NEW WEBSITE, VERSION 8.0

I've left Blogger (because) and moved to using WordPress. Honestly, now that I've switched over, I can't believe I didn't do this sooner. It is so much nicer to have every aspect of this site contained within my own domain -- blogging, widgets, etc. I don't know enough about CSS stylesheets to design my own site. (Do you remember how simple the last version was? Yeah, I did that myself.) I'm using a theme developed by David Garlitz, which I like: "puts the content at the forefront, without cluttering the user experience with too much 'design.' " I like the newspaper format, where the most recent post is "above the fold." I've received a mostly favorable response. April is just glad I'm no longer using Courier font. With the new site, you lose the joy of simply scrolling through post after post. There's more clicking involved. I tend to write longer posts and usually update only a few times each week, so I don't think you'll miss much. We'll see how people like it and use it. The main content is the same. I have a page of my published works with over 150 pages of previews from my comics and complete short stories, plus script pdfs for anyone who is into that stuff. I also have my press and contact page, which features a variety of random information about me.

I now have my posts tagged and organized in categories. It'll take awhile to get everything updated. There's 1,000 blog posts going all the way back to 2003. A lot has happened in those seven years.

For those who follow me via RSS reader, the link has changed: http://antiherocomics.com/?feed=rss2

Unfortunately, I lost my Haloscan/Echo comments. I couldn't find a way to export them to Wordpress. Thus, that witty retort you made in 2004 about something stupid I wrote? Gone forever. Sorry. The WordPress comments are better integrated with the whole site. No more pop-ups! Plus, I can manage everything from my one Dashboard.

In version 7.0, I had a lovely portrait illustrated by Dave Crosland. For this site, the front page has an image from a random comic I wrote. I will try to rotate the images every day. It's fairly easy to upload. I know there's a javascript where the images will automatically rotate each time you hit "refresh," but I don't want to mess with the stylesheet for fear of crashing my site.

I would also like to find a plugin that allows for easier navigation through the preview images in the published works section. Years ago, I manually added each new page for every preview. That was a pain. I still haven't found the right plugin. Guidance in this area by someone more knowledgeable would be greatly appreciated.

So, welcome. New website. And hopefully, more good news in 2010. Thank you everyone who has supported me and followed my attempts to stumble into a writing career.

WHITE SUIT CONSPIRACY

April, darling, you may not want to read this blog post, especially the last two paragraphs.

Okay. So I went to Banana Republic tonight, and I bought a new navy blue pin-striped jacket and a button-up shirt. Even though I don't normally spend a lot of money on clothes, I will confess that I love wearing nice clothes. I fantasize about having that "look": nice suit and shirt, nice shoes, nice pants or jeans.

I don't think too many people know this secret of mine. It's not like I visit the dry cleaners too often. I hardly ever iron my clothes, and I tend to wear the same five shirts and the same brown jacket over and over again. It's sad. However, deep down, I want to look good. April might have come to this conclusion, considering the frequency of my question: "How do I look?" I linger a little too long in magazines that feature a section on men's fashion. Also, it's a rare day that you will find me wearing a t-shirt with an ironic or witty statement. Please.

The truth is out. Now, comes the real confession. I have figured out what I need in order to get published. I need a white suit. If I were to obtain one, my writing career would take off. Tom Wolfe. Ernest Hemingway. Mark Twain. Wes Anderson. John Lennon. They are one with the white suit. (A few articles on the mystique of the white suit: here and here) A white suit possesses magical creative properties.

If any local Dallas designer would like to be the proud provider of my white suit, I would happily post a banner link on the right margin for a full year. I will be your white-suited spokesperson. I will take good care of my suit, and I will wear it to every convention, signing, and other social event. Oh yes, it's happening. Spread the word.

GOODBYE YEAR OF THE OX. HELLO TIGER.

This traditional "year in review" posted a little later than usual. We returned from vacation on January 2nd, and came home to a broken router. Two trips to two different AT&T stores, a call to tech support, a missed security question ("Who is my favorite singer?"), and a $100 router later, now I'm back online. April is sick. Unfortunately, that's her holiday tradition. And Kennedy is still on California time. She's wide awake, while I'm trying to convince her that she's tired. It's a lost cause.

This year has been good. April and I have been together for over two years. It's hard to believe it's been so long. That's pretty serious, right? I think so. More adventures to follow. Kennedy is five years old now. She's in public school, which has been great -- and no longer paying for the Montessori Academy is kinda like giving myself a raise. However, most importantly, she's learning a lot and enjoys school. Score one for America's education system. Cynics need not comment. One of last year's resolutions was to pay off my debts, and I'm happy to report I'm almost there. I only have one bill left, not including mortgage. I should have everything settled come this May. Then I can have... something called a... savings? I believe this is what adults do with their money. Then the money makes more money, all by itself. My biggest frustration of last year was not getting any new graphic novels on the shelf, but hopefully 2010 will be more generous. I'll just keep writing and pushing forward. Anything else to report? April says I make my posts too long, so I'll stop now and get to the part you've probably skipped to anyways: the lists.

Previously: 2004 | 2005 | 2006 | 2007 | 2008

Memorable events for 2009:

* G1 Google phone
* Kennedy's 5th birthday party
* Roadtrip along Pacific Coast Highway to Big Sur and Carmel
* 4th of July Fireworks at Laguna Beach
* Getting Berkeley (dog #2)
* Kennedy's first day of Kindergarten
* Officiating Chris and Sasha's wedding
* Debut of "We've Never Met"

Favorite comic books I read in 2009:

* Monster
* Pluto: Urasawa x Tezuka
* Asterios Polyp
* Stitches
* Three Shadows
* You Have Killed Me
* Parker: The Hunter

Favorite TV Shows I watched in 2009:

* Lost
* How I Met Your Mother
* Dollhouse
* 30 Rock
* Carnivale
* Venture Brothers

Favorite movies I watched in 2009:

* (500) Days of Summer
* Away We Go
* Synecdoche, New York
* Pirate Radio
* An Education
* The Brothers Bloom
* Inglourious Basterds

Favorite food for 2009:

* Barra Kebab Masala from Tandoor

Favorite music I listened to in 2009:

* A Camp, Colonia
* Old Canes, Early Morning Hymns
* Ramona Falls, Intuit
* Robert Gomez, Pine Sticks and Phosphorus
* A.A. Bondy, American Hearts

ART CON 5

This past Saturday was the 5th annual Art Conspiracy (commentary and slide show by the Observer: click here, video by Ben Smithson: click here). I said it a few years ago, and the statement still holds true, this is the coolest event in Dallas. Art and music, all in support of a good cause.

photo by Ange Fitzgerald
Here are a few things I noticed:

* The programs looked pretty. I kept looking at them throughout the night. Delicious full color, nice, glossy paper.

