KOO TOO PROLOGUE BEGINS

Brock Rizy posted the first pages of "Koo Too" (click here) on his website. This short story was entirely written and illustrated by Brock. I looked at his script beforehand, but didn't have any notes. We've been discussing the future of Emily and Koo for awhile. "Koo Too" and "Emily Edison Stomps Sassy Pants" fit within our master plan for a second volume. You're getting a few pieces of the puzzle. You may want to re-read volume 1 (I'll have copies available at Dallas Comic Con). There are a few hints tucked away.

The synopsis for volume 2 is more or less complete. We've worked through all the details. The first series was originally conceived as a monthly comic book. Each issue had a self-contained story with a developing subplot that grew to dominate the final issue -- Continuity 101. However, the second series is a much bigger story.

We'll keep you posted on its progress.

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.

MY GENIUS IS KINDA LAME

Scott Kurtz posted this video, and I wanted to pass it along. "A must watch for anyone who struggles with being creative on a regular basis." A few months ago, April and I saw Elizabeth Gilbert as part of the Arts & Letters Live program hosted by the Dallas Museum of Art. She is a true inspiration and a teacher to this generation of writers and artists.

I watched the video last night, and the timing couldn't have been better.

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.

MY EDITING PROCESS

Yesterday, I finished the first draft of HOW TO LOSE BIG. It was a good feeling. I've worked on a lot of proposals lately, but many were just a synopsis, chapter one script, and some art. I decided to script this one from beginning to end, to stay sharp as a writer. I'm glad I did so.

Now comes the next stage, which is editing. However, it's important to clarify that the editing process begins the moment I start writing. I can't really separate the two. Some writers have a more polished first draft than others, then everything after that is fine tuning. Some writers have a loose first draft and then slave away during the second and third re-writes. Anytime you add, delete, or modify something you wrote, you're editing. Thus, the adage: "editing is writing." The creative process is as much about the pencil point as it is about the eraser on the other end. Creative choice involves mental editing before you type the words on the keyboard.

All the same, one hopes that at the beginning you focus most of your energy on production and move gradually into a focus of refinement. It would be hard to make refinement your priority on day one.

My first draft. For me, it's hard to write with a blind eye to changes that could be made to something I wrote a paragraph before. I constantly re-read while I'm writing. It's bad and slows down everything. If you had control over your process, I wouldn't recommend doing it this way. Like an injury that never healed, I've learned how to function normally with it. What am I looking for? Clarity of thought, of course. Would someone understand what I'm trying to say? I look for a logical progression of ideas. I look for stupid mistakes (missing words, misspellings, etc). I try to delete needless propositions attached to the end of verbs, dead adverbs and adjectives. Also, word repetition bugs the hell out of me. Some repetition is to establish a particular cadence (notice earlier in this paragraph I began two consecutive sentences with "I look"). Otherwise, it's annoying. It's one of those writing curses I feel particularly afflicted by. After I stumble through a first draft, I use the Streamline plugin on my Screenwriter program. I'm not all that concerned with making the script a few lines shorter, but Streamline can give some basic suggestions for removing clutter.

Removal of clutter equals increased clarity and readability, which is all I care about. Maybe this is why I'm worried about starting my novel? I've never fixated too much on pretty prose or clever compositions (notice my ironic attempt at alliteration?). I only want the story to shine through.

After Streamline, I use that glorious Find function available on any word processor. I search for these words: "that" "so" "just" "very" "however" "stuff" and the phrase "it is," and attempt to eliminate them as much as possible. Why? These are the overused words that sneak into my writing and weigh it down. I'm sure there are other words to add to the list. For instance, my dependency on be verbs worries me a bit. I come from the William Zinsser school of writing. ON WRITING WELL is required reading in my Creative Writing class.

My second draft. I print the script, put it in a binder, and ignore it for a month or so. I need to approach my second draft with a fresh pair of eyes, time helps and so does moving it from the screen to the printed page. I'm not ready for someone else to edit it, unless they are the artist. They get to see everything throughout. With this draft, I grab a pencil and mark the script with notes. What am I looking for? Everything. However, I give special attention to improving overall narrative flow, character voice, tone, important visuals, and trying to keep the theme as subtle and nuanced as possible. (I'll admit HOW TO LOSE BIG feels too heavy handed in its message. That won't last.) Theme should only be for the smart readers who pay attention. I mean, it's there, but if the author's message or agenda is too obvious -- your bones are showing. It can feel preachy and spoil a good story. Anyone remember Star Wars Episode III? George Lucas, we get it. Once finished, I take my binder and commit the notes to my original script file on the computer.

