Sunday, June 9, 2013

DR. HACKENBUSH VS. THE ARTIST

I was having a discussion recently with a talented young writer about being a "hack":  a “hack,” in this case, was defined as anyone who takes a paying assignment, as opposed to working on a passion project; the classic starving artist, slaving away alone in his or her garret.  “If writing work that pays makes someone a hack,” I offered, “then most successful writers are hacks—in which case it’s an honorable title.” From my perspective, there’s nothing more honorable than feeding your family and making sure the bills are paid.

That said, I understand the eternal battle between so-called art and so-called commerce, writing passion projects versus work-for-hire; in fact, years ago, that creative tug-of-war plunged me into a minor crisis.  I’d just written Moonshadow and Blood:  two projects that helped me find my voice as a writer, that came from the deeps of my soul and imagination.  Those stories had nothing to do with Batman or Spider-Man and the denizens of their over-populated universes; no editor approached me and asked me to create them:  they were mine and mine alone.  (Even that wasn’t completely true, of course:  they belonged as much to the artists—Jon J Muth and Kent Williams—as they did to me.  But, between us, we owned those worlds and no one else could lay claim to them.)  In my heart of hearts, what I wanted then—and, to be honest, what I still sometimes want—is to just go off and write “my” stories and not have to play in anyone else’s sandbox.

I said pretty much that when I was on a panel at a convention in England.  “If I could have a career, support my family and never write another superhero story...another story that didn’t originate with me...then I would.”  A few minutes later, during the question-and-answer period, a guy in the audience got up and said (essentially):  “You know, I don’t really care if it’s a creator-owned title like Moonshadow or if it’s an issue of Spider-Man.  All that really matters to me is if it’s a good story.”

My jaw dropped a little, and a tiny piece of my skull might have blown off and hit the ceiling, because what he said was incredibly obvious, incredibly true, and I’d been so lost in my “artistic crisis” that I’d missed it.  The fundamental law of writing is this:  It’s all about the story.

Yes, there's a part of me that would always prefer to write originals, but if I'd followed that instinct throughout my career then a) I wouldn't have been able to support my family and b) I would have missed out on wonderful creative projects, some of which turned out to be among my very best, and most gratifying, work.  Kraven’s Last Hunt wouldn’t exist, I’d never have collaborated with Keith Giffen or written for film and television.  My life—not just creatively, but personally—would have been far less fulfilling than it is today.  

The key for me—whether I'm writing established characters or doing more personal projects—is the the commitment, the passion, I bring to the table.  As long as I'm pouring heart and soul into a piece of work, it really doesn't matter whether it’s commercial or personal—because it all becomes personal in the end.  I can show you Spider-Man stories where I revealed as much about myself, the intimate details of my life, my hopes and aspirations, as I did in my autobiographical graphic novel Brooklyn Dreams.  Perhaps it wasn’t as obvious to the reader because I was talking through Peter Parker and his cast, but the intimacy, the honesty, the passion was all there on the page. 

Here’s an uncomfortable truth:  Sometimes you labor over a piece, your Precious Personal Project, for weeks, months, years—and it dies in your hands.  All the creative CPR in the universe can’t save it.  And sometimes you're pressured by a ridiculous deadline, working feverishly, rushing out the next issue of The Cataclysmic Camel-Man...and it's better than anything you've ever done.  

It’s all about the story—and, as writers, we often know less about what's brilliant, what's hackwork, than the story itself does.  (It's as if there are the stories I want to tell and stories that want me to tell them—and they're not always the same thing.)  I've come to realize over the years—and I’ve written about it at length here at Creation Point—that stories have lives of their own and, whatever the tale’s origin point, my job is to wholeheartedly surrender to it and let it tell itself as best it can.  Then all questions of "good" and "bad," "hackwork" vs. "art," go right out the window.

I’m sure there are hacks out there, people who don’t give a damn, who just hurl words at an editor and wait for a check to come flying back at them, but I’m not sure I’ve ever met one.  The vast majority of writers I know—whether they’re laboring over their “masterpiece” or getting that script in as fast as they can because the mortgage is due—care passionately. 

Once you sit down at the computer and engage with your story, surrender to it, it doesn’t matter what your motivation is—so let other people worry about who’s a hack and who’s an artist.  It’s all about the story—and the story will take you where it needs to go.

