Tom Beland: The John Mayer of Autobio Comics?

By Tim O'Shea

Tom Beland, the writer/artist of the six-time Eisner-nominated series True Story, Swear to God, has long been a favorite creator of mine. How long? Well I interviewed him for the first time back in 2001 about his series (currently published by Image Comics) detailing his and Lily’s relationship ("the true story of a real life romance"). I still remember around that time when he found out my then-wife and I were on the cusp of a wedding anniversary. He sent us a signed set of the first four issues of True Story, Swear to God. (By the way Tom, true to the trend discussed in this interview—she kept those comics when we split.) Beland’s a good guy, a damn fun interview and most importantly at present, a Golden State Warrior fan.

Tim O’Shea (TOS): My first question comes from an interview you and I did for a long defunct website, back in late 2001.

To quote you:
"... Wouldn't that be great? To get the same respect that cartoonists get in Europe? But I think we live in a country that will say ‘look what those little cartoonists did’ and then sweep us back into the intellectual gutter where they've had us before 9.11. That's quite the bummer thing to say and I'd love to see otherwise, but I don't see anything so far to make me think different. But they're the ones missing out, I don't care too much.

Frankly, I don't get it. Back in Napa, I mentioned that I'd love to join the Artist Guild of Napa. I was introduced to the man in charge and after mentioning my interests, he looks at me and tells me that the guild only deals with "fine arts." So, if I splatter eight different hues onto a canvas, frame it and give it some ridiculous price tag... well, then I can be part of the Artist Guild.

But if I create a story, where I breathe life and personality into my subjects and move you to tears with my storytelling, I have to sit at the kiddie table of the art world, because I'm a cartoonist. Cannot figure it out. What we do in cartooning, will always be perceived by the general public in our country as juvenile. For those groups of fans who consider what we do as actual art... they have my undying gratitude."

So my question, are you still sitting at the kiddie table?

Tom Beland (TB): [laughs].... FUCK ME, I sound HORRIBLE there!!!... I mean, WOW!!

Ummmm... okay, first of all, with an attitude like that, seriously, where in the hell else are they going to sit you? [laughs] I think I'm sort of in between the kiddie table and the adult table. That awkward teen stage in the family table-sitting era.

I remember that day very well. But, now that I'm older and more mellowed, it's not such a huge deal. Mannnnn... that's one angry dude. I sound like the world's worst Al Pacino imitator there.

I just remember that dude just giving me the look. Ugh. I HAAATE the look. That “you don't deserve to be in the room” look from a person. Anyone who's had their first table at a comics convention, who has seen strangers avoid making eye contact with you.... THAT'S the look. He just blew this hole in my chest with a cannon ball and never hesitated before firing... that was the really odd part. A person from the GUILD of artistry... thought I was a geek. [laughs]

But I can tell you something, man... sometimes the kiddie table is the FUNNEST fucking place to be sitting. Everything is so fucking fresh at the kiddie table and you're hanging with people who are doing the same things as you and it was some pretty crazy shit! Jesus, I don't know how people experience their first table experience at a con and even if you didn't sell ONE fucking book.... and not get hooked on cons the rest of your life. To me, it's an impossible thing to do. I have NEVER failed to have no less than three major brain-melting experiences at a con... to be around the other kiddies table friends is just fantabulous.

Jesus... someone should have told me to calm down back then.

TOS: I've always been curious--given that you both (he and Lily) met in 1998 and there's more than a five-year gap (from when the issue comes out and when you actually lived your life)--does it help to have some distance when telling some details of your relationship--or does the passage of time make it harder to remember the nuances of the tale you want to tell about your life.

TB: A little bit of both really. But I never hesitate to ask Lily about the details. She's a human recording device like no other. For me, strangely, I can visualize the entire moment and know how that moment felt.... but I don't have all the dialogue in my head. Lily can quote me verbatim on a conversation we had five years ago. It drives me crazy in arguments... absolutely drives me crazy. But, I also adore that about her too. She can tell me all those details for the visuals that I have in my head. The teamwork is very interesting.

Ummmm.... the time differences does one MAJOR thing for me in that I'm allowed to really take a look at that incident five years removed and if I was wrong, I can cop to it easier. Or the fact that if it was something embarrassing, it's easier to throw it out there because everything is more comfortable as time goes by. I just did a scene where I get a rectal exam and Lily asked me if I was going to be embarrassed by this scene. My reaction is, I've done much more embarrassing things in life, this is just an experience I'm telling.

