I forgot to announce this last week! There is a new issue of Nightmares and Fairy Tales by Serena Valentino and Camilla d'Errico in stores, beginning the series' final story.



Nightmares and Fairy Tales #21 by Serena Valentino and Camilla d'Errico
24-page comic book

A beautiful mermaid is ensnared by a sideshow charlatan and put on display bringing her captor quite a bit of revenue until a string of mysterious deaths casts a shadow on the traveling carnival. Inspired by the Lovecraft story Shadow over Innsmouth.

I know, I said I'd put this up on Friday! But events of a laudatory nature took up more time than I anticipated. But here it is, an interview with Serena Valentino that first ran in SLG's fan newsletter In the Works.
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Serena Valentino is SLG’s most prolific creator. She has written 28 issues of her gothic, supernatural series GloomCookie, and is heading toward nineteen issues of Nightmares and Fairy Tales. Created with artist FSc, Nightmares originally featured short horror stories, both based on fairy tales and invented by Serena. At issue thirteen of that series, Serena launched a new story arc: “1140 Rue Royale.” It is a historical horror story based on the real Madame Lalaurie, infamous for her torture of her slaves. With art by Crab Scrambly, this series has delved into the most horrific aspects of American history. We talked to Serena about “Rue Royale” and about Nightmares’ return to its original format with artist Camilla d’Errico.

What inspired you to write 1140 Rue Royale?
When I was in New Orleans I went on one of those haunted tours where they tell stories about the various houses in the Quarter and 1140 Royal Street was one houses they talked about. I was inspired to do some research and learn the real story. I was appalled at what I learned, and intrigued by the various accounts of what may have happened in that house. The story stayed with me and it became clear I wanted to tell a story from the victim’s perspective, to give them a voice, and a means for revenge.

You originally envisioned the story as a prose novel— what made you decide to do it in comic book format instead?
Crab and I had visions of a full color illustrated novel that would have taken many years for us to complete. When FSc left Nightmares & Fairy Tales I thought it was a good opportunity to tell the story in the Nightmares universe and to work with Crab, something I had always wanted to do.

Why did you pick Crab Scrambly as your artist for this storyline?
No one else could have illustrated this story like Crab. His art is so unique and gave the story exactly the atmosphere I was looking for. Also, he feels just as strongly about the material as I do. He became invested in these characters and connected to them in a way I’ve never experience with any other artist. From the beginning he understood what I wanted to do with this story, what impact I wanted it to make, and how important it was that we create a voice for Madame Lalaurie’s victims.

I know that you love New Orleans and think of it like a second home. Did you do a lot of research specifically for "Rue Royale," or did you already have the knowledge because of your interest in New Orleans and its history?
I did do quite a lot of research actually. Not that the story is historically correct in any sense. I learned as much as I could about the history, and then tried my best not to let the details overwhelm the story I had in mind. I was watching the commentary with the writer of the Deadwood television series and he said he pretty much did the same thing. Learned everything he could then tried his best for to forget it.

Nightmares and Fairy Tales is returning to its original format of self-contained stories. Are you looking forward to writing short stories again? How does your process differ between long works and short works?
I really enjoyed telling a story within a six issue storyline, and I think some of that may stick with me when returning to the fairy tales with Camilla. I believe each story will take about two issues to tell. But, yes I am looking forward to being able to work with a number of stories and characters again. Currently I am writing the second part of Sleeping Beauty’s story, and sometime ago I decided I wanted to an issue about Bluebeard, and another with a Merwoman. I am really excited to be going back to the fairy tales again. I really missed telling stories that involved Gwen and Annabelle and have incorporated them nicely in Sleeping Beauty.

The process is somewhat different. With “1140 Rue Royale,” I had an outline. I suppose it did help keep me on track, but I must admit the story took unexpected paths. The ending is also a little different from the one I had imagined (and from my notes), it ends the same, but in a completely different location from what I had planned. Stories will do that, or more accurately, characters will take you in directions you hadn’t imagined. It is often rather surprising and frankly one of the reasons I enjoy writing so much.

Tell us a little about Camilla d’Errico and why you felt she was right for the job.
Camilla’s art is gorgeous, and honestly, perfect for the stories I have in mind. With her strong ability to tell the story with her art, coupled by her beautiful illustrations and how well she seems to like the way I write the scripts, I feel Nightmares is going in some fantastic directions. On a completely personal level she just struck me as someone I would really enjoy working with. She is very enthusiastic about the stories I want to tell, and I believe that will be evident when the readers see the issues we create together.

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Nightmares and Fairy Tales Volume Three: 1140 Rue Royale by Serena Valentino and Crab Scrambly and Nightmares & Fairy Tales #19 by Serena Valentino and Camilla d’Errico are available now..

You may order these books at your local comic book store or visit www.slgcomic to place an order directly from SLG Publishing.

New Nightmares and Fairy Tales artist Camilla D'Errico is interviewed at Manga Punk. Camilla tells you how she got the gig and reveals why she is the perfect artist for Nightmares' return to its original format.

"I think what are unique about each artist are their interpretations of the characters and story, so I'm doing my best to draw the book using FSC's initial character drawings as a basis for the book, but I'm definitely staying true to my own style"