I met Robert Tinnell when I went out to the Comic-Con in San Diego a couple of years ago. Bob checked out my portfolio and told me he had a story to do and asked me if I would like to illustrate it. I could not say yes fast enough. Bob will always remain one of my favorite persons because he was the first guy that gave me a chance, which lead to my first professionally published work in an anthology called Zacherley's Midnite Terrors. Robert Tinnell was one of the first names that came to mind when it cam to these interviews, and here is his.

GM: Can you give me some background on your education?
RT: Sure - liberal arts at Fairmont State in WV. Film at Point Park in PA, and I graduated with a BFA in film production from Columbia College in Los Angeles.

GM: Can you talk a little bit about how you broke into the comic book industry?
RT: Pure dumb luck. Neil Vokes is a good friend. I was in film, he was in comics. I couldn't really conceive of my moving over into his world (he was drawing Superman Adventures at the time). If he hadn't invited me I don't know that I'd ever have done it. He asked Todd Livingston and I if we were interested in having any of our screenplays turned into graphic novels - it was something Neil was interested in. We said yes, and the rest was history with The Black Forest and The Wicked West.

GM: Who were your influences that made you want to work in comics?
RT: Boy, that's a loaded question. It goes all the way back, I guess, to my very first comic - Peter Cannon, Thunderbolt - which even as a very, very young kid - I don't know that I could even read yet - it really captured my imagination. But through the years, guys like Marv Wolfman and Archie Goodwin were huge influences. Roy Thomas. Books like Tomb of Dracula, the Manhunter mini-series was big influence. The Marvel B&W horror mags. Moore and Gaiman I enjoyed immensely - but by the time I got to them I was already writing. As far as artists we don't enough space! I loved Gene Colan and Neal Adams as a kid. As I grew older, I enjoyed studying the masters folks like Hal Foster and, of course, Eisner. Tons of people I think are awesome. Wally Wood. Ditko. Kirby. I was too young to be there for their golden ages. This is dangerous - I'm leaving too many people out.

GM: Do you work in comics exclusively or do you also rely on other outside income sources?
RT: My income comes mostly from the film business. I've worked as a producer, director, and screenwriter for years. At the moment it pays ninety percent of my bills.

GM: How long is your work day when it comes to comic/comic-related projects?
RT: It depends. Every day is usually 10-12 hours for me. How that is carved up depends. Lately it's been more film work because that's what pays the bills. But sometimes it's all comics.

GM: As a writer, what resources are you using to come up with new stories?
RT: Life experience. Ideas hit me like lightning bolts. Sometimes they arrive nearly fullformed. Which leads me to believe I write sub-consciously a lot. I'm very much inspired by things in my family's history. My childhood memories are a fertile garden of ideas as well…

GM: What has been the most effective way you've found to promote your work?
RT: Hands down the web. Conventions come in a close second. I often say I think you have to build your readership one person at a time. Get some real fans and watch how hard they'll work for you.

GM: So far, who have you really enjoyed working with as an artist/writer in the field?
RT: Every single one. I love it. I learn so much from them. Hell, on Feast of the Seven Fishes, Alex Saviuk took me to school as far as doing a daily strip goes! Neil has been a teacher. It's different every time. With Adrian Salmon it's like this insane riff session. With Bo Hampton it's film preproduction. All different. I'm leaving a bunch out!

GM: At this point in your career, what is the one thing you've worked on that you are most proud of?
RT: Wow. Tough call. I guess Feast of the Seven Fishes, as it's been so well-received and is so personal. But otherwise - everything. I love The Wicked West. I love Sight Unseen and The Living and the Dead. And my story in the new Wicked West is maybe the best thing I've ever written. You ask tough questions!

GM:I know you've been working on The Chelaton Kid rather recently; what can we expect to see from you in the future?
RT: Well, I've got a lot of film obligations at the moment. But I do have new projects with Mark Wheatley, Bo Hampton, and Neil Vokes. And Adrian Salmon and Shawn Oakley. And a monthly book I'm co-writing with Andrew Sands that Drew Rausch is drawing called Young Edgar Allan Poe. Whew! I thought my comics' work was slowing down.

GM: And finally, what piece of advice can you offer anyone who is currently trying to break into the industry?
RT: If you have talent - it can happen. But like the film business it's a war of attrition. You simply cannot quit. You have to pursue every project with passion and professionalism. And take chances.

Don't forget to read Robert Tinnell's The Chelaton Kid every weekday at www.SunnyFunDays.com. Plus, check out more of his great work at the following sites:
www.FeastoftheSevenFishes.com
www.TerrySharp.net
www.TheBlackForest.net
www.TheLivingandtheDead.com
www.TheWickedWest.com

More interviews by Geoffery Mosse:
TJ May
Chris Batista
Ken Knudtsen
Todd Dezago