* Partnering with KERA's Art&Seek was genius, a good match for both sides.

* Last year was the year of Red Stripe. Lots and lots of Red Stripe. I'm glad they added more variety this year.

* April is a really good artist, and she needs to go further with it.

* It's a crime that Kristian Donaldson did not participate this year. (I know you were probably busy, but Dallas art is incomplete without you.)

* Never heard The Boom Boom Box before. I really like them. It makes me feel like I'm 17 again, in a good way.

* Paul Slavens looks like a pimp, in a good way.

* I was happy with my piece until it went for only $40. I know that's shallow, but I'm thinking about the charity here. Yes? No, I'm shallow. Next year, just wait, next year, I will blow minds!

* April and I bought our first piece this year, an amazing print by David Wilson.

* Don't try to outbid a guy in a pinstripe suit.

* Gosh darn it. They stuck to the schedule.

* Tania Kaufmann has the best artist bio ever. "Pew Pew."

* I missed some of my friends who were there, and I didn't get a chance to chat with them. Just reminds me that I need to visit Dallas more often.

* Everyone was talking about how cold it was this year. It wasn't that bad.

* Best stage ever (click here).

NEW "WE'VE NEVER MET" THIS WEEK

Our second installment of WE’VE NEVER MET is now available. Pick up a copy of Quick in racks around town. You can see it online, but it’s not quite the same as the delicious full size print version.

This one was trickier.

Here’s how the process works. I script something and send it to Geoff Johnston for comedic feedback. (“A third public radio station that broadcasts only pledge drives” was Geoff. I forget the original line.) I don’t consider myself a naturally funny person. I mean, I can be funny, but it’s like calling someone a designer because they can put together Ikea furniture. I know what funny looks like. I know how to follow the directions to get to funny, but it’s not a nature process. For this reason, I try to keep WE’VE NEVER MET from being a straight forward “gag comic.”

After I banter with Geoff for a bit, I then send it to my editor Rob Clark for further feedback and approval. (We had several revisions on the final line.) Then, it goes to Chad.

With WE’VE NEVER MET is in its infant stages, we’re still working through the character designs. This one introduces Liz’s friend Addie. Although she looks great now, we had a difficult time designing Addie. I knew what she needed to look like in my head, but something was lost in communicating it to Chad. That falls on me. What you see on the page is version 4.0. Chad was tremendously patient -- hairstyle, clothing, and body type. I was in full out nitpicky mode.

In the end, I think this comic is better than our first, but it wasn’t the graceful process that you dream it will be. Eventually, we’ll fall into a good rhythm.

PLAYLIST

No one really demanded it, but you're getting one anyway -- a soundtrack to WE'VE NEVER MET. Raid your iTunes store and grab the tracks.

1. You've Got Your Heart - The O's
2. Send My Regards To London - Elvis Perkins
3. On The Radio - Regina Spektor
4. Furr - Blitzen Trapper
5. Black Rain, Black Rain - A.A. Bondy
6. There Is Nothing - Clem Snide
7. Mouthwash - Kate Nash
8. Breakin' Up - Rilo Kiley
9. Just A Friend - Biz Markie
10. Back In Your Head - Tegan & Sara
11. The Tallest Man, the Broadest Shoulders, Pt. 1 - Sufjan Stevens
12. Change Is Hard - She & Him
13. Bye Bye Love - The Ditty Bops
14. Say Yes - Langhorne Slim
15. We've Never Met - Neko Case

This is what I've been listening to while writing and thinking about Liz.

FIRST COMIC AND A RANT

Today, Quick debuted WE'VE NEVER MET, the bimonthly ("every other week") comic by me and Chad Thomas. You can find the print version in racks around the Dallas Fort Worth area.

Lovely, isn't it?

For this project, I'm trying to create a narrative that operates on a few levels. Yes, it will be a humorous self-contained comic on topical issues. Yes, it will also be an ongoing story about a "poor little rich girl" searching for love and trying to start her band. And it's an opportunity to editorialize about Dallas and the creative community within this city.

So, let me share two observations:

OBSERVATION #1. This first comic page was inspired, in part, by the efforts of PAC-WE -- a Dallas based group dedicated to insurance reform and equitable access to health care for freelance creative professionals. I've noticed that a few times every year, there's a huge benefit concert/auction/gallery show etc to help some poor local cover medical expenses and a necessary operation. Think about that for a second. Some guy or girl needs heart surgery, and we hold the artistic equivalent of a bake sale. Something is seriously wrong with health care in America, if this is how we handle it. On one level, it shows the incredible charity of people in Dallas. (If I need a kidney transplant, I know the Happy Bullets will be playing somewhere in my honor!) However, it also reminds us of how limited insurance options are for someone self-employed.

OBSERVATION #2. With this first comic, I also wanted to say something about Dallas's consumption of art. We have no lack of talented people, and yet, our patronage of local art, local theater, local film, local fashion, local comedians, local music, local comics (!) is sorely lacking. Artists love their art. We cherish our art, but we'd probably raise more money selling jello shots at a bar on McKinney Avenue. This says something about what Dallas values. This might be true of anywhere in America, but the reputation of "plastic Dallas" is a hard one to shake.

Last Saturday, April and I went to see Elvis Perkins at House of Blues. These drunk girls next to us were talking the entire time. Why you would pay that much money in service fees alone and not enjoy the concert is beyond me. Another girl next to us told them to shut up. (Something we were all thinking.) These drunk girls then began to torment this other girl, and one even poured her beer on the girl. Why you would waste your $6 beer is also beyond me. I overheard the persecuted girl reply sourly: "Welcome to Dallas."

Really? Really?! Do the drunk idiotic girls of Dallas make a bigger impression than the thoughtful concert-goers who genuinely adore Elvis Perkins? Oh yeah, and then that drunk girl tried to pick a fight with someone else.

This will be an ongoing theme in WE'VE NEVER MET. Who owns our reputation?

