by doing it, he simultaneously exorcises his pain and justifies the reality that he's made his pain the central fact of his life. At least that was my take on it in Inferno, and it made for some interesting conversations between Batman and the Joker — who, psychologically, is at least as interesting as his caped adversary. I loved the Joker, loved writing him, and would love to write a comic about him.
The Ultimates were fun for different reasons, mostly because they're such a bunch of bickering old hens when they're actually out on the battlefield saving the world. It's a great backdrop for an examination of the heroic impulse, and for asking some questions about what we look for in our heroes, and what we're willing to excuse as long as they're heroic.
ST: Of your original novels and story collections, is there one you feel particularly proud of, or fond towards? Any you wish you could have another shot at?
AI: I feel fond of A Scattering of Jades, because it was my first crack at writing a novel, and it was published and won some awards and did pretty well. That was a much-needed shot in the arm when I was starting out, and also a validation of my instincts. I mean, when I tried to explain that book — "well, see, it's about slavery and Mammoth Cave and PT Barnum and Mesoamerican gods, um…" — it never came out sounding like anything someone would want to read. But people did want to read it, and they even seemed to like it. So, cool.
I think The Narrows is my best novel, though, because the people in it seem much more real, and the situations much more balanced between the depth of character I always want — but don't always get — and the extravagance of invention that I always rein in a little too much.
One King, One Soldier is the one I wish I could have back. I like it, and I think that the good outweighs the bad, but looking back on it I see quite a bit that I'd like to do differently. Mostly it's a matter of wanting to go back in and give the book room to breathe. I think I tried to get too much story into too little space. Still, I like the book; I wouldn't have published it if I didn't like it. And heck, it's got Arthur Rimbaud, the Holy Grail, and baseball in it. What's not to like?
Short story collections are kind of a different question. In each collection, there are stories I really love, and others that I just liked. Some of my favorites — "Gus Dreams of Biting the Mailman," "Vandoise and the Bone Monster," "Pictures from an Expedition," to name three — I remain really proud of. And then there are some others that I like because I look back at them and see myself trying to figure something out, or testing out a particular kind of story to see how it works.
ST: Okay, this is a fairly simple one, but I'm always interested to hear the answers offered to it: Why writing?
AI: First, and most selfishly, because I like the way the sentences sound in my head. Second, I like to tell stories, and I'm thrilled to death that other people want to hear the stories I want to tell. Beyond that, I could say all kinds of things about the writer being the conscience of the culture, et cetera and so on, and it might even be true. I certainly have strong feelings about which ways of living in the world are healthier or better than others, but I'm not a didactic writer (except once in a while when a satirical form demands it). I'm interested in people, and I want to write about what people do when their worlds get a little strange, when things happen that don't conform to any of the patterns they've already figured out for dealing with life. And if I can write about those things and work monsters into the story, so much the better.
ST: What do you have coming up in the near future?
AI: In addition to this book and the Ultimates novel, the five-issue Hellstorm miniseries I did for Marvel is about to come out in trade paperback. Beyond that, I'm working on a near-future noir called Buyout, kind of Raymond Chandler meets Christopher Buckley meets Philip K. Dick. If I can get that mix right. And I'm always working on short stories, more comic book possibilities ... lots to do.
There's also a picture of the cover of the book at Alex's blog HERE. Just scroll down a bit to see it.
Monsters, Spirits, Demons and Ghouls
Alex Irvine
by Mary Borsellino
Interview with The Supernatural Book of Monsters, Demons, Spirits, and Ghouls, Alex Irvine.Sequential Tart: Working on a Supernatural project seems like a good fit for you — your fiction has been noted for the way it creates a dark American mythology, which is rather like what the show sets out to do. How did the project come about?
Alex Irvine: I'd done some background work for DC related to the show before, while various licensed projects were under consideration, and I'd also worked with DC on a Batman novel recently. So I think I just happened to be standing around when the decision was made to do the monster book, and they thought I might be a good fit. It could be that the nature of my fiction, which as you noted is often preoccupied with American mythology, had something to do with it as well. I think you're right that this preoccupation is something my fiction has in common with the show.
 |
ST: Can you tell us much at this stage about your Supernatural book? I've read that it takes the form of John Winchester's journal — is this still correct?