But the fact is... as embarrassing as it is to have a rectal exam... and as shocking as that scene might be for some readers, that SHOCK N WHA factor will only last a couple of days. It's new comic... SHOCK N WHA... and then it's a buzz for the next weeks' comics. I can say something embarrassing about myself and know for a fact that next week it'll be another book in the spotlight. So, realistically, I can only be laughed at for about three days. No big deal.

TOS: Last year, you and Lily split up. That's none of my business, and yet, because of the book and the fact that you are honest with folks--your fans knew you had split up. On some level that had to make the split-up more painful as it was made public. Was there any time you or Lily regretted the fact that TSSTG existed and everyone knew about your personal business? And, as crass as it sounds, were you afraid the fact that you had broken up might affect sales--or did that thought never cross your mind. (And again, while it's none of my business--I'm glad you're back together). But if you had not reunited, would the series ended with your retelling of the break-up--or had you made that decision?

TB: The reasons for the break-up will be covered in the series. That was like trying to walk underwater... everything was in slow motion. Because the divorce wasn't just comic book news, but Lily was also a huge celebrity in Puerto Rico... so the networks here covered it, the newspapers covered it, the magazines covered it... I mean, your brain kind of tries to absorb the reality of all that coverage over someone's divorce, it tries to come up with the logic as to what makes this news and it just can't do it. So it just ignores the coverage.

The split had many affects on my relationship with this book. And, yes, I think this comic book and I have a relationship... much like when someone grows a garden. There's a bond you create and there were some weird emotions that came with it. I had some serious questions when I was back in Napa. Do I keep the book going? Do I jump quickly to the split and move on? Is anyone going to date a guy who was making a romance series that was based on this incredible woman? Can I keep my negativity out and still convey why I care about this woman?

I asked every one of those questions the day my stuff arrived at my new apartment and I had the studio set up. I was staring at my drafting table and the blank page laying upon it. I really wanted to make sure I could do this... because it was going to be emotional.

And there was never an answer to it. Never in words, anyway. I remember I just sat down, took out a blue pencil and I sketched her face. Just... a simple face of her smiling, the shoulder raised a bit. It was like she was saying "let's get to work, papi."

And I did those issues.

What I realized is... some stories cannot be rushed. They cannot be cut short. They can only be allowed to be told completely... no matter how tough it is to write at times. The story has to be respected by the writer. If I quit doing this... I never deserved her to begin with.

And I did go through some of those things. I briefly dated someone who wanted to read this book she was hearing about. I gave her the first trade, she was all excited and the next day, she had the look of someone who just walked out of the slaughterhouse, [laughs]. We were walking and it was real quite for a time and then she just says "Soooo... I read your book."

"Yeah..?" I asked her.

"Yeeeeee-ip."

"And..?"

She looked at me and said "Pretty fucking romantic. Like, that was one of THE most romantic stories I've read..." She couldn't believe we split up... she couldn't believe I was able to talk about certain things... but most of all... how does a woman compete with THAT? And, it was weird, I couldn't blame 'em. That's a tough act to follow.

But the really cool thing I take from that year is the way Lily and I were to one another. We still talked all the time and sometimes we just cried... and I mean CRIED on the phone. Other times we were laughing our asses off and we were just.... we were just good to each other. Fuck man... I'll be proud of that forever.

That's what I would have the reader take from the ending, had it ended with the divorce. We were as good to each other that year, as we were the week we met. That's the message of everything.

But the most amazing thing to Lily and I... was the reaction to us reconciling. I mean... it just eliminated all the hurt of that year. When you find out that over three thousand people downloaded a YouTube video to hear about the news... it's just so fucking cool. And every now and then, someone will see us at the store or walking around and they'll lean over and say "I'm so glad to see you two together again." It's just nice.

TOS: Some reviewers choose to review your life rather than the actual quality of the story? Clearly this is something that frustrates you, understandably. Have you decided to ignore those reviews going forward?

TB: Ugh. Reviews. I popped off over at Comic Book Resources last year and it was pretty ugly. That was the only time I felt unfairly reviewed and Jonah felt the same way.

I remember when you could find review sites all over the place, but really, I'm finding fewer sites to go to. Many of them only review the major titles or their sites haven't been updated since 2004 or so. I mean, perhaps that's got something to do with podcasting, but it's tough to find reviews nowadays. That or my book sucks. [laughs].