I don't mean to suggest that it's an "us versus them" situation, an expansion on jocks versus nerds. (In all fairness, there are some cool places in Uptown, West Village, and Victory Park.) I hate to acknowledge it, but I've been to the Doublewide numerous times, and the bar area often looks more crowded than the stage area. Deep Ellum struggles to keep music venues and art galleries open, and it's our fault. Dallas fails to support local creators. Is this an unfair assessment?

My friend Matt told me a story about a couple that went to Hawaii and ate every night at Chili's. A little absurd? In the same regard, why would you live in Dallas and not check out jazz at Amsterdam Bar on Mondays, eat at Cowboy Chow, visit the Kettle Art gallery or the Public Trust, drink coffee at Murray Street, enjoy a local band at Lee Harvey's on a Friday or Saturday (no cover), watch a midnight movie at the Inwood, cheer your favorite roller derby team, hide away for a weekend at the Belmont Hotel, see a play from the Audacity Theatre Lab or Undermain Theatre? These are just my personal favorites, off the top of my head. I know I'm missing a lot.

I don't mean to sound pessimistic. I'm really not. All the elements for Dallas being a great city are there. These elements just haven't come together on a scale that would allow it to have any momentum. Instead, we just keeping pushing and pushing. I hope WE'VE NEVER MET might get people thinking and talking about what's great in Dallas. Or maybe, as retribution, someone will pour their beer on me.

DEADLINES

Today is the deadline for artists working on ONE NIGHT STAND. As of right now, I have sixteen finished pages and I'm waiting on the remaining half. I'm getting anxious emails from anxious artists. I feel bad causing such torment upon the busy lives of comic book artists. Seriously. We're all swamped with work, and sometimes a project like this can be a real albatross (so thank you to everyone contributing). I set the deadline to have enough time to layout, print, and ship everything a week before the December 30th release date. It also coincides with end of my Kickstarter pledge drive -- five more days left -- so that funds will be available in time to print. The deadline wasn't completely arbitrary. My apologies to those artists cursing my name as they ink the final panel.

On my end, it's exciting. This is probably my favorite part of the process. I love seeing the art for the first time. And I've never worked with this many people on a single project. It was an interesting exercise to script all these one-pagers on a single theme. I tried to complete five pages every day. Each artist is incredibly talented, and the styles are all varied. This project includes artists I've worked with on other projects: Paul Milligan (How To Lose Big), Tom Kurzanski (Karma Incorporated and Antigone), Brock Rizy (Emily Edison), Daniel Warner ("50 Miles to Marfa"), ZeeS ("Siren Song"), Cal Slayton (The Last Babysitter), and April Wenzel (our relationship). This project also includes artists who are brand new to comics, and several pros I've always wanted to collaborate with.

My next step is to arrange the completed pages in an aesthetically pleasing order, and get the files ready. Then, I need to find a good local print shop. Preferably not Kinko's. After that, I'm sending fliers to the retailers I've contacted -- and doing a bit more promotion.

CRIMES AGAINST FICTITIOUS CHARACTERS

Paul Milligan accuses me time and time again (usually when we're bored at conventions and need something to debate) that the women in my stories get unfairly beaten upon. I apparently have a bad case of "Women in Refrigerators" as a plot device. In my defense, (1) several of my stories have strong leading women. If you are the protagonist, the conflict follows you and you're an easy target. (2) The men in my stories also get beaten upon. Basically, if you are a character in one of my stories, expect bad things. (3) Joss Whedon is my spirit guide. It's the "I learned it from watching you" rebuttal. I don't just love Whedon. I study him. I've read all the scripts for the first three seasons of Buffy. I watch his shows with a notebook in front of me. Not kidding. I'm ready to learn. And you think I'm bad? You should see what he does to the women in his stories. In fact, I imagine he uses excuses 1 and 2 quite a bit as well.

For public record, here are my crimes against fictitious characters. Their lives were in my hands. I'll let you be the judge. Spoiler warning. Also, it's a fairly complete listing of everything I've worked on in the past seven years, published and unpublished.

SPACE TO OCCUPY *stage play, performed at UTA* No women were harmed in this story. One was homeless, but that's it. A guy douses himself with gasoline and attempts to set himself ablaze. Guy, not a girl.

THE INSIGHT *comic book, never published* Okay, a college girl is murdered. She develops psyche powers from her boyfriend (it could happen), and she accidentally discovers that her professor murdered his own son. The prof kills the girl to cover up his previous crime. Later, the psychic ghost imprint of the girl forces her boyfriend to kill the professor. I'm sure it would make sense if you read the script. Maybe not.

SOME OTHER DAY *mini-comic, self published* No women were seriously harmed. A mom punches her own teenage daughter. One pastor is killed when a piece of space shuttle debris lands on him. (read the comic)

FIGHT TO LIVE *short story featured in DEAD@17 ROUGH CUT VOL. 1* No women were harmed in this story. In fact, one girl comes back to life. That should count for something. (read the comic)

THE SPARROW *short story featured in DEAD@17 ROUGH CUT VOL. 2* No women were harmed in this story. A pastor dies saving a baby girl's life. Hmmm. Maybe I should look into how often I kill off clergy in my stories... (read the comic)

CFI SILENT FOREST *short story featured in SILENT FOREST TELEVISION PARODY SPECIAL* A golfer, male, is found dead. His head shoved in the ground. (read the comic)

THE STRANGER WAITS FOR ME *short story featured in WESTERN TALES OF TERROR #2* A woman is shot to death, but more guys were shot to death. (read the comic)

OMISOKA BRIDGE *graphic novel, never published* In this tale of a young samurai searching for his family, his mother sacrifices herself to save his life.

ROCKET SCIENCE *comic book, never published* Late 1950s, alien invasion. The human resistance is led by three gifted teens (think Hardy Boys and Nancy Drew) with access to some sweet jet packs and ray guns. Besides most of the world being wiped out by the invasion, no women were hurt? My Nancy Drew-esque character survives.

JACK RUBY *graphic novel, never published* Non-fiction. JFK dies. Lee Harvey Oswald dies. It shouldn't be too much of a surprise.

THE LAST BABYSITTER *graphic novel, never published* A quirky teenage girl loads up on guns to protect the neighborhood children against the robot apocalypse. Sorry to spoil the ending, but the babysitter dies at the end of chapter three to save the kids.

EMILY EDISON *graphic novel, published by Viper Comics* A large monster attacks a city. If they were any deaths, they occur in the reader's own imagination. Only death mentioned is my own. Off panel, the English teacher is eaten by the large monster. Alas, Mr. Hopkins. Beyond that, there's girl-fighting-robots violence. One girl is attacked by tiny spider-bots.