AI: That was always part of the idea, and the way the book looks as it's going into print still has strong elements of that. Along with extracts from John's journals, the book takes the form of Sam and Dean talking about their experiences fighting various "monsters, spirits, demons, and ghouls," and along the way they offer a sort of introductory mythology — not just of the actual creatures they've encountered in the episodes, but everything. It's a rambling tour through the mythologies and folklore of numerous cultures, narrated by Sam and Dean, who use their own battles as touchstones to talk about the natures of different supernatural beings. There's a long section on demonology that incorporates the show's individual mythology as well as extracts from the medieval tradition; there's an extended bit on vampire and revenant folklore; you'll learn quite a bit about hoodoo ... you get the picture. I made sure to include as much of the specific stuff from the show — the sigil of Azazel, goofer dust, oil of Abramelin, that kind of thing — as I could, but I also tried to use the show as a springboard for a gee-whiz (but well researched, I hope) look at the really amazing depth of human ingenuity when it comes to inventing monsters.
ST: What was the experience of writing the book like? Were there any stories you got to lore-up on that you were particularly grabbed by?
AI: All of them. I'm a mythology nerd, and a research nerd to boot, and I had a great time doing the reading for this book. I read about three dozen books, probably more, running the gamut from scholarly histories of folklore to collections of folktales to medieval demonology texts and Kabbalah ... bits of sacred texts including the Qu'ran, the Bible, some Hindu stuff ... tons of Renaissance material on witchcraft (much of which, sadly, didn't make it into the book because the witchcraft section went in a different direction) ... yeah, more than three dozen. About ten years ago I ran across a bunch of collections of regional folklore at a library sale and bought them for like a quarter apiece. Finally, with this project, I got to put them to work, and it was worth the wait.
I'm not ashamed to say that I learned plenty during this project that I plan to steal for my own writing (especially if anyone ever decides they want me to write an episode of the show; I'm ready). Homunculus stories! Wow, are there some great ones. And African witch/vampire lore is utterly fascinating.
ST: Was it difficult to catalog the mythology of a program that's still in the constant process of re-shaping that mythology? Did you have much contact with the production team?
AI: Some. Eric Kripke commented on an early draft of the book, and was very helpful. He, and the rest of the show's team, also gave me lots of room to roam, which was much appreciated. As far as cataloging the mythology of the show, there were occasional moments when I had to tread lightly because so much of the show's mythology has yet to be revealed. I've seen the scripts through the end of this season, and there are some fine flourishes coming — but there was no way to treat some of it in the book without giving away much of what's to come in the show. The solution, such as it was, involved setting the voice of the book at a certain moment in the show's chronology and telling the story to that point. Who knows, maybe when the show has run its course and the secrets are all out there will be an updated guide. That would be fun.
In general, though, the open-ended state of the show right now meant that I had all kinds of leeway to explore mythologies and lores related to the material of specific episodes, which added a whole different layer of interest to the project — and this is probably where I should mention that the book is illustrated by Dan Panosian, who has turned in some killer images. All the more reason to pick it up when it comes out!
 |
ST: I'd like to hear about the prose superhero novels you've done; Batman: Inferno and your upcoming Ultimates novel. Are there particular challenges in transferring characters like this from their usual visual — or even, at times, audio-visual — media into the novel format?
AI: Well, there certainly were times when I wished I could have scripted out a stirring fight scene and had someone draw it, that's for sure. Comics have a kind of immediacy of action that is hard to match in prose narrative, simply because when you read a comic, your eyes process images, whereas when you read a prose description, your eyes process words and then your brain invents the rest. Having said that, I think that there's a lot of depth in the best comic book characters, and that the medium of comics isn't always ideally suited to explore that depth because only prose can really capture the interiority of the mind. I mean, who wouldn't like to get into the Joker's head for a little while and really see how things look from in there? That was one of the primary attractions of these books for me. What's it really like to be Captain America? Or Thor, especially in his revisionist Ultimates characterization?
That's the challenge, to make a character who is primarily understood through the protocols of visual narrative come to life in prose. It's really something to sink your teeth into. I wouldn't mind doing it again ... although I'd also love to tackle any of those characters in a comic book format.
