Dream Factory #1
(UK strip/fanzine) December 1998

Stranger from a Strange Land

Gary Spencer Millidge is one of several successful self-publishers from the U.K. He has also been a part-time resident of the South West which automatically made us interested in his work. When Dream Factory's creator, Tim Seelig, set about putting the magazine together, he consulted Gary for advice which then turned into an interview for all budding self-publishers.

Dream Factory - What state do you feel the UK comics scene is in (from both a self-published and the more commercial point of view)?

Gary - The UK comics "industry" as such has been in steady decline for years. Apart from TV tie-ins, reprinted material, Viz and its clones and 2000 AD there is no industry - the only growth area seems to be the nursery activity type comics, which again are usually licensed properties. Nothing original is being created, and there are seemingly no large companies which are prepared to invest in any new comics projects for general newsagent distribution.

There is certainly some interesting activity regarding British self-publishers who are sheltering under umbrellas like Abaculus (Shipp & Lamming's Gyre, Paul Rainey's Love Bomb) and Ariel Press (Sapphire and Gravestown), although I personally feel that there is little to gain by such alliances; it almost seems contradictory to self-publishing's ideals. However Paul Grist's Kane continues to thrive in a shrinking marketplace, as does Strangehaven, both of which are genuinely independently self-published.

There are also a steady stream of new British self-published titles (like Dave Chapman's Missing and Metaphrog's Strange Weather Lately) which are attempting to go through the international direct sales market, and of course Slab-O-Concrete's efforts for alternative distribution for genuine small press is very encouraging. There does seem to be a lot of quality in the small press in the UK at the present time, but both small press and slick self-published titles continue to find it very difficult to reserve shelf-space in the vast majority of specialist comic shops (both here and the US).

Dream Factory - Would you recommend self-publishing?

Gary - Without a doubt, yes, but you have to be highly motivated, well organised, dedicated and be prepared to make sacrifices. As Dave Sim says, "if you want to self-publish, nothing can stop you. If you don't want to self-publish, no-one can help you". Ironically, it's an ideal way to develop and promote your talents if you are looking for freelance work - a self-published book can help you get a good reputation, make useful contacts and is an ideal calling card for potential editors.

It's also a complete solution in itself if you believe in creative control and ownership, although it's very likely you will have to be prepared for a long hard slog. I personally believe that if you have a good product then self-publishing is the best alternative.

Smaller publishers (like Caliber, Sirius, Slave Labor and even Image) can offer you creative control of your title, but I don't believe that those arrangements have many benefits in the direct sales market. I think it's significant that Jeff Smith's Bone, Terry Moore's Strangers In Paradise, Ron Walton's Ragmop and others have gone from self-publishing to pseudo-self-publishing with Image and back again.

You should research as much as possible before embarking on your own book -- Dave Sim's Cerebus' Guide to Self-Publishing is an absolutely essential read. Many other self-publishers write about their experiences in their own books, but the beauty of self-publishing is being in total control of your creation from start to finish, and will be the sole beneficiary of any financial rewards that your work may eventually return.

Dream Factory - I knew you'd bring Mr. Sim into it, and I just happen to have a copy of his Self-Publishing guide. On reflection most of it is extremely helpful, but I find his comments about of the people in the big companies a little severe at times (however true they might be). In particular are the Editors like Karen Berger who he seems to vilify with ease. Some creators may have it coming to them to be mocked and insulted, however innocently they started up their comics company and then turning them into a commercial abyss (so when are your 'Strangehaven' Action Figures coming out Gary?). Seriously I did find myself gritting my teeth slightly when I read various comments by Dave, and thought 'Sheesh! This guy REALLY means it doesn't he'. In fact I've read the Self-Publishing Guide several times. I'm still not sure whether we're doing the right thing, but I guess that's something you carry with you in the beginning.

Gary - Dave is a real character, but he gets it right most of the time.

Dream Factory - In fact I've read the Self-Publishing Guide several times. I'm still not sure whether we're doing the right thing, but I guess that's something you carry with you in the beginning.

Gary - I think you will probably come to appreciate some of his points even more the longer you are in this business. A lot of what he said didn't make any sense to me for a while.

Dream Factory - What was it like putting together issue one of Strangehaven?

Gary - I had only produced a few dozen pages of finished comics in my life prior to embarking on Strangehaven. I set out to create 24 pages of finished art within a self-imposed deadline, and it was a tremendous struggle. Finishing it was a huge relief. You would imagine it gets easier and quicker the more work you produce, but if you are intent on constantly improving your work, I don't think it does. You have to keep re-adjusting your sights as you get more ambitious and that rainbow never gets any closer. The finished article didn't meet my expectations, and I've learnt from my mistakes. My social activities have been severely curtailed and I see my friends and family a lot less often since I began issue one.

Dream Factory - Quantum physics - just a fascination, or have you ever had to study things along those lines?

Gary - No, just interested in science I guess.

Dream Factory - In your opinion, what has been the best and worst year for comics?

Gary - I really have no idea how to answer this question. I guess the worst year was when Capital City Distribution went out of business. The best year? 1961.

Dream Factory - Is Strangehaven based on a real place?

Gary - Many of the physical features of the actual village are based on a village called Dunsford on the edge of Dartmoor. Other buildings have been added from Essex and Kent, although the countryside and tors are most definitely Devon. The coastlines are a mixture of north and south West Country coasts, deliberately mixed as to defy any logical deduction of Strangehaven's specific location.

Dream Factory - Do you plan to keep collecting past issues in TPB's like Arcadia? (Is it to your favor in terms of cost etc)?

Gary - Everything is dependent on sales. While it is financially feasible to keep all of Strangehaven in print, I will endeavor to do so. Obviously, collected volumes are easier to manage as back stock, but there is a distinct market for single issues too -- although there obviously there comes a point when there are too many to keep track of. Trades also require a bigger initial investment. Hopefully all of Strangehaven will be collected in six-issue blocks and kept in print in order to attract new readers.

Further information on Dream Factory, contact Tim Seelig, Dream Factory, 4 Pavilion Place, Exeter, Devon, EX2 4HR, or e-mail at tseelig@plymouth.ac.uk

©1998 Dream Factory/Tim Seelig

If you've read any notable pieces concerning Strangehaven that may have escaped our attention and does not appear here, we'd like to hear about them! E-mail us at webmonkey@millidge.com

All text and images (c) copyright Gary Spencer Millidge/Abiogenesis Press All rights reserved.