Long Story Short ★ with SCOTT REED
How comics was the perfect marriage of Writing and Art for this creator.
Ohio native SCOTT REED’s steadfast vision of using his writing and art skills to pursue comics has led him on an interesting creative journey to the multiverse and beyond.
BTP: Tell us a little bit about yourself and why you decided to pursue your career as a creative storyteller.
I started writing short stories when I was 13, starting with a pen and paper. My parents bought me a used typewriter soon after, which made it all seem ‘official’ that I was an actual writer. I loved that feeling and was inspired by seeing my stories typed out on the page (regardless of how juvenile and grammatically incorrect they undoubtedly were). Regardless, I was hooked. I had caught the writing bug. I was also constantly drawing, but I wasn’t really utilizing my art as a storytelling method yet.
BTP: At what point did you go all-in to choose the creative arts as a career? Was your family supportive?
I think by the time I was 11 or 12 I knew that I wanted to be a professional artist, but I didn’t really have a clear picture of what that might look like yet. My family was always supportive of this, fortunately.
BTP: Who was your first advocate or earliest mentor that helped in your pursuits?
I would write funny short stories and share them with friends and classmates, and it was pretty gratifying watching them burst into uncontrollable laughter while reading them during study hall. So, I suppose those kids were my earliest advocates. My high school art teacher was an important supporter who recognized my talents and helped me develop a portfolio to submit to art school.
BTP: Having had a similar experience I can see how that would encourage you to keep following that path. Oddly enough your comic output has always had a dark overtone to me, even with bits of very dark humor. Why do you think that is and when did it all take a turn in that direction?
I’ve never really examined this. I just write with as much honestly as I can and put my best foot forward with it. I’m not afraid to walk my characters through dark places, if that’s what it takes to tell a good story. Sometimes these things just happen organically for me. I think part of it is the fact that I fell in love with comics during the 1980’s, when comics were suddenly becoming more mature and complex. I’m still chasing that concept.
BTP: When you originally set out to study and learn, when did your learning take place and what resources did you have available to you?
My school library was well-stocked with many of the classic sci-fi literature, so I took full advantage of that. I just read everything I could get my hands on, beginning at around age 13, from my parents subscription of Readers Digest to the school required reading material. I didn’t set out to do this intentionally, but I gravitated toward the classics at first; the works of H.G.Wells really captivated me and I read through all of his stuff at breakneck speed. Jules Verne and Robert Heinlein’s young adult stories. Short stories such as The Most Dangerous Game, The Legend of Sleepy Hollow and Lord of the Flies were my introduction to darker themes, which brought me to Mary Shelley’s Frankenstein. That book was a pathway to Stephen King, whose work wasn’t available at school but I found it elsewhere. His writing hit me like a lightning bolt. And then there was comics.
BTP: Reading was huge for me as well. We had a small set of books at home, and I’d frequent any library I could. It seems like these were the building blocks for what I wanted to write and draw. It seeded a lot of my imagination. Did you struggle with choosing between writing and art, because they seem inseparable for you?
I’m not sure I would say ‘struggle’ but I do try to segment the time I spend between writing, drawing and graphic designing.
BTP: When compared to your early work experience do you feel like you were well-educated to step into a role or was there a larger divide between school and actual pipeline production?
I think the main thing I learned from Art School was methodology. I learned how to sit down and complete a project in an organized fashion. I was taught traditional graphic design and illustration processes just prior to the introduction of computer design technology. So I had to figure all of that out on the job. That was a very tough transition for a young artist to make, but I made it through. So many artists from my generation didn’t make that leap.
BTP: It’s stunning how that technological divide shook our industry. I remember always feeling like I was in learning mode, trying to catch up. Have you had to take classes along the way to keep your skills sharp or have you mostly been self-guided? What have you been focusing on lately?
I never had to take computer or digital art classes because fortunately I was able to learn on the job. There was a lot of ‘fake it till you make it’ going on with me in the 1990’s when I was starting out in graphic and web design. Same situation with comics. I had to figure out how to transition my toolset into digital when I was creating web comics in the late 90’s. Those comics are a patchwork of traditional and digital, so it was a slow transition. I think I went completely digital by 2008 when I bought my first Cintiq.
