With it being summer and me being a teacher, I have June, July, and half of August away from my classroom. It's nice. One would think I'd get a ton of writing done during this time. Although the past few years have proven, contrary to popular reasoning, I actually get less writing accomplished. Maybe it's because I'm out of my routine, or maybe it's because I have Kennedy during the day and she keeps me occupied? Whatever the case may be, I tend to get restless during this time.
I have a few proposals that are more or less complete -- some with artists, some without. I'm in the finding-a-publisher phase, which is the most frustrating part. I can't really do more work on any of these stories until then. NOTE: I decided awhile ago that it doesn't make sense to script every single story idea I get from beginning to end. After I've written a decent synopsis and scripted the first chapter, I should probably move on to finding an artist or a publisher. Then once those things are in place, I can finish it. After all, with my synopsis, the story is all there and the script will come. Also, I don't always know which stories to focus on until I get some confirmation through finding an artist or a publisher. Make sense?
* The BOLIVAR proposal looks beautiful. Diana Nock illustrated the first sixteen pages, and she did an amazing job. Who doesn't want a wonderland fantasy story involving animal spirits, pirates, cannibals, a mysterious light house, and true stories of my family's experience during World War II?
* FRONTIER is without an artist, so is DELTA COUNTY. I have some people in mind. Epic in scale. I don't want either of these stories to fall in the cracks.
* If you keep track of my blog, Greg Zadrozny is the artist for OMISOKA BRIDGE. He's been busy with his freelance work, but the guy is too perfect. If it doesn't happen, it doesn't happen. But right now, I can't imagine anyone else doing it.
* I've been wanting to work with Cal Slayton for awhile now. THE LAST BABYSITTER seemed like a perfect project. However, I had a difficult time selling my "quirky caretaker" story -- Mary Poppins or Nanny McPhee, but with big guns and grenades, fighting off the robot uprising. The apocalyse, but for kids. It's just as well: Cal is working on his own story Spookytown, which is very cool. I'm excited for this one.
It's hard to keep track of everything. I've thought about finding a manager or agent. Antony Johnston discouraged the idea. He told me, comic book writers make so little money, why split the percentage even further? I simply need to find a better system for keeping everything organized. Who knows? If something hits, it might be easier to sell some of the previous stories.
For stuff that's already written, Brent Schoonover recently finished the first chapter of ASTRONAUT DAD VOL. 2. Tom Kurzanski is busy on KARMA INCORPORATED VOL. 2. Both should be in stores by the end of the year. Both look great.
It hasn't felt like I've been busy lately, but the past twelve months have been more productive than I originally thought. I scripted four issues of LAKE ARCHER, a side project never intended for publication. I wrote "50 Miles to Marfa" (illustrated by Dan Warner), tentatively scheduled for PopGun Vol. 3 and "Of All Time and Forever" (to be illustrated by Chris Mitten), part of an upcoming anthology project. I don't want to say too much about these short stories, since nothing has been finalized. Around Free Comic Book Day, I released a 16 page mini-comic MINE ALL MINE, which featured several of my favorite artists. And every other month, Paul Milligan and I produce SOUVENIR OF DALLAS for D Magazine.
Still. None of this has the momentum of a "next big project." In the meantime, I've been restlessly friending people on MySpace, twittering, visiting other people's blogs and webcomics, and scheming, definitely scheming. With a notepad and everything.