Look... I can only say that IN the title, it states that it's a TRUE STORY (Galactus won't be making an appearance) SWEAR TO GOD (meaning "hey, serious... there are NO superheros in this book") the TRUE STORY (Understand me here... it's actual people) of a REAL LIFE (that includes regular mundane moments that make up our lives) ROMANCE (I'm expressing my love for someone I'm in love with.. there will be kissing... there will be an exchange over topics of a romantic theme perhaps... and there will be... yes... kissing.)

If someone can get past a title that says all that on the cover of a book... and then still complain that nothing happens, it's too romantic and it's like anyone else's life... that confuses me more than upsets me. A critic should understand the genre they're about to critique. [laughs]. Or am I asking for the moon on this?

TOS: Some of your work from the AiT days is available in trade, but you're on the cusp of an Image collected edition. How exciting is that to have on the horizon--and what can you tell folks about it?

TB: It's going to contain the entire run of the Clib's Boy run and I'm so thrilled about. It just something that blows my mind when I think about it. Giddy. Not sure when it's going to print, but a running title I have is "TSSTG: YOU CAN'T LOVE TOO MUCH ONE PART OF IT" from a John Mayer tune I love.

TOS: Would you ever consider having a guest artist on an issue of TSSTG, just to see how they render your life, or would that be too weird to experience for you?

TB: Yes and no. I've seen other artist do my characters and I totally dig it. How can you NOT dig that?? Scott Morse did the cover painting for issue #12. I loved his take on my character and the dude did that cover in TWO FUCKING HOURS and then sent me the sketch AND THE ORIGINAL ART to my place and it's hanging proudly in our house. I've contacted Keith Knight about doing a cover for me. That's going to be awesome, since he was my inspiration to DO comics back in the day.

TOS: Other than the omnibus, what's on the creative horizon for you? What teasers can you offer about your life? (I partially am joking with the tone of that last question.)

TB: I just finished a story for Marvel, a 38-page Fantastic Four where the FF travel to PUERTO RICO!!! Yes, really. It's a very fun issue and I can't wait to see the art on it. I'm also writing a story for Bongo Comics (Simpsons) featuring Bart and Comic Book Guy. I'm laughing while writing it, so I hope everyone digs it.

I'm developing a pitch for a book I've wanted to do since I was in my 20's. I've had these characters forever and I think I might go for it.

TOS: That book you're looking to pitch, willing to divulge any details--ANY?

TB: I haven't officially pitched it to anyone before... but it's a superhero book, there's a lot of profanity and the hero becomes unglued when faced with a certain situation. It's soooOOOOoooo not TSSTG. [laughs] It would have to have the right artist too and I'm just now asking around to see who's interested.

So, all I can tell you is that the pitch I have... is just the single greatest comic book idea in the history of comic... ummm... booking.

TOS: Over the years, dating and/or married couples, I imagine, have shared their reactions to your book--what's the most interesting story or reaction have you heard about?

TB: We get invited to people's weddings. That's pretty cool!

The interesting moment is something that, when that moment strikes, it's a fantastic victorious moment... and only Lily knows I'm having it.

That moment will come when a reader will come to our table and tell us that he loves the book, loves the art and that this is the comic book him and his wife/girlfriend/partner into reading comics. Then there's this pause and... and this is when you feel that moment on the horizon... it's coming. There's this pause and then the guy will say "we broke up last month" or some date and you now know what's about to happen and you put in place those emergency conditions to prevent this guy from seeing this moment hit me. And then he says it... wait for it....

"She took the TSSTG comics."

Bingo... that's the moment. I always look down a bit and celebrate that. Because, it's not that I'm heartless, let me explain. To find a woman or significant other give comics a try is a huge achievement, I know this. To be the book that got this person into reading comics is so cool. But then, there's this image I'll have at that moment of the woman storming out of the apartment, telling him not to call her and goodbye. She slams the door shut and there's a pause... wait for it... she comes back in and grabs the stack of comics and storms back out. That's a pretty powerful image.

So I always feel sorry for the guy... but it's also just so rad. [laughs]

We give the person half off on a new set of books. See..? I'm a giver too.

TOS: Again, in our 2001 interview, I asked if you'd ever want to work for Marvel or DC. Part of your reply (Where you said, in essence, "no") was: "I love being excited about Spider-Man, Fantastic Four ...and my other super books when they come out every Wednesday. If I tried to do that sort of thing, it might turn me off."

Fast forward to 2007--you've since worked for Marvel. How did that happen and did it turn you off as you feared at one point?

TB: Marvel.... was such a fucking lightyear from my own reality, I had no business even answering that question back then. [laughs].