SIREN SONG *short story featured in DARK HORRORS* A dad searches for his missing daughter. He is lured into the ocean and drowns. (read the comic)

BULLETPROOF WEST *comic book, never published* Co-written by Jamar Nicholas. I don't remember any women dying in this one. Although, Annie Oakley beats up Lillian Smith.

THE HENCHMAN *short story, never completed* A poor guy breaks his leg. Twice. (read it here)

BETRAYAL OF THE MAN-EATING COW CLONES *one pager featured in THE TICK'S 20TH ANNIVERSARY SPECIAL EDITION* The Tick's sidekick Arthur gets mauled by ravenous cows. (read the comic)

VIRGINIA 1939 *short story featured in THE BRADLEY BOYS ADVENTURE MAGAZINE* An editor is punched by Dash Bradley. (read the comic)

ANTIGONE *comic book, published by Silent Devil* The lead character Antigone, she's horribly beaten and then commits suicide. Her lover Haimon kills himself. Haimon's mother also commits suicide. None of this is my fault. It's an adaptation from a play written by Sophocles. Blame him.

KARMA INCORPORATED: POOR MR. WILSON *graphic novel, published by Viper Comics* In chapter one, Susan throws hot coffee on Art Gellman. In chapter two, a police officer is beaten, kicked, and tied up. A man is shot and killed. A guy is thrown through a window. Yet, for some reason, people seem to remember chapter three as the violent one. Marsha is beaten badly, pistol whipped and choked. Her antagonist gets his face bashed in with a remote control airplane.

KARMA INCORPORATED: VICE & VIRTUE *graphic novel, unpublished* I released the script earlier this summer (click here). Their headquarters blows up. Susan is badly injured. Someone dies later in the story, but I don't want to give anything away. A woman is shot, but she lives.

LAKE ARCHER *comic book, never published* I scripted the first four issues of this ongoing series about a small town under quarantine. In the first issue, there's a woman found dead in her SUV. Also, a man is shot during a bank robbery.

FRONTIER *graphic novel/manga, still in development* Can't really share much about this one. In the name of disclosure, a main female character does die, but so do lots of other people. It's a story about a wealthy family driven into the frontier (hence the name) as a result of war.

DELTA COUNTY *graphic novel, still in development* The story revolves around a school shooting in a small town. Four students die. Three boys. One girl.

HOW TO LOSE BIG *graphic novel, still in development* I'm working on this project with Paul, and I'm proud to say no women were hurt in the main story. One girl is pushed over in a convention brawl, but that happens all the time. However, in the backup story "Princesses vs. Unicorns" -- it's not pretty. Unicorn and princess carnage. Grenades, shotguns, and chainsaws are employed.

50 MILES TO MARFA *short story featured in POPGUN VOL. 3* Con artists ditch a car in the middle of nowhere and walk home with the loot from a bank job. I don't want to spoil the ending, but it does support Paul's hypothesis.

THE HEIST AND THE HEART ATTACK *short story featured in POPGUN VOL. 4 (unreleased)* This story is about the bank job hinted at in "50 Miles to Marfa." As the title suggests, someone has a heart attack. And someone punches an old lady.

ASTRONAUT DAD, VOL. 1 *graphic novel, published by Silent Devil* No women were harmed in this story. However, in the second volume, some bad stuff happens. I would argue that the "bad stuff" only exists to show the very real tragedies that can occur in life.

UNTITLED PROJECT *graphic novel, still in development* Centers around the murder of a young girl. It's loosely inspired by actual events.

Here's my closing defense. The most important people in my life are all women. Could it be possible that my writer's imagination leads me to dark places and I can't imagine anything worse than something terrible happening to the people closest to me? It's catharsis to confront my own fears as an artistic expression?

D MAGAZINE, PRODUCTIVE PROCRASTINATION, AND NO NEWS

The October issue of D Magazine is now available. On page 20 of the "Pulse" section, Paul Milligan and I have our SOUVENIR OF DALLAS comic. I really enjoyed writing this one. We brought back the red neon pegasus and made fun of Reunion Tower. You can buy a copy at any local grocery store or bookstore. And of course, if you love the comic, write the editors and tell them.

Procrastination is a monster -- a terrible horrible beast seeking to take away what you hold most dear, your creative willpower. So many fall victim. Here's how I procrastinate: I create another project, get excited about that and then move away from what I was working on. Yes, ONE NIGHT STAND started as a way to avoid writing my novel. It's true. Now that I've written all the scripts for that lovely mini-comic, I'm back to my novel. And wouldn't you know it? There's now another idea I've been toying with, a future graphic novel that is invading my headspace.

These distractions can be good things. In the case of ONE NIGHT STAND, I'm incredibly optimistic. If you look at all the talented people involved, it might be one of the best projects I've ever worked on. Plus, the support for this endeavor has been tremendous (click here). However, sometimes, these new ideas keep me spread too thin. This is how I end up with six projects-in-progress and nothing published.

Speaking of, I don't have any updates on the status of ASTRONAUT DAD or HOW TO LOSE BIG. So there. My wise and mighty agent is on the hunt for a publisher. Hopefully, there will be some good news soon.

Same for EMILY EDISON 2. Brock and I are working on another Emily Edison graphic novel. However, we don't have anything we can report. Except the working title. It's... nah, I can't tell you. Sorry.

Don't forget that Brock is posting a Koo story (Emily's half-sister, remember?) on his site. This story will act as a nice lead into the next graphic novel. Thus far: Prologue - Part 001 - Part 002 - Part 003

WORD TO THE GENIUS

I finished listening to the audiobook for ELEMENTS OF STYLE by Strunk and White. I've read ELEMENTS a few times (and I teach from it in my Creative Writing class), but it was nice to have Frank McCourt's narration. He added some humor I never noticed before in a few of the lines.

For any writer, I consider it required reading. Seriously. I'm a full blown disciple of this little book and E.B. White's reminders on style. This section is especially comforting:

"What," an imaginary student asks Mr. White, "if it comes natural to me to experiment rather than conform? What if I am a pioneer or even a genius?"

And Mr. White answers:

"Then be one. But do not forget that what may seem like pioneering may be merely evasion, or laziness--the disinclination to submit to discipline. Writing good standard English is no cinch, and before you have managed it you will have encountered enough rough country to satisfy even the most adventurous spirit."