My third draft. I pass the script to a writer I trust for another perspective. Bribery and favors are sometimes employed to get them to read it. I cannot stress how important is is to get a writer I trust. Editing is not only about accepting feedback, but also knowing whose feedback to take. Some writers pass their script to other people too early in the process. I want to get story as good as possible before I let others tell me what needs to be changed. At his point, I'm not expecting major changes. If so, I missed something in my second draft. I'm testing to see what worked and what didn't -- and I come with specific questions.

Production. The last stage in editing is while the artist illustrates the comic. Sometimes, things that worked in the script don't work on the page like we expected. Other times, an artist makes some discovers that we want to further develop. The dialogue might be redundant if the visuals communicate better without a word balloon crowding the panel. This collaborative aspect of comics can be the most fun, if you're working with a good artist.

Any creative act (and editing is a creative act) involves knowing when to stop. I limit my fussing to these four steps. It's then time to move on and write something else.

MISSING THE BIG PARTY

Once again, I will not be at San Diego Comic-Con. I went four years in a row (four wonderful years), but I've taken a sabbatical from pop culture mecca. One of the main reasons is financial. I braved the pilgrimage during some rocky times -- almost always with negative results. And since I'm oh-so-close to getting out of debt, I decided it would be better to wait until things are more stable. Another reason is obvious. I don't have any new books out.

However, if things go the way I hope they do, come next year, I should have a lot to promote. My tentative plans for 2010 include Stumptown Comics Fest in Portland Oregon, BookExpo America and MoCCA Art Festival in New York City, Comic-Con in San Diego, Texas Book Festival in Austin, and several store signings throughout the summer.

For those of you who are going to San Diego this year, might I recommend...

Daniel Warner, the artist of COCOPIAZO from SLG, who I collaborated with on "50 Miles to Marfa" in POPGUN Vol. 3, will be signing copies of POPGUN at the Image Comics booth from 9 AM to 10 AM on Saturday. He's a great artist and a good friend. You should say hi.

Grant Alter will also be signing at the PopGun booth. He'll be there with Lars Brown on Friday from 2 PM to 3 PM.

Scott Zirkel, the writer behind A BIT HAYWIRE, will be at J07 with Josh Howard, Pat Bussey, and Bryan Baugh. Scott is signing at booth #2002, Blue Dream Studios, on Thursday and Saturday from 12 noon to 2 PM.

Joshua Fialkov will be at the Archaia Comics, booth #2635, with his limited edition ashcan (I call them "minicomics") of Tumor, chapter one.

In Artist Alley, Otis Frampton will be at CC-18. Katie Cook will be at BB-18. She posted some great con advice on her site. Dave Crosland (who did the art for my website) will be at EE-04. Jim Mahfood will be next door at EE-05.

Viper Comics will be at booth #1903 where you should be able to pick up copies of EMILY EDISON and KARMA INCORPORATED.

Oni Press will be at booth #1833. While there, you can get YOU HAVE KILLED ME, the new hardboiled hardcover graphic novel by Jamie S. Rich and Joëlle Jones. Antony Johnston will debut three books at San Diego -- WASTELAND: THE APOCALYPTIC EDITION, DEAD SPACE: EXTRACTION, COLLECTED SCRIPTS: VOLUME ONE (convention exclusive).

Make sure to attend the Oni Press panel tomorrow at 3 PM to 4 PM in room 10. There will be an announcement about a new book from Nunzio DeFilippis and Christina Weir. If you ask nicely, they might say something about the roller derby anthology.

If I've forgotten any dear friends, please mention in the comments section where you'll be.

