“Don’t Swallow the Bitter Pill”: Present’s Leslie Stein on Simple Pleasures and Wanderlust

Stein: You are referencing the 10 years worth of black-and-white stories in the Eye of the Majestic Creature series. I wanted to make that series as consistent as possible, but of course the style was going to change given that I started it when I was 22! Jeez Louise. So yeah, the color comics came out maybe as a reaction to that and desire to play around with other materials and color.

Present Interior Art by Leslie Stein

Paste: The lack of lines around your characters’ faces almost seems like a reflection of their openness to new experiences and their emotions bleeding out into the world. Would you say that description seems like you at all? You’ve also stopped using panels (or at least more clearly defined ones). Same reason?

Stein: The ultimate cartooning is expressing the most with the least. I wasn’t mature enough to do this earlier and was relying on a lot of detail and stippling in order not to hate myself. From what I can tell, people are getting the emotional significance in the character designs and reactions to each other, so I guess a line around the face just isn’t necessary here? But, yep! I think you are correct that there is a correlation to the openness of design in regards to the spirit of the pieces and the love I’m trying to portray to the reader.

Also, yes, that sums me up. I’m a very open-to-new-experience person. Of course, I change things around and mix experiences to enhance the stories, but these are all based on real events.

Paste: There’s a sketchbook-like quality to your work. How much do you plan ahead, thumbnail out, fix things, etc.? Is the spontaneity real or achieved through hard work?

Stein: It’s both. I write the comic out just to get a tight story and then kind of attack the page with very, very minimal penciling. My last book in this style, or predecessor to this style, Bright-Eyed at Midnight, I never penciled. I just started at the top right of the page and let things flow. Present is all the lessons I learned from that book, forming a more concrete, but still experimental, style.

Paste: You’ve lived on both coasts. Which one feels more like you?

Stein: Oh, I don’t know. I loved living in San Francisco, and I love living in New York. I grew up in Chicago, so I got some midwest in me for sure. I find the idea of living on the California coast somewhere someday very appealing and romantic.

Present Interior Art by Leslie Stein

Paste: You work nights, as a bartender. What are the advantages of a service industry job (as opposed to teaching, which seems to be the other way comics artists make a living)?

Stein: No homework! I leave work and I don’t think about it until I’m there again. I think teaching I’d have some sort of emotional investment and it might be hard to separate. I’ve substitute-taught kids [and] I liked that a lot. But college age is different. We’ll see what happens. I might someday.

Paste: When do you make most of your comics? Before you go to work or after you get off (or on your days off)?

Stein: On my days off, since I work only happy hour shifts now. I used to work during the day when I had to go in later.

Present Interior Art by Leslie Stein

Paste: Tell me about your comics education: who was your most important teacher?

Stein: I don’t think you need to go to school to make comics. It’s probably a waste of money, you just need to do them. That said, I did. I wasted my father’s money. Poor guy. I really loved a teacher named Keith Mayerson. The best thing he ever said to me, and I let resonate and come back to is more of a life lesson, even though he meant it in regards to the art world, was: “Don’t swallow the bitter pill.” I’m still thankful for anything to come my way, one reader, one dollar, even after all these years.