“NoooooOOOOOoooo... Timothy O'Shea... should Marvel or DC come to my humble abode... where I make comics that over SIX HUNDRED PEOPLE REEEEEAD... I dare say that I shant allow them to use my words. After all, Timothy O'Shea... I DO have an army of readers of over SIX HUNDRED REEEEADERRRSSSS!!!”

Jeeze... what a knob.

Ummm... Marvel came out of fucking nowhere and the experience hit me like a Mac truck. I was doing a signing in New York at Jim Hanley's Universe and here walks in Tom Brevoort. He told me he liked the way I write couples. Y'know... that was the very first moment someone told me I could write. I mean, time is standing still as I'm looking at Tom and then at his business card that has this Spider-Man on it and time is just.... frozen.

And then he just walks out and I swear to God it felt like I was Norrin Radd as he stood up on the palm of hand of Galactus.

I put some insane pressure on myself to write something that wouldn't be in the quarter bin... on its release date. So months went by of me sitting at my laptop in the living room as Lily watches television next to me and me suddenly screaming "I SUCK!!! WHO THE FUCK WANTS TO READ A GIBBON APPEARANCE??!!! I SUCK!!!"

And then I decided to chill-out a bit and the idea for Spider-Man Unlimited #12 began to develop. I sent the idea... it was only a few paragraphs, just the germ of the idea to them and we began the process and I found out that I really love writing scripts. It's very cool to see your words illustrated by someone else. Very cool.

Web of Romance was my first 24-page book and my editor was Aubrey Sitterson and, man, he just rules. I wrote the story and then we reworked it a few times and he gave great suggestions. I think that's the key in working with Marvel. You can't look at it as just your story. Because there are a number of people around you in the creation process and you really have to learn to let go of the grip in a way. The original opening to that comic had the Rhino hanging from the lamppost and Aubrey called me and said "Y'know... the Rhino is in like a hundred titles these days. Why not go with someone else in the webbing?" I didn't know who else to use and since it's a romance comic, why not use Mandrill?

My first thought was, "How pompous a man do you have to BE to have not only the ability to make women do whatever you want them to do sexually... BUT... to ALSO have the confidence to name yourself 'THE MANDRILL." So his dialogue was very condescending. It was a very fun scene.

I just wrote a Fantastic Four script that has them traveling to Puerto Rico to battle the Mole Man and the Chuppacabras. I'm still tinkering a bit and Stephen Wacker is another great editor over there.

And look, anyone who knows how I acted on the message boards back in the days of the comic strip should be FLOORED to discover Joe Quesada hired me for Marvel work. I was completely blown away and I've said this many times. When you're starting out, chill out. I was a dick on the boards because I was impatient with my own career and was jealous of those moving up faster. Ugh. Glory days. Not my shining moment in comics.

TOS: Are you doing writing AND art chores on the FF tale?

TB: No, I did the script and the art, I believe, is Juan Doe. I think it's a fun story.

TOS: OK, given that you're doing Marvel work--any chance you'd consider DC, or are you strictly a Marvel boy?

TB: Oh man, I'm so new to this dance, I don't care WHO'S playing the music. I'd LOVE to do something for DC, although my knowledge of their characters is not as full as my knowledge of Marvel. I'd love to write something for TEEN TITANS GO because I love the cartoon series so much. I'm sort of getting known as the "Romance Guy" and I'm not entirely sure where I'd fit in a DC book. But I'd love the shot.

TOS: Looking back at where you were when you started this book to where you are now--other than the sheer fact of being with Lily, what's been the best part of doing TSSTG?

TB: The best part... is when I'm in the home stretch of an issue... like page 20. Everything is coming together and it's such a fun time. Pages 4-19 are work. I love seeing the book all together. I love how Lily's the first person to read the pages once they're all complete. I'll either make a set of copies of the issue and she'll read those, or the actual pages. She'll go into the bedroom and close the door and when she comes back out, she's the first review of the book's life.

TOS: The year you were apart--who was the first person to read them?

TB: She was. Even then. I'd FedEx the dummy book to her to look over. That was what my friends and family thought was bizarre... the fact that I could still interact with her after the divorce and still be friends. We just still were very good to each other.

TOS: Is there anything else you'd like to discuss?

TB: Yes. My Golden State Warriors are the most entertaining team in the NBA. After 12 years. what a great experience the playoffs have been.

At this very moment, Lily is in Colorado for 10 days.. I'm watching NBA... making comic pages... and cooking up the greatest meatloaf ever made.