I've never considered myself a genius or experimental, but I keep feeling if I can't be one (a genius) or at least fake it -- then there will be no room for me among the career writers. I love E.B. White's dismissive tone. He has no patience for the genius. He's addressing the writers who sweat each line and every word. Which means, he's talking to me.

MY THOUGHTS ON JOHN HUGHES

I'll confess it's difficult to mourn the passing of John Hughes. For one obvious reason, I didn't know him. To me, he was always an adjective. "John Hughes" described a type of movie.

A John Hughes movie had something important to say. A John Hughes movie often dealt with teen alienation and the absurd battle for acceptance, acceptance from peers and parents. A John Hughes movie introduced the viewer to a world of humorous stereotypes and then fleshed them out until they were beautifully nuanced three-dimensional characters. Think of Duckie in PRETTY IN PINK (written by Hughes, not directed). Think of Cameron Frye in FERRIS BUELLER'S DAY OFF. Think of every single character in THE BREAKFAST CLUB.

A John Hughes movie is incredibly funny, but deceptively moving as well (SHE'S HAVING A BABY). You are likely to miss the point of a John Hughes movie depending on your perspective. As a teenager, I was outraged Duckie never got together with Andie Walsh. As an adult, I absolutely get it. The movie might be one of the most mature movies on the subject on young love (Just because you have things in common with someone, it does not obligate anyone to love you the way you love them). Likewise, with SIXTEEN CANDLES, if you juxtapose the wedding to the final scene between Samantha and Jake (you can also throw in the morning-after scene with Farmer Ted and Carolyn) you get a deeper statement on our expectations for the possibility of romantic love. I'm not making this stuff up. It's there.

The movie snobs may scoff, but I believe THE BREAKFAST CLUB is one of greatest screenplays. I reference it repeatedly in my Creative Writing class. It is a flawless movie, amazing structure. It behaves like a stage play, but was crafted for the screen. Only a John Hughes movie could integrate a cheesy dance number and still make it work. Claire Standish and Allison Reynolds doing that dance in the library is the most adorable two seconds in film history.

John Hughes had many imitators. "80s movies" became a genre in itself, primarily because of Hughes. Most copycats were mindless teen comedies, which failed to understand the respect John Hughes showed to his young audience. Even the good copies fell short. SAY ANYTHING, written and directed by Cameron Crowe, had the obligatory wacky graduation party. It had all the Hughesian archetypes. The movie shifted to a deeper message. Even still, the ending was too heavy handed and the comedy was forced. Yes, I dare challenge SAY ANYTHING. (It wasn't until JERRY MAGUIRE that Cameron Crowe found his voice as a director.)

John Hughes wasn't a genius. Actually, he might have been. I don't know. However, anyone who could write and direct the way he did, who could work with young actors and bring out such performances, had to be an amazing person. His movies are on my shelf. To say "John Hughes is gone" doesn't quite fit into my brain. What do you mean? He's right there (as I point to my DVDs). Fact is I didn't know him, but he knew me. And I think that's what made him great. He really understood how his characters felt and it perfectly mirrored his audience. Whenever we forget what it's like to be a teenager, to be young adults on the verge of needing everything "figured out," his movies are a reminder.

NEW MANTRA

When I write, I always keep this quote by Alan Moore at the forefront of my mind:

"Don't be afraid to use your own ideas."

Some people never have a problem. They are fiercely independent. However, by nature, I am a people pleaser. I want everyone to be happy and happy with me. Often, I get into the terrible habit of adapting to people's own preferences. You lose your identity pretty quickly. For anyone pursuing a creative interest, this can be the kiss of death. You have your ideas for a reason. They are meant to be used and explored. You have to be a bastard (of sorts) about your ideas. You sit in front of Microsoft Word, and you say to yourself: "No one is going to get it. Who cares? Move forward and let it be." This reminder from Alan Moore helps me turn off the internal censor.

Now, I'm reaching a new stage in my writing. New challenges. And I turn to this quote by Neil Gaiman about persistence (YouTube link):

"You put one word after another like putting brick onto a wall. And sooner or later, you look and you've managed to build the palace of Mad King Ludwig of Bavaria... out of matchsticks."

I've learned how to stand my ground and trust my ideas, but now I need to get more ambitious.

After visiting the Hearst Castle, I learned quite a bit about William Randolph Hearst. The man was simply incapable of thinking small. Great writers and artists seem to have this one unifying trait. They are ambitious. All people are born ambitious (my daughter told me she wants to marry Joe Jonas and have a house the size of a mall), but many people have tamed it in exchange for smaller goals. That's not always a bad thing. Sometimes, it's the reality of life. It's easy to think big, when your dad is George Hearst. Still. It's important to reclaim ambition for the things you truly love. And you build: one word after another.

YOU WON'T EVEN NOTICE I'M GONE

For those who worry that a year spent writing a novel will mean a year with no comics from me (awww... thank you hypothetical fan, too kind), you'll be glad to know that won't be the case. I will have short stories featured in PopGun Vol. 4, Outlaw Territory Vol. 3, the roller derby anthology from Oni Press, plus another anthology searching for a publisher. That's four comics right there. ASTRONAUT DAD is finished (as previously mentioned), and I completed the first draft for HOW TO LOSE BIG. So that's six. Brock and I are working on EMILY EDISON 2. The synopsis is shaping up nicely. That's a potential seventh comic. And by the time all this stuff arrives at your neighborhood retailer, the novel (which we're not supposed to talk about) will be finished. Hopefully. And I'll be ready to write more comics.

It's a perfect plan.

RULE #1: YOU DO NOT TALK ABOUT THE NOVEL

I have a superstition. I believe that the more you talk about a book (before it's finished) the less likely it will happen. If I go on and on, it jinxes the book. I have evidence to support this claim. Think of all those friends who told you they were writing a novel.

Now, where is that novel?

So, it is with great fear that I tell everyone: this week, I'm starting my novel. Yes, an actual novel.

I spent the summer finishing KARMA INCORPORATED: VICE & VIRTUE and HOW TO LOSE BIG in order to clear some room in my schedule. With the exception of an occasional short story or Souvenir of Dallas comic, I plan to focus solely on the novel. Before any of you recommend NaNoWriMo as a solution to getting my novel done... no. This isn't an experiment or a dare. This novel is a thoughtful and passionate endeavor. In that regard, it's no different from any other story I've written. At the same time, it's a frickin' novel. I haven't written one of those before.

