DC Entertainment is giving comic book fans plenty of reasons to be excited with events like Before Watchmen and the New 52 Second Wave, but you may already know the title for which we’re most excited: The Girl with the Dragon Tattoo. Who could DC turn to in order to put a fresh spin on a title we’ve seen adapted so recently? With a series of bestselling mystery thrillers and 13 issues of Hellblazer under her belt, Scottish scribe Denise Mina was a natural choice to pen the hotly anticipated adaptation. We caught up with Ms. Mina during a rare U.S. appearance and talked to her about keeping the story fresh, why everyone wants to sleep with Mikael Blomkvist, and some young hotshot named Stephen King.
Nerdist: First of all, congratulations are in order as your most recent work The End of Wasp Season was nominated for the Los Angeles Times Book Prize.
Denise Mina:Â I was pipped to the post by Stephen King, some upcoming guy who seems to be doing quite well. I was a bit disappointed. I really thought I was going to beat him.
N: Itâs a huge honor nonetheless. Weâll just call it beginnerâs luck. Youâll get him next time. With a title like Girl with the Dragon Tattoo, which has been adapted and interpreted so many times and so recently, how do you go about adapting that to a graphic novel and keeping it fresh?
DM: Well, I think the thing about comics is, for me, I know for a lot of people theyâre like movies that donât move. For me theyâre a completely different form I think itâs a perfect story for that form. You know, one of the things about the first book thatâs really startling is the sexual violence, and in something like a comic you can use all the visual imagery of pornography for the guy and not for the woman and that makes it very startling. And I think also having two distinct narratives that can join and separate again – there really are two main characters in it, one slightly more compelling than the other – I think that works really well for comics because they are an episodic form. I think itâs brilliant for it, I really do. There are so many subtexts to whatâs going on with all the characters, and you can use imagery in a way that you just couldnât use unless it was a really surreal movie, so I think that comics are just perfect for it. I went to see the movies to see what I could steal… obviously [laughs], and I couldnât steal that much because itâs such a different thing. For a lot of people, I know it seems like a movie without a budget, but for me itâs a completely different thing.
N: Was there anything that you wanted to take from the movies aesthetically, or was there anything that you had to change because it wouldnât necessarily work as well in the context of a graphic novel?
DM:Â Yes, the house in the American film, the cottage, kind of explains why he stays there because itâs really beautiful. And then I realized, thatâs not really good for the comic; I just want to go on holiday there because it is very beautiful. Another interesting thing about the central character of Blomkvist is that every woman he meets wants to have sex with him, which, in the first one [the Swedish adaptation], doesnât make sense because heâs kind of pudgy and also a bit arrogant. If he were pudgy and depressed, then that might make sense. And in the second one, Daniel Craig – I donât really get why Daniel Craigâs so attractive! All he ever does is pout and look away. He is very buff though. Watching them for that, trying to make sense of why all these women fall for him – in the second one, they just didnât have him trying to sleep with everybody that he met. I do have him sleeping with everybody that he meets and I try to make that believable.
N: One thing that I noticed is that Mikael Blomkvist and Lisbeth Salander both seem very much in your wheelhouse, echoing your Paddy Meehan character. How is it for you as an author working with preexisting characters and properties as opposed to your own creations?
DM:Â Well, I think itâs much easier because youâre not wondering âis this believable?â and itâs much easier because I think if you are a writer, you have an built-in kind of critical position asking âhow can I make this a bit better?â If itâs your own stuff, thatâs quite hard; you become very self-critical and all you can really see are the flaws. When itâs someone elseâs, you donât feel too bad saying, âThatâs rubbish, that bit.â They always say that you canât adapt your own stuff for film because you donât really know whatâs crap and I think itâs much easier to adapt someone elseâs for something else. Also, you donât have to make up the trajectory – thatâs really the hard thing in narrative fiction: having a compelling trajectory. Thatâs already there. I really enjoy working with other peopleâs characters. One of the things you really need to be conscious of is not getting your own narrative tics in there too much. Lisbethâs quite a distant character; my characters tend to be quite open and you know whatâs going on with them. She needs to remain mysterious, so Iâve had to go in and shave off things that I wanted to put in about what motivates her. I think itâs good that you donât really know what motivates her. You have to be quite aware of your own stuff and make sure it doesnât take over.