THE SOUND OF ONE KNIFE STABBING

Today, I was scripting the final segment of PRINCESSES VS. UNICORNS. (Speaking of which, I got some page layouts and a character design from Alison Acton. The art looks awesome!) I'm now on page 119 of HOW TO LOSE BIG. According to my writing program, there are 16,783 words in the script. 5,190 of the words were in dialogue. Not bad. However, one word was eluding me: the sfx of a knife stabbing someone. It needed to sound gross. I'll admit my use of onomatopoeia is fairly boring. I use "blam" or "bang" for gun shots. I use "snap" for a variety of things breaking. "Crash" if it is really breaking. And so on. But what is the sound of a stabbing? The action is contained within one panel. So to show the character is being stabbed repeatedly, the repetition of the onomatopoeia is essential. "Stab! Stab! Stab!" Isn't this a lovely topic?

In times of trouble, Twitter is a useful way to get quick feedback. I posed the question, and got some interesting responses. I thought I'd share them. There are a few repeats.

Sqwelp! Shunk! Plorkk! Sphhhlt! Schunk! Glurnk! Shluk! Sshhluck! Thwump! Penetrated! Shluk! Klshuk! Shnk! Schloook! Chut! Shik! Fffftt! Shank! Splitch! Pkkkhht! Pllkkkcchhhh! Plik! Shplort! Slice! Bleed! Shhhhhunk! Glish! Shhtaab!

Contributors: otisframpton, thegeoff, artgantuan, Cosmosis, spreadsheeticus, astrokitty75, grantalter, BradMilyo, warlick, phillipginn, superleezard, faufman, thoughtbrain, BEEow, Justin3000

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.

MY GUIDE TO A HAPPY CONVENTION EXPERIENCE

You've never been to a comic book convention before, but you're taking my advice (because I'm so darn persuasive) and making plans for Dallas Comic Con. Good for you! But now what? I have some helpful ideas on how you, the newbie, can enjoy a comic book convention.

BRING A CAMERA. There will be a few people in costume. (No, you don't need to dress up.) Admittedly, I'm not a huge fan of cosplay. It's amusing, but I feel like it creates a wrong image of the comic book industry. Watch any television news footage of a comic book convention, the interviews and b-role footage always go to the "weird people" dressed as super heroes. Cosplay is a part of the convention experience, but it's certainly not the only thing. That being said, occasionally a few cosplayers will win me over. Some people pick great characters. Wolverine is not unique, but if you dress as the Middleman (like this guy here), then I have to get my picture taken with you. Cosplayers are camera whores. They want to be photographed. They have poses and everything already prepared. Thus, bring your camera and have fun. Be silly. Post the photos on Facebook and Flickr. Your friends will love it. If anyone dressed as one of my characters, I would love them forever.

There will also be a few movie/television celebrities at the convention. I still regret not getting my photo taken with Carrie Fisher.

BUY SOME STUFF. Why on earth would you go to a comic book convention and not bring money? It's like going to a restaurant without buying any food, instead you just prefer sitting and watching other people eat. Go to the ATM. Get some cash. I would recommend avoiding anything that you could just as easily purchase at Amazon, B&N, or a local comic book store. Instead, buy something from one of the comic book creators (like me) and get it signed. Go to their table, look at their wares, and find something interesting. Most creators are friendly and easy to talk with, but not all. Don't let it ruin your day if a comic book creator has the personality of burnt toast. Shake it off, and move along. Also, spend your money on commissioned art! Bring a Bristol board notepad with you. Most artists will do sketches. Ask how much they charge (before they do the sketch, not after), and they'll people happy to draw almost anything.

WHAT NOT TO DO: (1) When someone signs a comic for you, do not say: "Who knows? This might be worth something someday!" To you, it may sound complimentary, but think how that sounds on the other end. By implication, is it not worth something now? Collectors and the speculation market nearly killed America comics. We're still a little sensitive to that "it'll be worth something someday" mentality. Look at the cover price. That's what it's worth. Read and enjoy. (2) Don't haggle with the artist on prices. Some people charge little, and some charge a lot. When you haggle, you're challenging them on the perceived value of their craft. Fighting words, pure and simple. You can haggle with vendors selling old comics and collectibles, but that's about it.

EXTRA SUGGESTIONS: (1) I would suggest leaving for lunch. Convention food is not always that great, and it's pricey. There will be a few nice restaurants nearby. (2) You should buy at least one thing from an independent comic book creator -- a print, a mini-comic, something. It's good for the soul. (3) Get something signed by an old pro. Talk with them, and bask in their wisdom. (4) Bring a friend. (5) If they offer any panel discussions, you should attend them. Even if you don't know anything about the given topic, it gives you an opportunity to sit for awhile and learn something new.

