Lessons from a Southern Illinois Artist and Author Who Can't Stop Creating: An Interview with Brian Pearman
I think we met in elementary school. I can’t recall for certain. But I do recall that even before we reached adolescence, Brian Pearman was an artist.
By simply putting pen or pencil to paper, Brian could wow me and our peers as we came of age in Greenville, Illinois.
Brian, who shares my November 17 birthday, remains a visual artist, but in recent years, he’s expanded his horizons, writing books and short stories in his spare time, when he’s not drawing or at his day job.
WGEL, the local radio station serving the small town we grew up in, covered the 2019 publication of his first book, a science fiction novel about three friends fighting off foes and finding their way home in an apocalyptic setting.
The station reported on his authorial progress the following year, as the COVID-19 pandemic was underway. In 2020, he released a prequel to his first novel, a collection of short stories and — lest anyone think he was slacking — a novella, for good measure. At the time, he told WGEL he was working on another novel, which was released as anticipated in 2021. The community news outlet boosted Brian’s book launch yet again last year to honor the accomplishment.
Not one to rest on his creative laurels, Brian is now at work on his fourth full-length novel, a sequel to his first.
When I was in Greenville a few weeks ago, I had the opportunity to talk to Brian, albeit briefly.
We’ve since exchanged a few emails, and if all goes well, he can blame me for adding even more to his already full plate, as we now have tentative plans to collaborate on a project.
Prior to a full-on collaboration, I figured an interview with Brian for Waywards would help generate interest in his solo-authored work and art while perhaps also piquing interest in whatever the two of us go on to create together.
My Q&A with Brian can be found below this photo of the man himself.
James Anderson: How did growing up in Southern Illinois — or South-Central Illinois, if you'd rather refer to Greenville's geographical position in relation to the state that way — influence your artwork and your writing?
Brian Pearman: Living in the middle of nowhere, and having not much to do, had an impact on my overactive imagination. As a child, my mind was always beyond the cornfields and forests of Southern Illinois. Especially when it came to writing. I can't help but ask myself, "What if?" Also, living in a rural area, most folk you'd meet are simple, hardworking individuals. I think that's led to most of the characters in my stories having humble origins. I like the idea of a regular Joe Schmo going on an epic adventure and growing into a hero...or villain.
James: Are you a better artist or author, and why do you see yourself as excelling in one craft more than the other, if you indeed do? In relation, do you enjoy fictional, creative writing (e.g. work on your novels) more than drawing the vivid images that make the aesthetic worlds you construct appear to come to life?
Brian: I've definitely had more experience with art, so I would probably have to say I'm a better artist than author. I've always written little stories, but it hasn't been until the last few years I started seriously pursuing writing. Which do I enjoy more? I think they go hand in hand. Anytime I've drawn something, I always thought of how the artwork shows a snapshot of a larger story. Fictional writing lets me tell that story in a longer form. Sometimes I'm in more of a mood to draw than write - and vice versa - so what I enjoy at the exact moment may vary.
James: Who or what is your biggest influence as an artist? As a writer?
Brian: Comic books were the biggest influence on how I draw, hands down. I'm not sure why, but I've always liked the style. I always preferred regular, graphite pencils over crayons or colored pencils. When I discovered Spawn and Todd McFarlane, I began to delve into inks and more graphic art. '90s/early 2000s comic art in general is my favorite. As far as authors who have inspired me, they'd be Stephen King, JRR Tolkien and RA Salvatore. The way Salvatore paints a scene, then describes action is what really got me into wanting to write in the first place.
James: How do you get and then flesh out your ideas for novels?
Brian: My first book, The Collapse, came from a few friends and I constantly talking about what we'd do during an apocalypse. We discussed it so much, I started developing characters in my head. The story came pretty easily after that. I believe characters should drive a plot, not the other way around. Most of my work comes from developing characters, throwing them in a situation, and letting them write the book. I usually have a good idea how it'll end, but how I get to the ending is up to the characters.