©copyright 2013 J.M. DeMatteis

32 comments:

  1. As far as being a hack goes, I like the way Stephen King put it in the book IT when Bill Denbrough gets a story back from his professor that says PULP insultingly, "So it's pulp! So what, the woods are full of it."

    And of course PKD's answer as to why he he continues to write science fiction despite his monetary problems, because he liked it. pure and simple

    And of course I would remind you of conversations had here on this site about how all stories reflect some sort of philosophical belief even if it is simply what is good and what is evil.

    The fact is I'd rather read well written "pulp genres," than some over blown self-indulgent pretentious story of people I could meet any day of the week. And I am NOT accusing you of having done that, just getting that out of the way.

    That isn't to say that I don't enjoy stories of everyday people, that is not the case at all. Just making a point. Though I will say that I believe it takes more talent to write something far removed from reality and make it believable.

    Sorry, went a bit off topic there.

    Wishing you nothing, but goodwill and hipness from here to the stars,
    Jack

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    1. As we've said before, Jack—and as you mention—ALL stories are about something (even if the writer THINKS they're about nothing).

      Love the Stephen King line about pulp. Great!

      Speaking of PKD: I just reread DO ANDROIDS DREAM OF ELECTRIC SHEEP for the first time in many years. Really enjoyed it.

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    2. The only story you should ever be ashamed of is the one that neither captured what you wanted to say, or pay.

      Speaking of Do Androids Dream of Electric Sheep?, did you know there is a theory that the concept came from PKD researching the Nazis for The Man in the High Castle, and found it hard to believe humans were really capable of such acts.

      Wishing you nothing, but goodwill and hipness from here to the stars,
      Jack

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    3. No, I'd never heard that. It makes the scene where the android cuts the legs off the spider even more chilling.

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    4. Its interesting, to this day I have not seen all of Blade Runner, but I do remember having a conversation with someone who had not read the book, but had seen the movie, about the androids being less sympathetic... maybe JUST less human in the book than the film.


      Wishing you nothing, but goodwill and hipness from here to the stars,
      Jack

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    5. I'm one of the few who was never a huge BLADE RUNNER fan. Appreciate it visually, but the movie didn't really engage me emotionally. There was something cold about it. And maybe that was the point.

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    6. As I said, I haven't seen all of it. maybe just the first 30 minutes. I do appreciate that it seems to get PKDs themes, but I just never got around to it. I do however love the film A Scanner Darkly.

      I think for everything Blade Runner was supposed to be about feel. I will say this though Deckard in the film didn't connect the way he did in the book. I remember being a very PKD character in the book... you know flawed. The film (at least for those 30 minutes)he seemed more the noir he-man. And I do really enjoy film noir, but I think the archetype lacks for PKD story



      Wishing you nothing, but goodwill and hipness from here to the stars,
      Jack

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    7. Yes, I remember it as a very "sci-fi noir" kind of film.

      I was glad to find that, so many years after I'd originally read it, BLADE RUNNER really held up.

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  2. What's Hackenbush's doctorate in?

    And what is that name, dutch?

    Wishing you nothing, but goodwill and hipness from here to the stars,
    Jack

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    1. The shocking truth about Dr. Hackenbush can be found here, Jack:

      http://www.youtube.com/watch?v=fn1JUCFobBM

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    2. Yeah, but mow I just feel bad for missing the mArx Brothers reference.

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    3. Though I still asy the name is dutch despite my shame!

      Wishing you nothing, but goodwill and hipness from here to the stars,
      Jack

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    4. The Marx Brother are supposed to make you feel GOOD, Jack, not bad!

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    5. They do, it's my forgetfulness that makes me feel bad. I'm just paranoid the gov. will see this and think you and I are neo-commies instead of comedy lovers. What with the mention of Marx and all,


      Wishing you nothing, but goodwill and hipness from here to the stars,
      Jack

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    6. Yes, Jack, we're hard-core followers of (Grouch) Marx and (John) Lennon.

      And I stole that gag from the Firesign Theater!