BTP: What do you feel was missing in your education vs. the reality of the job? How would you fix this?
There was no business training in art school. Understanding how to deal with contracts, freelance taxes and clients is an essential skillset, but it was a total non-subject in art school. I hope this has changed.
BTP: Sad to say I don’t think it has changed. This is EXACTLY one of my biggest gripes with the arts in general when it comes to education. You’ve been a freelancer a long while. How did you go about learning to run your own business? What was key to making it successful?
There’s lots of sage advice out there and lists of do’s and don’ts and I certainly made mistakes along the way. But over-all, my persistence, diligence and having a good work discipline are the three big factors for my success as a freelancer.
BTP: As creatives we tend to have personal goals or aspirations for ourselves. What are yours and what does achieving that look like in the next 5 to 10 years?
Mainly, I just want to get better at this. It’s easy to get complacent or stay in your own lane, especially when you’ve been at it for decades, so I hope that future-me will still be growing as an artist and doing work that continues to be satisfying and successful.
BTP: Agreed whole-heartedly. How do you keep the fire burning? Do you have a community of artists or a way to push you out of your comfort zone?
I took up plein air painting in 2014, when I was feeling genuinely burned out from working in comics and graphic design. It was just the thing I needed, and I still get outside to paint whenever time and weather permits.
BTP: What are your biggest fears in your career currently and what are you doing to keep those in check?
As a seasoned comic book creator and graphic designer, I want to stay relevant and produce work that is consistently impactful. Ageism is a real bias in all fields and it’s important to me to stay educated and informed about current trends and best practices. I think that remaining aware and proactive about these things alleviates my fears of falling victim to ageism. I’m also deeply concerned about generative AI, which is a topic for another conversation.
BTP: It’s interesting how we heard whispers of ageism in our youth, now that we’re in the Middle-Ages, as it were, it’s hard to know how to equip oneself. I think you’ve got the right idea by staying vigilant, but it can be exhausting. How do you maintain that level of performance and how important is self-care to you?
Self-care is more important to me now than when I was younger. I’m fortunate to be in good health, but having a sedentary job isn’t the best thing for anyone, at any age. I try to pace myself, structuring my workday with breaks for the gym or a quick bike ride. This is often a challenge when facing deadlines, but I do what I can to keep things in balance. I use an adjustable standing desk in my home office so I’m not sitting too often. I don’t pull all-nighters at the drawing board or computer.
BTP: Describe the perfect day for yourself. Comparatively, what would be the perfect workday?
My perfect day is a balance between producing creatively satisfying work in the studio and getting outside to recharge those creative batteries.
BTP: Well said. Artists I think are more aware these days about maintaining balance. How important is it to have personal projects and what are you working on these days?
I always have a few irons in the fire and projects in various stages. Currently I’m drawing my next comic mini-series, a sequel to Saga of a Doomed Universe, due out sometime in 2026. I’m working on a digitally restored edition of my first graphic novel, High Strangeness, which I plan to republish next year. In between all of that, I’m starting on my first screenplay (getting outside my comfort zone, remember?). Aside from comics, I work full-time as a freelance designer, so there’s always something to do.
BTP: What advice would you give to your younger self regarding your life’s path thus far?
Don’t worry so much. It’s going to work out okay (for the most part).
BTP: So true. I wonder if we worry more now that we’re older, now that we have the things we want, and have earned what we have, there’s more to lose. Then again, we are not our things.
Very true! Once my kids are grown and out of the house, I’m looking forward to downsizing and living simpler. Maybe I’ll buy a tiny house.
BTP: Thanks for your time, Scott and a great interview. If people want to see more of your work, where should they go?
Comics: beyondforwardcomics.com
Graphic Design: beyondforward.net
Instagram: _scott_reed_
Bluesky: @scottreed.bsky.social
Twitter: _scott_reed_