N: As a novelist, which do you find is more challenging: writing a novel or a graphic novel?
DM:Â Theyâre completely different things; you canât compare them. It actually feels as though your brain is working in a different way. Alan Grant says that when you write a comic, youâre using both sides of your brain and I think thatâs really true. Itâs a different physical process. Comics are more fun for me because Iâve done fewer of them. But, I think if I did more comics, novels would be the thing I would always turn to. When I did screenplays, I was always desperate to get back to narrative prose. Itâs very refreshing to do other forms. They donât feel comparable at all. I can go straight from finishing a novel to writing a comic because I donât feel tired or spent.
N: I was a big fan of your run on Hellblazer. I’m just curious: were you a big fan of comics before you tackled that project?
DM: You know, I read everything. I think because Iâm kind of self-educated, I read womenâs magazines, bits of newspapers, comics, true crime – I really love reading true crime, which is very low-class. I didnât read tons and tons of comics, but my friend reads tons of comics. I think he even reads the trade publications. The one comic I did read faithfully though was Hellblazer.
N: Really? Thatâs fortunate.
DM: [laughs] Yes! So, they got in touch with me. My flatmate told me that I needed a website, so he made me one and the next day DC Comics got in touch with me and said, âDo you want to write Hellblazer?â Actually, my first thought was that someone was playing a joke on me. So thatâs how that happened. It really was the only episodic comic that I read.
N: Any chance we could see you make a return to Hellblazer?
DM:Â Iâd really love to do that. Anytime.
N: Will Girl with the Dragon Tattoo be released episodically – issue-by-issue – or will it be collected as one grand volume?
DM:Â As I understand it, theyâre going to publish all three novels, each one is going to be two trade paperbacks. Thereâs a free sampler coming out on May 5th for Free Comic Book Day to give people a feel for what it looks like and what the characters are like. Itâs really beautiful – Iâve had a bunch delivered to my house and theyâve all gone already. [laughs] Everyone who comes in the house is taking one. Each novel is going to be two trade paperbacks of 140 pages with the first one coming out in November.
N: Apart from Girl with the Dragon Tattoo, what other projects do you have coming up that you can share with us?
DM: Iâm doing tons of stuff. I just finished another book called Gods and Beasts thatâs out, I think, January in the States and in the summer in Britain. Iâm making a series of short films on an iPhone which are monologues rewritten – Tolstoy kept a diary, itâs Tolstoyâs diary rewritten in contemporary language and Samuel Pepys and things like that. Thatâs just for fun. Next week, Iâm in a play in Scotland with a lot of Arab Spring writers…itâs just non-stop. But, itâs all great stuff, so Iâm excited.
N: Are there any comics that youâre reading right now?
DM: Iâm really obsessed with Jeff Lemire, like really to an unhealthy degree. I just picked up Superboy and I really love Sweet Tooth, so Iâm trying to dig up issues of that. Iâm reading him very avidly.
N: One last question: is there any chance we could see a Paddy Meehan or Garnethill graphic novel at some point in the future?
DM: Oh god, you know, Iâm writing The Girl with the Dragon Tattoo and Iâm looking at the Garnethill books and thinking that there are so many parallels, so I donât know if that would ever happen. The Paddy Meehan books have been made into a TV series in Scotland, the second one is coming out in August. Iâd really love to see them as comics, but I think somebody else should do them because I really donât think itâs good to adapt your own stuff. You canât pare your own stuff down, but Iâd love it if someone else did it.
The Girl with the Dragon Tattoo will be available in November from Vertigo, but you can enjoy a free preview as part of Free Comic Book Day on May 5th. For more on Denise Mina, visit her website.