I have the synopsis more or less finished. I've decided to no longer pursue BOLIVAR as a graphic novel. I've changed the title, re-worked the plot, and trying it as literary prose. I feel good about it. The story was too big as a graphic novel. I kept taking short cuts to reduce the page count for the artist. Now, the only one I'm punishing is myself.

This novel is three stories in one -- a mythic journey into the spirit world, a family's experience during World War II, and a glimpse into the ghosts of Galveston's tragic history. It's an American fantasy. Folklore, mythology, religion, and fairy tales all mix together. Think Carnivale, Bayou, Pan's Labyrinth, and American Gods.

"I never go back to the Island without sensing the ghosts. I can't think of a place where they run thicker." - Gary Cartwright, Galveston: A History of The Island

There you go. I'm going to shut up now. Hopefully to avoid the jinx.

BEST COMIC BOOK STORE, DIPLOMACY VARIANT EDITION

The latest SOUVENIR OF DALLAS, written by me and illustrated by Paul Milligan, is now available in the August issue of D Magazine. We're featured in the "Best of Big D" section (click here and scroll down).

This particular comic is about the "best comic book store" in Dallas. I'll admit it was fun to write, but difficult to share. We have several of the best comic book stores in the country located right here. The notion of choosing one is difficult for me. Thus, the comic was about that very issue. We narrowed it down to Zeus and Titan for obvious reasons. Both stores are routinely praised in the Dallas Observer, D Magazine, and other local publications. Both stores have received national recognition. Both stores have been incredibly supportive of local, independent, and small press comic book creators. Also, the mythological nature of their names created a nice angle for the story.

In praising these two stores, I do not wish to take anything away from the other great stores in Dallas.

A friend on Facebook commented, "I love how Lone Star Comics Dallas isn't even worth a mention." Yeah, well... it wasn't an intentional slight. Lone Star Comics was the first comic book store I ever visited as a kid. My dad would take me almost every time we got into the car. I've had several signing events hosted by Lone Star. And they have quite a few of my comics available on their website, including the sold out blue cover of Karma Incorporated #1. I like their new Arlington location near my house. They are one of the largest and oldest comic book stores in Texas (history), and their logo features a cowboy riding a unicorn.

Why the diplomacy? Why not admit I'm madly in love with Zeus and hate everyone else?

Yes, I heart Zeus. Favorite store. The people who work there are my dear friends. Being present to see Richard accept the Eisner Award was my best Comic-Con experience. They are my home base. They support me. The customers support me. I know if my comic book aspirations completely fall apart, I could still draw a mini-comic on some typing paper, fold it in half, staple it, sell it in front of Zeus, and make money for food that day. (Let's hope it doesn't get that dire.) More importantly, I support them. I believe they are the best model for success as comic book retailers.

And yet, whether it's Lone Star, Titan, Keith's, Madness, Comic Asylum, or Zeus, if you make your living selling comic books, you already had me at hello. The Dallas/Fort Worth area is big enough for everyone to be successful -- to find new fans, new readers, and help promote this quirky, sometimes misunderstood and typecasted, artistic medium known as comics.

IN MEMORY OF FRANK MCCOURT

Author Frank McCourt died yesterday of cancer (full report here). He was a public school teacher. He taught English and Creative Writing, just like me. McCourt wrote with such honesty. His stories made me laugh. More often, they made me cry. No one has pathos like Frank McCourt. It sounds silly if you've never read a great book before, but he was a friend. I projected myself into his stories. He was me. I was him.

I've quoted him in my classroom. I've read excerpts from ANGELA'S ASHES every year since I started teaching. He made me wish I lived in New York. He made me wish I was a few generations closer to my Irish ancestry. In a culture where I feel the need to continually apologize for my profession, he made me proud to be a teacher.

From an article in the Harvard University Gazette:

When the floor at Gutman was opened to questions and McCourt was asked what can be done about the "ineffectiveness of public school teaching," he had a ready answer: "Reduce class size and increase teachers' salaries."

Truly, I adore Frank McCourt.

He also said that something had to be done to increase the social status of teachers - so that mothers coo about "my son the teacher" the same way they go on about "my son the investment banker." Teachers need to become like the movie-star heroes of the "New Ireland," Liam Neeson, Pierce Brosnan, and Colin Farrell. "Teachers need to become sexy."

Frank McCourt had a miserable childhood, such a difficult life overall, and yet he wrote about the world with a smile. And now that he's gone, I can't help but shed a few tears for a person I never met.

ASTRONAUT DAD IS FINISHED

As Brent mentioned on his blog, he finished the art for ASTRONAUT DAD a few days ago. The entire story is done, all 160 pages -- making it my largest comic book project thus far.

It's also the one I've been working on the longest. ASTRONAUT DAD was the second comic book script I ever wrote. Initially, I wrote a five issue series called THE INSIGHT, which will forever remain hidden away. It was part of my learning curve and never meant for human consumption. (Best advice to a new writers: throw away your first attempt! Let it go and move on.) However, then in 2003, I wrote ASTRONAUT DAD.

The original idea was to do something reminiscent of the Silver Age Fantastic Four. The kids would be super adventurers, and the parents would be involved in NASA. It was a weak premise. Eventually, I made an important decision to strip away the adventure/fantasy aspects and make it more personal. I re-focused on the families, specifically how children perceive their fathers as the kids come of age. (Tangent: These two people had an interesting discussion on this aspect of ASTRONAUT DAD. Click here.)

I did about six months of research on NASA and the Cold War, took extensive notes, bought old copies of LIFE magazine, watched quite a few documentaries, and read Tom Wolfe's THE RIGHT STUFF. I put together character outlines and a detailed treatment of the plot. The first draft of this script only took a month. Actually, I think (my memory is fuzzy) I wrote the last chapter in one day, one very long day.

Brent would find this amusing. I looked through some old emails. Before I met Brent, I first approached another artist. Here's what I said in the email: "It's a coming-of-age story about three astronaut families during 1963. The draw back? It's 144 pages, and would be a real bitch to draw." (Obviously, we've added some pages. Mostly chapter breaks, title page, etc., the page count stayed pretty rigid throughout the editing process.)

The instant I met Brent I knew he'd be perfect for ASTRONAUT DAD. His art style is nostalgic of Jack Kirby without feeling derivative. And like all the artists I work with, it's "cartoony" and highly expressive. (Before starting the art, I mentioned to Brent the importance of subtly and emotional depth, numerous times -- and kept referencing the work of Will Eisner.) Brent had to decline at first, because he was working on an early version of DUMMY'S GUIDE TO DANGER with Jason Burns and then later HORRORWOOD with Brandon Terrell. Around 2005, patience paid off, and he agreed to illustrate ASTRONAUT DAD.

