During the month of April, Joe accepted questions from fans. The questions and Joe's answers are presented here.

Questions from James Sweeney
Last year I was wondering out loud what Joe would pick as his top ten films of the year. Somehow the question got back to Joe and he actually sent me his top ten picks! Needless to say, this year I'm wondering the same thing. The subject of other people's movies might seem a little off topic here, but the film buff in me is always interested in comments from a master storyteller like Joe who also happens to have a website modelled after a drive-in, so...
1. What were your favorite films of last year?
2. Who are your favorite contemporary screenwriters or directors?
3. How would you improve the film industry?
And speaking of drive-ins,
4. When's The Drive-In 3 due out?
5. Do you approach comic writing differently than your normal prose? Is it closer to writing a screenplay? Do you provide lots of extra visual direction to the artist?

Joe; 1.I'm afraid the years now run together with me. I can't remember the best films I saw last year, but I did like a lot of the more "conventional ones" like MISS CONGENIALITY, the sequel to the NUTTY PROFESSOR: THE KLUMPS. I know they are considered typical mainstream movies, but I loved them both. They were merely there to give you a hoot, and they did. I actually think THE KLUMPS was a tour de force for all the parts Eddie Murphy played. I'm not a big fan of his, but I liked this, and a few others with him. EMPERORS NEW GROOVE, an animated film, one of the best Disney films, MEET THE PARENTS. This doesn't answer your question, but I can't remember what came out last year that was outside the mainstream. Films I've really enjoyed are DROP DEAD GORGEOUS, HAPPY TEXAS I loved. I haven't seen ALMOST FAMOUS, AMERICAN BEAUTY, films that I feel I'd love.
2. William Goldman. John Sayles.
3. You can't improve the film industry, but I would love to see new places, like Austin, Texas open up more and more to films, and hopefully create a different climate. It would be nice if smaller films were made, or at least less expensive ones, and that the trick was to make money, not just have a blockbuster, but that's the problem with publishing as well. Everything has to be a blockbuster.
4. THE DRIVE-IN 3 is due out when I finish it! I'm not sure when that will be, but unless I die first, it will happen. I meant for it to have happened already. It's possible it will be out next year.
5. I write everything like I think it's the last thing I'm going to write. Meaning, I always try to do the best job possible. But, a twist ending story for the comics is different than a more ambitious story for the comics. Of course, the structure is different. It's closer to a screenplay, and I do give the artist cues, but I try not to give a lot of information. I try to write a few lines that give you the feel for the scene, what's happening, that sort of thing. I try to use a simile or a metaphor that will help put images into the artist heads.

Question from Grant McKenzie;
What advice would Joe give to writers trying to break into the adult fiction market?

Joe; I'm afraid I'm going to be general because nothing works for me except read a lot, write a lot, and market like a fiend or have an agent who does it for you. I do both, and have marketed all my stuff before. Know what you want to write. Write what you want to write. While it's out there, forget it, write something else. Don't rewrite unless its something they're going to buy if you make the changes, and make sure they're changes you want, otherwise you'll regret it.

Question from Fermain Clancharlie;
Could you give me some info on your next publishings in Italy?

Joe; I'm going to Italy next week, as my publisher is sending me over there to a book fair. I have books forthcoming in Italy. I believe it's THE BOTTOMS and FREEZER BURN, but I won't swear to it. I assume CAPTAINS OUTRAGEOUS will also appear there as they've bought other Hap and Leonard books, and maybe the one I'm working on now, tentatively titled ACROSS THE LINE.

Question from Daniel Read;
I've always wanted to ask you about race in your work. To get to the point, it has always made a strong impression on me that race is always swirling around in your work, and is often at the center of the tension. Why is this? Do you think about it consciously? Is there a statement you are trying to make? What strong reactions have people had over the years? Have editors been uncomfortable or rejected work because of it?

Joe; I think growing up when I did, during the civil rights movement, a deep impression was made. And, of course, black people were all around me when I was growing up in East Texas, which is more like the South than the Southwest. Most people seem to get it, though occasionally you'll have someone who doesn't. Editors have mostly left me alone as well, though there have been a few moments. I just ignored them. Racial relations seem to be something that I think about a lot. It's ingrained. Most of my books touch on it, or have it as a back beat. No rejections because of it that I've been told, but I do believe at least one of my short stories was rejected for this reason; it went on to sell many times and is considered highly by many reviewers and critics, for what that's worth.

Questions from Justin C. Alexander;
1. What is your personal favorite out of all of your writings?
2. I've heard that they're considering doing a Hap and Leonard movie. If they do, who would you like to see play the lead roles? Personally, I'd like to see Samuel L. Jackson and either Gary Sinese, Jeff Bridges, or Nicholas Cage.

Joe; I'll answer your questions in order. 1.I think the favorite of my books depends on what day it is. I like THE BOTTOMS. I've wanted to write it for years. I like THE BOAR and THE MAGIC WAGON, and am pretty fond of THE DRIVE-IN just because I think it's original in many ways. I like MUCHO MOJO because it is in my view the best of the series and the best representation of Hap and Leonard.
2. Nicholas Cage I like but he doesn't fit my idea of Hap. Siense is great, but a little too young and a little too intense. I like Sam Jackson and Jeff Bridges, but it gets down to who is box office at the time.