Please comment and post your own suggestions.

THE ARTIST FORMERLY KNOWN AS UNKNOWN

I'm happy to announce Alison Acton as the artist for PRINCESSES VS. UNICORNS.

Alison is a fellow contributor to PopGun Vol. 3. She wrote and illustrated the wonderful "Cave Pat and the Early Feminist Movement" on page 285, and illustrated The Faerie Path from TokyoPop. Alison is also the creator of the web comic Bear Nuts -- with such lovable characters as Nerd Bear, Prozac Bear, Evil Bear, Crack Bear, Tanked Bear, Gimpy Bear, and Gay Bear. You can see more art on her website dooomcat.com (three o's). I especially love the Mini-Melees.

We found the perfect artist for our princess/unicorn bloodbath.

The team is complete: Paul Milligan on the main story of HOW TO LOSE BIG (with grayscale shading and additional support by Jake Ekiss), Brock Rizy on OH NO POGO, and Alison Acton on PRINCESSES VS. UNICORNS. More updates soon.

IT'S WORTH MARKING YOUR CALENDAR

To all people who live within driving distance of Dallas (which I estimate to be a 173 mile radius), there are some events you need to attend.

Event #1. This Saturday, The Happy Bullets and Amo Joy are playing at the Amsterdam Bar. Favorite local band + another great band + favorite bar (that's not called "Lee Harvey's). Drive to 831 S. Exposition Ave.

Event #2. Friday, August 7th, Art Conspiracy's SEED at Sons of Hermann Hall. The money raised during the SEED event will be used to fund the operating costs associated with Art Conspiracy’s large scale December fundraiser. So yeah, it's a fundraiser for a fundraiser. Music by True Widow, Airline, and Glen Farris. Always a unique event. This year, twenty local artists made lanterns from coffee tins. Last year, they auctioned journals (one was mine). Comic books next year? Yes? Drive to 3414 Elm Street.

Event #3. Saturday and Sunday, August 15th-16th, Dallas Comic Con. I could tell you who all will be there, but why not click the link? Lots of great local talent and a few big name writers and artists outside the Dallas area. Even if you are not "into comics" or "having fun," you should take the leap. Try it out. If it's your first time, I'd be happy to give you a step-by-step guide on how to enjoy yourself. Drive to 411 W. Arapaho Rd in Richardson.

PINK BLOOD WITH SPARKLES

You know you want to read this comic. To be featured in HOW TO LOSE BIG...

Logo by Paul Milligan. We're currently searching for an artist. Just emailed somebody awesome (if you're reading this... hi!), hopefully, we'll have some good news to share soon.

PANEL 1. On Princess Bella. She’s wearing a beautiful puffy dress with lace and beads, etc. The dress is torn and dirty. Bella’s beautiful done-up hair is falling in places. She has bruises and dirt on her face. She’s running, looking behind her. There are squirrels, other woodland animals running with her. All scared. Cute little birdies fly behind her, away from whatever terrible menace is after them.

They are in a boarded up and abandoned castle.

PANEL 2. Close on Bella. She looks terrified.

PANEL 3. Bella stops near a hanging tapestry. The tapestry has stitching of princesses and unicorns playing together in peace. Bella’s tired of running.

PANEL 4. Bella reaches into the folds of her dress.

PANEL 5. She pulls out two large semi-auto handguns -- Smith and Wesson 990L 9mm, 4 Inch, double action, stainless steel. Thank you very much.

PANEL 6. Close on Bella, looking straight at the reader. She’s tough as hell. There’s a blue bird on her shoulder.

BELLA: Let’s go to the ball.

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.]

IT'S WORTH MENTIONING AGAIN

I received the proof copy of my KARMA INCORPORATED SCRIPT BOOK. It looks great. I made a few minor changes to the interior -- not anything you would notice. I pushed in a few margins here and there. Nit picky stuff, which I'm somewhat known for. I was mostly concerned about the cover. The image on the Lulu store was a little grainy, but it printed very well. Also, the color looks perfect. See for yourself...

Thanks Paul for the cover design!

