GVN Talking Comics Interview: Writer Alisa Kwitney for Ahoy Comics ‘GILT’ TPB Edition

Earlier this year, we had the opportunity to sit down with talented writer/editor Alisa Kwitney for her “timely” new book GILT. This was her first book for Tom Peyer and his posse at Ahoy Comics. She partnered with iconic comic artist Alain Mauricet for this perfectly intertwining combination of time travel, female friendship and trying to fix one’s mistakes. Throughout the five-issue series, Alisa combined a sardonic wit, changes in time, and a strict co-op board to explore how friendships are forged and sometimes lost, all due to a series of some unfortunate or fortunate decisions.

Now that her book has reached its conclusion, we had an opportunity to follow up with Alisa to see how the whole experience was working for the good folks at Ahoy. The fun and challenges of her collaboration with Alain Mauricet and perhaps, if another project for Ahoy is in the works. But first, we talked a little Netflix’s Sandman. So, let’s welcome back Alisa Kwitney to GVN Talking Comics.

Thoughts about NetFlix’s Sandman

GVN: I thank you once again for a little bit of your time Alisa.

Before we get on to GILT and its successful series run, I wanted to cover a bit about your Sandman podcast with Lani Diane Rich, which I would encourage those who loved the Netflix Sandman series to give a listen. Overall, were you pleased with the first season and how it was received? Also, if you had to guess, is there a season two coming? I would be disappointed if not. At the time of this writing, it hasn’t been announced. (Although Neil Gaiman said the scripts for season 2 have already been written)

AK: The first season of Sandman on Netflix surprised, intrigued and captivated me. At first, I was very aware of the differences in an intellectual way, in part because I was watching in order to discuss it. The changes fascinated me, and that got in the way of my just letting myself get lost in the story. So, it took a few episodes for me to stop thinking and just get utterly captivated.

But I wasn’t captivated in a “stuck-in-a-glass-globe-and-can’t-stop-watching” way. Which, it turns out, is the main metric by which Netflix gauges success. Some folks are speculating that it’s the nature of Sandman that leads to more slow-dining and less binging — the stories don’t all end on cliffhangers, and there’s so much content packed into each episode.

Binging vs. Watching

But I suspect that our viewing habits are also changing. A few years ago, when I first saw that you could binge watch a show, I binged like it was Halloween and I was alone in my room with my plastic pumpkin. But these days, I have work to do and dogs to walk and books to read, so I ration myself — two mini chocolate bars tonight, then a pause.

My prediction is that eventually the media hierophants and corporate soothsayers will realize this and say, “Lo, it is acceptable for a success to build slowly and steadily, and therefore we shall grant the people more Sandman, for verily they do desire it.”

Working with Ahoy Comics

GVN: I never considered that point of view. I do hope they see that and give us a Season 2. Thank you for indulging me on that, Alisa. So, when we last spoke back in March of this year, your first book for Ahoy Comics, GILT with talented artist Alain Mauricet, was nearing its debut with issue one. Now, fast forward to October and the TPB is being released. After all is said and done, how was your experience with Ahoy and were you at all surprised by the positive response by critics and fans alike?

AK: I love AHOY. Sometimes I feel like a rescue dog that can’t believe that it has found this lovely home where people approve things quickly and give prompt and useful editorial feedback, and things do not get lost in committee. And have I mentioned they support the books? And answer phones? I think having publishers who are themselves creatives is a big factor.

As for GILT’s reception — I’m always surprised when things go well, because I’ve written a fair number of things that sank without making a sound. That said, the whole time I was writing, and Alain was drawing I toggled back and forth between thinking, “Hey, this is turning out really well” and thinking “…and now I’m going to screw it all up.”

Looking Back

GVN: Obviously those fears were unfounded. GILT was great. However, as you look back on the completed work, is there something that in hindsight you might have done differently or took another approach, or do you not dwell on such things?

AK: I wish I had agonized and worried less about the days when I couldn’t write forward and had to walk and daydream and let the girls in the basement do their work. Sometimes I think I ought to be able to figure everything out on paper before I start writing. So, I read writing books and try different techniques, and sometimes they work, but often they don’t. I think GILT is the first book where I finally acknowledged that the irregularities in my writing and process aren’t flaws — they’re features.

Keeping Track of Thoughts

GVN: They are INDEED. I love the whole insider views of what went into the collaboration with Alain and some of your thought processes as you created GILT for the TPB. Do you generally keep record of such things as you create or was this new to you for this project?

AK: I often write little journal entries to break the crust that forms so I can start working on a project. And as I worked on the Sandman podcast, I realized Neil used to work those little “I’m feeling under the weather and not sure I know what I’m doing” notes into the actual script.

Possibly Revisiting GILT

GVN: As far as GILT goes, are you satisfied with how it ended? At least to the point where you could not see yourself revisiting Hildy, Trista and company or is there a possible volume 2 to be explored? Ahoy LOVES bringing additional “Seasons” to popular books.

AK: I’d love to explore more of GILT. There are so many story strands that I’d love to tease out and explore with Alain…who is Ruth? Is apartment 15E the only mystical gateway at the Bellicent? What was the building like in the twenties, and how do C.W. Leadbeater and Dorothy Parker fit in?

And then, of course, I’d love to tell more of Trista and Wynn’s stories. And revisit Hildy and Sam and Melissa and Thaddeus…yeah, there’s definitely more I’d love to do in this world.

Future Projects

GVN: Thanks again Alisa for a few minutes of your valuable time. It has been established from our first interview that you are not one to rest on your laurels. So, before I let you go, do you have any other projects ongoing? Ones that you want to (or able to) talk about?

AK: Mauricet and I have some new projects with AHOY that are not GILT, both appetizer and main course sized. The longer one is something I’ve been marinating in my subconscious for a while, and I’m very excited to be working on it at last. It will have elements of sci-fi and horror as well as humor, and it will be as personal to me as GILT was.

GVN: That is GREAT news and will give fans of you and AHOY something to look forward to.

Ahoy Comics TPB Edition of GILT by Alisa Kwitney and Mauricet is available on 11/2 where great books are sold.