From an early email to Brent: "For me, this story is about doing something meaningful. I think it's the only story I've written that doesn't have somebody punching or pulling a gun on somebody else."

Justin Stewart joined our team as the letterer. He's a good friend and an absolute professional. It's never easy to be the last person in an assembly line, but he was fast and skillful. In a digest-sized comic, Justin produced something highly readable with a good sense of balance and placement. All the while, he never ever crowded out the art. And thank god, no typos. To me, that is the very definition of a great letterer.

I started my first rewrite when Brent came on board. For this rewrite, I printed the script, kept it in a 2" binder, and made a ton of notes. Then due to a corrupted file, I lost the document on my computer and I had to retype the entire thing from the edited version in my binder. It was a pain, but it was probably the best thing that could happen to the story. I caught so much while retyping.

After an adaptation ANTIGONE with Silent Devil, publisher Christian Beranek called to ask what I would like to work on next. (I've mentioned this story a few times on this blog and with friends.) I never had an editor approach me for a story before. It was a great moment. It was like being handed a blank check. You will let me do whatever I want? I told him about ASTRONAUT DAD. "Let's do it." It was that easy, and it might never be that easy again. We decided to divide the story into two graphic novels. Each volume would be three chapters, and priced at an affordable $5.95. We wanted to have the two books released within six months of each other.

Now that ASTRONAUT DAD was going to be published, I went for a second rewrite. I called in a favor with Nunzio DeFilippis and Christina Weir (website). I offered to help them with their website if they would read ASTRONAUT DAD, give some notes and a little friendly mentorship, which they were happy to do.

Volume one came out mid-November 2007. We debuted the book at Wizard World Texas (photo set).

After that, there were some delays. I'd like to blame the economy. Brent was in a position where he needed to take as much freelance work as was available, which left little time to work on ASTRONAUT DAD. I wasn't worried. I knew we'd finish this book. For anyone who gave me a hard time, I'd remind them that some Marvel Comics have had longer delays -- and Brent is creating something three times longer, penciling and inking, with no page rate. So, shut up.

During this time, there were some major changes at Silent Devil. Christian obtained a sweet job working with Ahmet Zappa and Harris Katleman. They signed a multi-year deal with Walt Disney Studios to create Kingdom Comics. Silent Devil still exists, but (as far as I understand) is not actively publishing titles like they used to.

The delay, the changes at Silent Devil, and me recently acquiring a literary agent (more info about that later) opened a new opportunity for ASTRONAUT DAD. Brent and I talked about re-publishing the graphic novel as one single volume with a larger publisher. Josh Fialkov did it with ELK'S RUN, moving from his own label "Hoarse and Buggy" to Speakeasy to Random House's Villard imprint. We were so close to completion we decided to finish everything first, then solicit the project. As Brent said on his blog, "Now the real journey begins for this story." Time to find another publisher for ASTRONAUT DAD. Anyone interested? Talk to this guy. [UPDATE 02/26/12: Don't talk to that guy. He's no longer a literary agent... and we published it ourselves. Read about it here and here.]

MY REVIEW OF MOVIE MAGIC SCREENWRITER 6

I buy scriptwriting software for the same reasons why people buy a gym membership. First, I hope the purchase will obligate me to use it. In other words, I spent hundreds of dollars on a writing program, so I better write more often. This "need to write more often" is the greatest guilt. I stayed up until 2 AM last night finishing chapter 2 of HOW TO LOSE BIG, and I still feel like I didn't get enough done. Buying something, scriptwriting software or gym membership, will not magically shift priorities. Second, I want to be more like those people who use it -- you know, “real” writers. Most creative communities spend a lot of needless energy establishing imaginary lines between the legitimate and the posers. What makes someone a real writer? Did they get published? Did a reputable publisher publish them? Are they making a living from it? How many people follow them on Twitter? It is silly and immature, but sometimes when you buy screenwriting software you are purchasing empty validation. Third, I hope that using it will somehow make me better at what I already do. You reach a ceiling in your progress and you start scraping for any perceived advantage it might intrinsically possess. How much time and energy am I really saving with auto-margins and macros for character names? In the end, like a gym membership, it only works if it's something that already fits your needs and disposition. Some people want to get a trainer, lift weights, and sculpt their abs. Me? I'd like to pay a few dollars to play basketball every now and then, which I can do for free at a public park.

A few days ago, I was given the opportunity to evaluate the Movie Magic Screenwriter software, including the Streamline plug-in and the Dramatica Pro program – all developed by Write Brothers, Inc. I already have Final Draft 7 and the Celtx free download. I haven’t been 100% satisfied with either, so I was anxious to see if Screenwriter was any better. And hey, they took the time to ask a comic book writer for his opinion. Bonus points already.

The problem with most scriptwriting programs is they were never intended for comic book writers. It is first and foremost a screenwriter’s tool. Often these programs can be adapted to suit the needs of a comic book writer, but it is an attempt to fit a square peg in a round hole. They all fail on one fundamental distinction. A screenwriter needs a rigid program to format his script exactly how the industry wants it to look. In contrast, there is no industry standard for comic book scripts. A comic book writer is corresponding directly with the artist and maybe an editor. As such, the software needs to be flexible to suit the tastes and varied format preferences of the individual comic book writer. Final Draft 7 and Celtx fall short as comic book friendly software. Movie Magic Screenwriter is the superior program for comic book writers.

Let’s start where it counts, the templates. Movie Magic Screenwriter 6 has two different comic book templates. The generic one lines the character name with the dialogue, i.e. more like a playwright would. The Gossett-Kayle comic book format (developed by the creators of The Red Star) is more like a screenplay hybrid with character names centered over the indented dialogue. I prefer the generic template, because it saves space, but for people who are more comfortable with the screenplay look. Knock yourself out. Either is available. I fear that an “industry standard” script format is going to become reality in the near future, but I’d like to fight it for a while longer. As long as the script is clear to the artist and follows standard logic, I use the format that works best for me. (Random side note: The novel template looks great. I can’t wait to play with it.)

The best thing about these templates is that they can be adjusted and customized, if you know where to look.

