There are so many great people in the comic book industry, and I feel elated when I get to talk to any of them—especially when it’s one of my favorites. Kelly Thompson has quickly become one of my top writers over the course of just a couple of years. I’m thrilled that I had the opportunity to ask her a few questions.

Kelly Thompson recently became exclusive to Marvel Comics. She has published two novels: The Girl Who would be King (2012) and Storykiller (2014). She has also published a creator–owned graphic novel Heart in a Box (Dark Horse Comics, 2015) and a creator–owned middle grade comic book called Mega Princess (Boom Comics, 2017). She is currently writing Hawkeye and Rogue & Gambit for Marvel and Ghostbusters: Answer the Call for IDW.

Hey Kelly, thank you so much for taking some time out of your day to talk to me. I’m sure the community will love what you have to say. First off, I like to ask creators what they are fans of. So, what are your favorite fandoms? What were you first fandoms?

KT: Hmmm…defining as things I was fanatical about…certainly an X-Men fan, a Buffy fan, Sliders fan (that’s a deep cut!), West Wing Fan…that’s a weird one I guess.

What’s your story? When did you start writing?

KT: I started writing very early actually. An early memory from when I was six, I think, was not only writing my own little series about some mermaid sisters but also constructing the books with little die-cut covers and everything. So I was not only trying to write but also “publish,” which is sort of funny in retrospect.

I know that you have a few novels. I haven’t read those yet, but I’ve read several of your comics. How did you actually break into the writing industry?

KT: I think I broke in by failing to break in. I got an agent very easily and we worked on my first book (The Girl Who Would Be King) for years and almost sold it to one of the big six publishers…but it was always just “too much” of something. Too violent, too adult, too something. I eventually parted ways with my agent (amicably) and took the book to Kickstarter where I self-published in 2012. It became a bit of a cult hit and really helped raise my profile and gave me a bigger platform and audience.

But even that was not “the thing” that did it. Rather it was a combination of a bunch of things I was doing all at the same time—writing comic book essays and reviews, writing an OGN, developing pitches for licensed work, and writing and publishing novels—and that I didn’t stop doing until I was through the wall. I can’t point to any one thing.

Did you always want to write comics, or did that come up later? Did you start indie? (If you answered this sorta in previous questions I’ll edit.)

KT: I wanted to write comics since I discovered monthly comics when I was about fifteen. I loved them as a reader, but I also started creating my own characters and trying to write my own stories immediately. I eventually transferred from The University of Arizona (where I was a graphic design major) to The Savannah College of Art & Design so I could major in comics (aka Sequential Art).

How did you first get in with Marvel? You’re exclusive now! Which is awesome…was that a dream of yours?

KT: Yeah, I mean as a kid you don’t know anything about contracts, but you know that you’d love to go to the Marvel offices, to get to meet those people and participate in creative retreats, so it’s totally a dream come true. My first project with Marvel was a mini-series co-write with Kelly Sue DeConnick—Captain Marvel & The Carol Corps. The editor on that was my eventual Hawkeye editor Sana Amanat, and I believe I came to her attention because I’d been pitching them a Hawkeye book I was calling “Hawkeye Investigations.” The rest is history I guess!

So, Kate… is she awesome or what?

KT: She’s the best. I love her.

I think you have a strong skill with characterization and relationships. And then I love how you handle Rogue and Gambit already. What is your approach when it comes to capturing the essence of these characters’ personalities and relationships?

KT: Dialogue comes pretty naturally to me, so if I do my research and really listen for the voice, that part of it usually comes pretty easily. But of course everyone’s approach is different—it’s important to me that I find a voice for the character that feels authentic but that I can bring something specific to. But that doesn’t always work for everyone—it’s a “your mileage may vary” sort of situation, I think.

On the raw creating side of things—I’m talking pot of coffee and a blank Word document—what is your general process? Late-night Pomorodo? Extensive planning? Seat of the pants?

KT: There’s always a ton of brainstorming, planning, and always a literal outline or at least an outline shaped notes before I sit down to actually write a script, so it’s never really seat of the pants. I tend to write my scripts very quickly—but after a lot of thinking and plotting and hatching (and procrastinating). Unless I’m badly stuck and need a pen and paper brainstorming session, I just work on my laptop. I prefer pen and paper for some things, but I just don’t have the time for the transition…straight to laptop is just faster and thus more effective. Coffee never hurts.

What advice would you give to writers or artist trying to get into the industry?

KT: Be polite and professional—it’s a very small industry and everyone knows everyone else.

Thank you so much. I think that’s all I have for now. Hope to speak to you again some time, Kelly. Keep being awesome.

You can read more about Kelly on her website, and follow her on Twitter at @79SemiFinalist

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