James: How long does it usually take you to write a book-length work of nonfiction, and what's your writing process like? How many hours do you work in one sitting, how frequently do you work on a book-in-progress and how many hours per week or per month of work on a novel do you typically average until completion?
Brian: My first book took me about a year. The one I'm working on now is a sequel to that first book, and it's taking me about the same amount of time. A few other of my works I pumped out in three or four months. I've since learned the importance of editing, editing, editing, so that's why it's starting to take me a little longer. Since I work a regular job, one sitting could be a half hour or four hours. Generally I shoot for 1,000 words in one sitting. Sometimes I write a less than that, sometimes more. I make sure I write at least four days of a week, and if I don't have time to actually write, I'll go back and re-read what I wrote last time and make sure it flows well story-wise.
James: Is there any digitized or digitizable artwork you'd feel comfortable sharing with Waywards readers — a work of art you could maybe comment on in regards to how you got the idea for it, what it represents or what you tried to convey with it and how it turned out by your own standards?
Brian: This may not be my best drawn artwork, but it means a lot to me. It's called The Rise and Fall of Man. I incorporated sacred geometry into the piece. I tried to convey how we came from humble beginnings and are capable of great things, but our progress has essentially halted to the point where we're destroying our past achievements. Now, we're at the whims of the powerful (and maybe we always have been) and are tax zombies. Is it an out there concept? Probably, but maybe there's some truth to it.
James: What do you consider your best work and why?
Brian: My best work...that's a tough one. I don't know if it's really for me to decide. If I had to say, it'd be Trials of Rider. I don't usually write stories with "traditional" heroes, but Duncan Rider is one such character. He has his own wants and needs, but he'll always do the right thing. All this amidst the Salem witch trials. I read some transcripts from the actual trials and researched as much as I could, so that's why I'm proud of that book.
James: In recent years, you've managed to self-publish multiple books and maintain an artistic output despite holding down a demanding job. Do you have any advice for writers or artists who aspire to your level of prolific creativity?
Brian: First off, that's very kind of you to say! I would give any advice in three points. First off, don't listen to naysayers. There's always going to be those who want you to fail, even close family members. If you're passionate enough to pursue a goal, tone them out and just keep on keepin' on. Secondly, don't stop. Once you start, keep going! It's okay to take short breaks here and there, but when you stop long enough, it becomes more difficult to start again. Lastly, look at everything as a time investment. Is it going to take a bajillion hours to finish a book? Yes, but it doesn't need done all at once. Have patience, set aside time to write, draw, play an instrument, etc. and eventually you'll start to see the fruits of your labor. That goes into every day tasks as well. Who wants to fold laundry? Almost no one. How long is it really going to take you to fold that laundry? Ten minutes? Ten minutes is nothing. It's less than 1% of your day.
James: What can you tell us about any creative works you have, well, in the works? Rumor has it you're wrapping up another novel, and I assume you're still drawing or perhaps painting on a fairly regular basis? Are you currently experimenting or do you have plans to experiment with any new art forms or with different modalities for creatively expressing and conveying what the mind of Brian Pearman conjures up?
Brian: I am indeed finishing up the first draft of a sequel to The Collapse. I also enlisted a former English teacher to help me re-edit The Collapse, which I will re-release. She helped me out a lot in terms of sentence structure, grammar and the such. It's been a minute since I've drawn anything, but I have been dabbling in miniature painting. I've been brainstorming on an artwork that has to do with Stranger Things. I think the Upside Down would be a nice subject for my style of art.
James: You and I, Brian and James, have discussed collaborating on a project or projects in the not-too-distant future. What are your hopes for that collaboration, if it pans out? What's the best and what's the worst case scenario for a collaboration between you and the Waywards publisher who's asked you all these questions?
Brian: Best case scenario we strike gold and work on something we're both passionate and/or interested about. With our talents combined (attempts Captain Planet voice) we could make something special. Worst case scenario, we don't get it off the ground, but I don't foresee that happening. If even one person loves whatever we work on, I'd call it a success.