For instance, the dialogue defaults to all caps. It makes sense since 90% of all comic book dialogue is lettered in all caps. However, for some odd reason, I prefer to write dialogue in normal upper case/lower case style. Reason? I spend a lot of time tweaking dialogue, and it’s easier if I can read it as something that you would see in a novel, play, or screenplay (upper case/lower case). The all caps shouts at me when it’s not in the context of comic book art. Simply go to the “style” button and change it. It can easily be moved back and forth, if you need to do that.

Screenwriter has Normal Word Processor mode. It’s helpful, if you need to embed some long bits of prose or if the macros simply aren’t obeying you. Slap ‘em and down, switch to something more familiar.

In Screenwriter, one space after a sentence automatically becomes two spaces. This drove me crazy. With monotype fonts (such as Courier) people generally use two spaces. Professional typesetters, designers, and desktop publishers generally use one space. I prefer one space. Finally, I found how to change it in the Preferences section under “Spelling” at the bottom: Auto-Space sentences.

I did have two issues where I needed to call customer service. It took five minutes to get through, but when I did the person on the other end was helpful. He didn’t quite understand why I wanted to deviate from the template. Once again: comic book writers are weird like that. First issue, when I typed “panel” it automatically recognized this as a scene heading and underlined it. While I want my pages underlined and identified with the scene heading label, I do not want the panels underlined. Customer service told me to click “Format” then “User Lists.” Delete the panel, and all is well. (The “User Lists” area also lets you add new extensions. For instance, they had OP for “off panel,” but I also needed an “OP w/o pointer.”) Second issue, every time I hit return after my page number, it wants to add a “continued” or “panels per page” indicator. I honestly don’t know how many panels a page is going to be until after I write the page. Even still, I may not want to include it. I was tired of hitting return and then “v” for “nevermind,” leading me to the next line. This matter was solved in the preferences sections under the editing tab.

I realize by changing the template I may have limited some of the nifty outline and NaviDoc potential. However, the point is this: With Movie Magic Screenwriter, it may take a day or two, but once you figure everything out, you can get your comic book script looking exactly how you want it to look. It will accommodate all your idiosyncratic format issues. Other screenwriting software hasn’t been as understanding.

Another important issue is importing scripts from other programs. Moving Final Draft documents to Screenwriting is easy. Copy all, paste, and use the “most aggressive interpretation of the source text.” Afterward, a quick look to make sure you didn’t miss anything and you’re done. Importing my comic scripts from MS Word is not as handy, but the key commands are intuitive enough for you to move things around without too much trouble.

Of all the features it offers, I wish Screenwriter had a window available for my synopsis. It has a notes section and an outline feature, but I need a good notepad area. I usually write a four-page synopsis of the story, and compose the script based on that synopsis. Right now, I have to open MS Word and then move it next to Screenwriter. It’d be nice to have everything side by side on one program. Also you can’t paste inside a note, maybe I missed the option to change that, but it’d be nice if I could.

The note function is interesting, but I haven’t had a chance to use it much. You can place various notes throughout your script, which when it comes time to print, will magically disappear. Or you can print all your notes together.

A few issues I hope they correct in future versions. The “find” function is a little wonky. Once you perform a word search, the search window closes and you have to hit “command G” to find the next word. It’s not the most user-friendly approach. The “Mark one character’s dialogue” is a sweet function. Although, it’s not readily obvious how you unmark the dialogue. If you want to do it later, control Z won’t save you. From what I could figure out, you have to manually delete it in the “Show Format Codes” view. Not cool.

Here’s some more of the good stuff. The smaller details. When saving as a pdf, the pdf will page jump by script pages not actual pages. This is nice, and it makes sense. The word count will show you total words and words of dialogue -- to see how your ratio of panel description to dialogue stacks up. It was edifying to see I’d written 10,144 words in the HOW TO LOSE BIG script (3,183 words of dialogue). Change character name function. I could’ve used it last week, and I will need it in the future. I’m rarely content with the names. You can password protect a script. I don’t know if it’s necessary, but who knows when I might need to write something super secret? I haven’t used the “Speak Selection” yet, but if it’s anything like the Final Draft 7 voice reader, I’ll be happy. At a first glance, it looks like you can choose what elements to read, which is nice if I want to only hear the dialogue and not my laborious panel descriptions.

Streamline is an add-on plug-in you can purchase to increase the power of your Screenwriting software. It identifies small word changes or edits you can make to reduce your total number of pages. In Hollywood, where script size equals movie length, this would be important. With a comic book writer, it wouldn’t make much of a difference. I still like the add-on because I’m such a freak about being concise. I was raised in the William Zinsser school of writing. Streamline pointed out there could be a shorter word to replace “overweight.” You caught my evasive euphemistic language.

I was also shown the Dramatica Pro software. However, I might write a review of it later. I need more time to form an opinion. It’s a program based around an entire writing theory, helpful for anyone needing a coach -- to help them dig through their plot, themes, and characters, to ask the right questions etc. I’ll admit I’m leery of hippy-dippy phrases like “storyweaving” and the writer’s “dreamkit,” which Dramatica has in abundance. Their website also hosts writers’ group meetings. I’ll pass. Confession: I normally don’t like hanging out with other writers. Sorry. I’m a betta fish, happy to swim in my own bowl. I like being alone when I work. Even writing partners make me cringe a little. Also, my process tends to be wonderfully messy and efficient in such a way I wonder how Dramatica Pro would help. I’ll give it a try. If anyone beats me to it, email me and let me know what you thought.

Like a gym membership (here’s the part where I tie the ending to my first paragraph…), it’s not for everyone. However, if you are going to buy a screenwriting program, Movie Magic Screenwriter is the one I’d recommend. It’s most flexible for nitpicky comic book writers who want the benefits of specialized software without feeling like the program was intended for someone else.

RANDOMNESS

Last night, I sent Brock Rizy the complete synopsis for EMILY EDISON VOL. 2. Can't give any details at this point. I love the first volume, but this follow-up is going to be so much better. 200% more awesome and possibly eligible for a Guinness World Record. (Not kidding. I'm going to look into it.)

Beyond that, I hope to finish scripting chapter 2 of HOW TO LOSE BIG by tomorrow.

Also, I'm thinking about which conventions I want to attend for 2010. Financially, I've been in no shape to pay for any trips, but things are looking better. Right now, I'm planning on a booth for Stumptown in Portland and MoCCA Art Fest in New York. I want to attend Comic-Con next year, but no booth, and maybe just Wednesday night through Friday. Any thoughts on "must attend" conventions and why?