BtZ: Where did your initial inspiration for the story of SL come from?

Well, I had lived in LA for a number of years, and the book was a real reaction to that experience. I was working there as a designer and art director. I knew next to no one in town, and had moved there just for the job. There was a lot going on in my life at that time, so I really didn't hit the ground running.

It was a pretty lonely time, but that said, I had a hell of a lot of time on my hands to explore. I think the book became mostly about my reaction to my time out there and to this idea of celebrity culture.

At its heart Screamland is a dark comedy, which was the main appeal to me in developing the book. Something that cut across genres, it's not really a horror book and not at all a screwball comedy. I wanted the challenge of trying to tell a story like that.

BtZ: While SL doesn't necessarily read like a traditional horror story, it does star horror characters who have found themselves in some less-than-desirable circumstances. Should readers be laughing at former terrors, or crying for misguided people in monsters' clothing?

I think like with anyone else, it's almost hard to know. I wanted the main characters to have that kind of dimension, where at times you are laughing at their behavior and at times it can be almost hard to watch.

The idea that these guys live forever stated me thinking about patterns of behavior. How we all seem to fall into the (patterns) and make mistakes and decisions throughout parts of our lives. If you had decades and decades of these patterns, how would that stack up?

I think laughing or crying at the monster's antics can be a really hard call. I wanted them to come off as very sympathetic, but it is a book of monsters acting badly.

BtZ: The core cast of SL consists of many classic horror icons. Are there are monsters you wanted to use, but didn't have room for (The Creature from the Black Lagoon? The Fly? Etc?)

Some of my favorite bits in the comic are the creatures in the background. The book focuses in on four characters, but really the idea inherently means that there is a potential cast of thousands. No character was cut from the book for space, but if I revisit Screamland I would want to move away a bit from the cast of this mini-series and introduce some new characters.

BtZ: In addition to being the writer of SL, you are a graduate of the Kansas City Art Institute and an illustrator in your own right. How did this skill set contribute to your collaboration with artist Hector Casanova?

I think it helps me as a visual thinker. As I am putting together stories I do it with an eye of how it will play out on the page. I often start story ideas with an image and build out from there.

BtZ: Hector has a unique, mixed-media style. What modifications, if any, did you make to the story or the script to play off of his style?

The biggest impact was when I realized how well Hector handled body language. I knew going in that a large part of Screamland would be character pieces. That could have been a nightmare; I wasn't sure how much of the relationships would have to be covered in the text. When I saw how well Hector could handle facial expressions and body language, I was in a position where I was able to dial back the captions and dialogue and let Hector tell a lot of the story. That's a really good spot to be in, and I am really grateful for all his work on this book it really came out beautifully.

BtZ: In a comics culture where books shipped late can turn fans against creators, SL has shipped on time throughout its run. Did you and Hector make a conscious effort to complete books on time because of this factor, or was it simply a matter of creator enthusiasm and professionalism?

First off, I want to touch on that idea of professionalism. In "indie" comics there is no page rate, and these projects become truly a labor of love as there can be little to no money in it. So, in these kinds of books, I can understand if the writer or artist has to make choices between paying gigs, family obligations, or whatever and getting a book out on time. These can be almost impossible calls to make, in cases like that I don't think anyone should begrudge a creator for doing what they need to do.

When Hector and I started Screamland, we knew it had to be monthly and on time. This is my first book and Hector's second (He had done THE LURKERS with Steve Niles at IDW) so we were not known qualities in the Direct Market. This coupled with the idea of the book, a genre-bending humor book, we knew it would it would hard to build an audience. Screamland could have gone out in late '07, but when we saw Hector's pace on the book we pushed it back. Again, it was important to both of us to have the book out every month, with the idea that it would help build word of mouth.

BtZ: According to your Web site, you've had a pretty diverse work history. How do you think the lessons you've learned during your career have shaped your story-telling ability?

Again, I think all the design work helped me think a lot in visual terms. Taking ideas or products and having to represent them in visuals can involve a lot of the same thinking as visual storytelling.

BtZ: SL # 5 comes out July 16th and wraps up the series' first story arc. In reflection, which issue are you the most proud of and why?

I wouldn't say there is a favorite issue; there are bits in each one I liked. I think both Hector and I got so much better from issue to issue, and I am really proud of that.

I am proud of Frank and the Count's interaction in the first issue, the bit with the Mummy and the comedian in issue two, some of the convention stuff in issue three, and other than a few painful bits of dialogue in issue four, I really liked that issue. I haven't revisited issue five at all since I handed it off to Hector, but I was really happy with that one.

BtZ: Are there any plans yet to continue SL past these first five issues? How about a TPB?

I don't want to jump the gun on any announcements about a trade, other than to say Image is planning one and it should be out before the end of the year.

I have another Screamland mini planned out, but it's dependent on overall series sales and sales of the trade. We'll see, if there is a chance to revisit I would love to. I have two more Screamland stories I would like to tell.

BtZ: Do you have any additional horror-based projects in your future?

Buster Moody, who colored a chunk of Screamland and drew the back-up story in issue four, and I have something planned we are shopping around to publishers now. It's also is not a traditional horror story but a series of short stories that follows a kid as his idea of horror changes from the supernatural to a lot of complex situations that all of us face.

BtZ: Thank you for talking with us.

Thanks man, it was a pleasure.