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  3. To J.M. DeMatteis--

    How to make this reply short? I'm aware of this writerly crisis as a graduate of a MFA writer's program (I didn't do to
    well in it). Most of the students had a dream of surviving in life by their writing skills, and yet most were involved with highbrow literary work that, historically, does not offer a lot of pay. Most graduates of these programs go on to teach English
    if they want to stay close to the world of writing.
    This makes your position and work totally admirable because
    you're being both artistic and practical. Also, by writing for comics, you're reaching so many more people than if you were writing for a small, literary crowd.
    And, I have to say, your short Man-Thing series means more to me than a ton of the high literary works I've read. That story, along with some of the others you've written (I'm picking up fragments of your work in comic book stores--they are always wildly illuminating as well as helpful to me through some tough days) open up a river of some sort of benevolent otherworldliness into our culture. It goes beyond being either artistic or commercial. How many writers can say that about their work?
    When writing really does what it's supposed to do, it's magical. The genre doesn't matter. As I slowly collect your work, I'm finding that just about all of it is magical.
    So thank you for helping the world through your writing. (And your blog is great, too!)

    Mike Freed

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    1. Thanks so much for your kind words, Mike. You made my day.

      I write for myself, first and foremost; and then I sail my stories out into the world and hope that they touch someone's heart along the way. So very happy that some of those stories have touched yours.

      That MAN-THING series I did with Liam Sharp was a special favorite of mine. (I'm still a little bummed that they pulled the plug on us so soon.) Very glad you enjoyed it.

      Please feel free to check in here any time. All the best -- JMD

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  4. In Shakespeare's day, Ben Jonson was the high-minded literary genius and Bill wrote for the masses.

    Kind weird how that works out. And just to think, thirty years ago Marvel was like, "Assassinate Steve Rogers? That's crazy talk!"

    In the end, the Story will have its way (and sometimes its revenge!).

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    1. There's a T-shirt there, David: "The story will have its way (and sometimes its revenge)!"

      Actually, "Bill wrote for the masses" is a good shirt, too!

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    2. I've been in this business five minutes and I've already sold two shirts!

      Now if I just knew how to print them...

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  5. Also, here is the 2002 Twilight Zone episode with the Conan character http://www.youtube.com/watch?v=YqJvQhtHTEw


    I fully admit it might just be me being a comic fan that made me like it. But the series had its good stories and its bad. I think this was a good one. Even if just for me.



    Wishing you nothing, but goodwill and hipness from here to the stars,
    Jack

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    1. Bookmarked, Jack! I'll watch it in the next couple of days!

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    2. Just don't forget to report back your views good or ill.
      And hopefully to enjoy


      Wishing you nothing, but goodwill and hipness from here to the stars,
      Jack

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    3. Just watched it and enjoyed it. Didn't bowl me over, but it felt very much like a solid episode of the 80's ZONE. And "Puddy" from SEINFELD as a barbarian? That alone was worth the price of admission.

      Also noticed that they did a sequel to the classic TZ "It's A Good Life," with Billy Mumy reprising his role. That one I HAVE to watch.

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    4. Well George Costanza shows up in One Night at Mercy, which if I remember was one of the good ones.

      Also good (if memory sreves:

      Into the Light (remake)
      It's still a good life
      Cold Fusion
      Sunrise

      Of course that is only if memory serves


      Wishing you nothing, but goodwill and hipness from here to the stars,
      Jack

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    5. I watched "It's Still A Good Life," Jack, and enjoyed it; although it didn't come close to the original. I'll check out the others, thanks! (Even a weak TZ is still fun, right?)

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    6. Hey, I've seen One Night at Mercy! That's the one where George Costanza (I can't remember his real name!) plays Death, right? Pretty good if memory serves. I didn't even recall that being a TZ episode. Just something I caught on TV late one night.

      And is it wrong that I totally want to read THE CATACLYSMIC CAMEL-MAN?

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    7. If loving THE CATACLYSMIC CAMEL-MAN is wrong, David, then I don't want to be right.
      : )

      The actor's name is Jason Alexander. Who, by the way, was hugely influenced by William Shatner. Watch him in SEINFELD and you can catch certain moments when he's totally Doing Shatner.

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    8. Yeah, Jason Alexander! I didn't realize the Shatner influence. I'll keep that in mind next time I catch an episode of SEINFELD. Funny they both have TZ to their credit, too.

      Maybe him and Shatner should team up for a sitcom called SERENITY NOW! Or a live adaptation of THE CATACLYSMIC CAMEL-MAN...

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    9. Actually, Alexander had a short-lived sitcom called BOB PATTERSON and Shatner guest-starred. Here's a clip: http://www.youtube.com/watch?v=Ar3-2hny3FY

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    10. Well, I don't know what I'll say when we actually meet for the first time, but I think it's safe to cross "Thank God our lives have touched!" off the list.

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    11. Yes, cross that off IMMEDIATELY! : )

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