Questions from Mecariello;
In CRIME TIME #2 you told that you were working on a story called "The true life adventure of Deadwood Duck". What happenned to it? I don't know where I got that from, but I heard that you have written a western called THE DEVIL'S GUNMAN under the pseudonym of Latigo Smith? Is that true? Has it ever been published? By the way, thanks for all the reading-hours I got from your books

Joe; The title was THE TRUE LIFE ADVENTURES OF DEADWOOD DICK, not duck, but I sort of like that and it sounds like a children's book. Don't be surprised if I do it! It's about black cowboys in the West, a sort of LITTLE BIG MAN, LONESOME DOVE of the black cowboys. Not like those books, but hopefully as epic. I still hope to write it in the future. I did write a novel called THE DEVIL'S GUNMAN as Latigo Smith, but fortunately, it was not published. It is in a library, lying dormant forever I hope. I've enjoyed allowing some of the old things to surface for my fans, but this one is just rotten. The other things are either fun or pretty damn good, or in some cases, like THE BOAR, favorite works of mine that never found a home until now. I have a few more books like this, plus one that's just fun called ZEPPELINS WEST, which is forthcoming from SUBTERRANEAN, and I hope to do the third volume of THE DRIVE-IN 3, and then a short story collection, and after that...Well, that's pretty much it for the old stuff. I'm doing this because I feel I'm about to enter into a new era into my career and...Let's just say that remains to be seen.

Questions from James F. Gulisano;
Would you tell me a little bit about your proofing process? Do you read the book out loud to make sure the dialogue works? Do you have someone else read it, to check for facts and logical progression? What role does your agent play? Your publisher?
Looking forward to Captains Outrageous. The Bottoms, by the way, was wonderful. If the father was largely based on your own dad, then I feel I've met him, and he was clearly a good man.

Joe; My proofing process is that I write three to five pages a day, if I can, and most of the time I can, and then I reread that over and over trying to get it right. Next day, I usually read at least the last page and work my way into the next. This way, even though I'm writing on a word processor, I'm doing several drafts. When I finish the entire manuscript, I start at the first and reread and change or revise as needed. Then I run the spell check and it goes to my editor. He will then read it, and ask for changes or clarification, and I look over his suggestions, make those I agree with, send it back. Then the proof reader goes over it and I will make changes again, usually minor stuff in spelling, or I forgot I said a guy's eyes were blue on pages seven, but now I say they're green. Lastly, I get a copy of the galleys, which looks like the book itself, and I go over that and make changes. These are usually very minor. And that's it. I publish some first drafts in the form of limiteds. If you want to see how CAPTAINS OUTRAGEOUS came out of my machine, with only minor editing, get hold of Subterranean copy, and then compare to the trade edition due out in September of this year.
I do read parts of it out loud to see how it sounds, and I do some of the dialogue out loud. But mostly I sort of boom it around in my head. I don't have anyone read it to check for facts, etc, until it goes to my editor and proof reader at the publisher. They do that, and they do it very well.
The father in THE BOTTOMS was not based on my dad, but the book had many of my dad's stories, and the feeling he gave me for the times, as well as those I got from my mother. My father was quite different from that dad, except for certain things, like whipping those folks with an axe handle. He would have done that. He was a neat, smart guy, flawed like all of us, but still my hero.

Questions from Jason Quinn;
1. At various times I've read that you found the Drive-In novels to be difficult to write, that they took a lot out of you. I've also heard rumour that there is to be a third installment. What made you decide to make it a trilogy and are you finding it as difficult to write the third one as you did the first two?
2. I'm also curious to hear your opinion of Harry Crews's work. I enjoy his books and have often wondered what you make of them as well. Have you ever had the chance to talk with Harry? I know that he used to teach a writing course in Florida, but I believe he retired from that last year.

Joe; (1)I do find the drive-in novels difficult to write. I'm trying to reach for all manner of weirdness, but yet, keep it contained within a framework the reader can accept. If anything can happen, well, it's boring. The first one was also difficult because it was written during the time a friend was dying, my former agent Ray Peekner. As I answered in a previous question, there is to be a third, and last installment. It will most likely be difficult to write when I get to write it. Part of it is written but the problem is time. This book represents a sort of hobby for me, if that's the right way to describe it, and I want it to be fun, yet, I have other interests. This one will mine out all my old feelings for low budget drive-in movies, and will move into other areas, and it will be the end. Oh goodness, never say never. But let me say I plan for it to the end. I can't tell you why it became a trilogy. I write what I like, but must admit there would have never been a 2 had I not been asked by my then publisher. Then it seemed only right that there be a three, as I ended number 2, purposely on an anti-climatic moment. The third one may not solve all of the heroes problems either, but I hope to make it interesting. SUBTERRANEAN PRESS will publish it. It's called right now THE DRIVE-IN 3: THE BUS TOUR.
(2)I love Harry Crew's work, though I have read his most recent, his last two or three for that matter. I was introduced to him by someone who read "The Pit". It may have been Lewis Shiner, but I can't say for sure. I thought we had a lot in common, and I think this is due to background and our love for Flannery O'Connor, who is very obvious in most of his work, as she is an influence in much of mine. I think we're our own writers, but we feel her influence, no doubt.

Question from Midleweight;
I have a question for ya. I want to be a writer and I wrote a short story. I think you would like it. It's a lot like some of your stuff. It started out to be a goof, but actually turned out pretty good (I think) Is it possible you might be able to read it and let me know if you think it might be publishable??

Joe; I don't read manuscripts for the simple reason I don't have time. I spend so much time reading my own, writing, reading books for pleasure, teaching martial arts and maintaining a family, I just don't do it. I get this request almost weekly, sometimes daily. I do occasionally read manuscripts of people I know well, or published writers, but mostly I try to avoid it. Once was asked for my honest opinion, gave it, deeply upset this person even though I thought I was polite and helpful. It soured me on it forever. People don't want criticism usually; they want you to say they're great. And besides, my opinion is just mine, nothing else. So nope, don't read manuscripts. I hope you get it published. I might read it then. I read published material all the time.

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