ST: Do you have a particular superhero character or setting you've enjoyed writing? Why?
AI: I have a soft spot for Batman, because his psychology is so un-heroic. When you get right down to it, Batman isn't doing what he does out of a heroic impulse; he's doing it because by doing it, he simultaneously exorcises his pain and justifies the reality that he's made his pain the central fact of his life. At least that was my take on it in Inferno, and it made for some interesting conversations between Batman and the Joker — who, psychologically, is at least as interesting as his caped adversary. I loved the Joker, loved writing him, and would love to write a comic about him.
The Ultimates were fun for different reasons, mostly because they're such a bunch of bickering old hens when they're actually out on the battlefield saving the world. It's a great backdrop for an examination of the heroic impulse, and for asking some questions about what we look for in our heroes, and what we're willing to excuse as long as they're heroic.
ST: Of your original novels and story collections, is there one you feel particularly proud of, or fond towards? Any you wish you could have another shot at?
AI: I feel fond of A Scattering of Jades, because it was my first crack at writing a novel, and it was published and won some awards and did pretty well. That was a much-needed shot in the arm when I was starting out, and also a validation of my instincts. I mean, when I tried to explain that book — "well, see, it's about slavery and Mammoth Cave and PT Barnum and Mesoamerican gods, um…" — it never came out sounding like anything someone would want to read. But people did want to read it, and they even seemed to like it. So, cool.
I think The Narrows is my best novel, though, because the people in it seem much more real, and the situations much more balanced between the depth of character I always want — but don't always get — and the extravagance of invention that I always rein in a little too much.
One King, One Soldier is the one I wish I could have back. I like it, and I think that the good outweighs the bad, but looking back on it I see quite a bit that I'd like to do differently. Mostly it's a matter of wanting to go back in and give the book room to breathe. I think I tried to get too much story into too little space. Still, I like the book; I wouldn't have published it if I didn't like it. And heck, it's got Arthur Rimbaud, the Holy Grail, and baseball in it. What's not to like?
Short story collections are kind of a different question. In each collection, there are stories I really love, and others that I just liked. Some of my favorites — "Gus Dreams of Biting the Mailman," "Vandoise and the Bone Monster," "Pictures from an Expedition," to name three — I remain really proud of. And then there are some others that I like because I look back at them and see myself trying to figure something out, or testing out a particular kind of story to see how it works.
 |
ST: Okay, this is a fairly simple one, but I'm always interested to hear the answers offered to it: Why writing?
AI: First, and most selfishly, because I like the way the sentences sound in my head. Second, I like to tell stories, and I'm thrilled to death that other people want to hear the stories I want to tell. Beyond that, I could say all kinds of things about the writer being the conscience of the culture, et cetera and so on, and it might even be true. I certainly have strong feelings about which ways of living in the world are healthier or better than others, but I'm not a didactic writer (except once in a while when a satirical form demands it). I'm interested in people, and I want to write about what people do when their worlds get a little strange, when things happen that don't conform to any of the patterns they've already figured out for dealing with life. And if I can write about those things and work monsters into the story, so much the better.
ST: What do you have coming up in the near future?
AI: In addition to this book and the Ultimates novel, the five-issue Hellstorm miniseries I did for Marvel is about to come out in trade paperback. Beyond that, I'm working on a near-future noir called Buyout, kind of Raymond Chandler meets Christopher Buckley meets Philip K. Dick. If I can get that mix right. And I'm always working on short stories, more comic book possibilities ... lots to do.
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
(no subject)
Date: 2007-05-04 03:17 am (UTC)...book takes the form of Sam and Dean talking about their experiences fighting various "monsters, spirits, demons, and ghouls," and along the way they offer a sort of introductory mythology...
Hee! So does this mean we're going to get Sam and Dean with their own written comments and Dean crossing out what Sam writes and writing something snarky to the side of it?
I think I'm going to pre-order this on Amazon!
(no subject)
Date: 2007-05-04 12:40 pm (UTC)OMG, that would be the best! LOL!
(no subject)
Date: 2007-05-06 04:51 am (UTC)(no subject)
Date: 2007-05-07 04:33 pm (UTC)