I ordered 25 copies for Dallas Comic Con. However, you can also order it online for $9.99 or you can get the digital download for $3. I actually make a larger profit on the digital download, but the book looks prettier in print. At this time, it's the only way you'll be able to read the volume 2 of Karma Incorporated. I love reading scripts -- plays, comics, screenplays. We need some more people to release their scripts through print-on-demand. Jamie Rich? Nunzio and Christina?

THE MOST COMPLETE UPDATE ON HOW TO LOSE BIG

The script for HOW TO LOSE BIG is coming along. I finished chapter three yesterday and will start chapter four later tonight. This might be the best thing I've written, which is good -- considering it's the most recent thing I've written.

It's hard to judge from my perspective. I felt most "at home" writing KARMA INCORPORATED. EMILY EDISON was a lot of fun creatively, a wild collaboration. And ASTRONAUT DAD went through so many re-writes; it may be the closest I ever get to literary fiction (as opposed to popular or genre fiction). With HOW TO LOSE BIG, I've had several moments where I lean back and think, "Oh, this is nice." Maybe my baby ego is becoming a man, deeper voice and all (as spoken by Patrick Warburton)?

It was actually Paul who approached me with the idea for HOW TO LOSE BIG (email sent on August 5, 2008, I archive everything). The original title was HOW TO BREAK INTO COMICS (OR DIE TRYING). He described it as "a group of four or five friends who are small time comic creators and their trials and tribulations trying to get into mainstream comics." There's a twist, but I can't really share that. Can I?

Usually, I don't like working from another person's story concept. No offense, but a lot of comic book artists are only looking for a new reason to draw ninjas, zombies, pirates, robots, monsters, aliens, super heroes, or some combination. But Paul? He suggested a story that was actually a story. I guess, as the creator of DASH BRADLEY, he had tapped the "guilty pleasure" vein dry and was ready for something with a little tenderness. Also, it helped that Paul said in his email: "we could get together and develop it into something more detailed or you can just take this idea and run with it," which I interpreted as "just take this idea and run with it." It made me less worried about ruining his story. HOW TO LOSE BIG did come back around to being a collaboration. Paul helped immensely with the plot, and working with him on the story felt very natural. It's one of those rare partnerships where every new idea begins with "Yes, and..." You forget you're plotting a story. Instead, you're cracking up over where these characters are prone to wander. And you go there. After the plot was more or less finished, I grabbed our notes and crawled into my office to write the script. Occasionally, I'd slide bits of the script to him via email for feedback. Beyond that, this part of the process requires me to isolate myself. I do a lot of pacing and talking to myself. My unofficial iTunes soundtrack consists of Queen's Somebody to Love, Supertramp's Dreamer, She & Him's Sweet Darlin, Stevie Wonder's Signed Sealed Delivered I'm Yours, Joni Mitchell's Raised On Robbery, and Lose Big by Eef Barzelay, of course.

My biggest concern with writing a story about indie comics was it feeling like an auto-bio, as though I'm hiding my own persona behind the protagonist. I'm not. Leslie Odom is not me. I have no interest in some angsty self evaluation. After all, that's what blogs are for. HOW TO LOSE BIG should feel like the most honest take on indie comics, with a lot of heart and still be absolutely absurd. Hell, I'll say it. This story is my ALMOST FAMOUS, a love letter to comics and my friends. (Yes, for Cameron Crow, that movie was slightly auto-bio, but whatever, the example still holds.)

No pressure, Paul.

I do feel bad for Paul. He's going to be drawing lots of convention scenes, road trips along I-35, people hanging out at the comic book store, people talking pop culture in their hotel rooms, people sitting in the cereal aisle of a grocery store at two in the morning. On the other hand, with the inclusion of OH NO POGO and PRINCESSES VS. UNICORNS, Brock and Katie get to draw all the fun violent stuff with monsters and guns. Sorry Paul, you were invited to the wrong party.

For those keeping score, all previous posts about HOW TO LOSE BIG...

August 25, 2008: I first mentioned the comic, no title, and included character designs from Paul. I said it takes place in Lawrence, Kansas and involves some small press/indie comic book creators. (click here)

November 13, 2008: I announced the title, posted the logo, and said I started work on the script. I described it as a graphic novel about "comic book industry and failure." (click here)

December 9, 2008: I shared more character designs. I described it as "a wonderful comic book project that we're working on... about working on a wonderful comic book project." (click here)

December 16, 2008: I revealed the two comics-within-the-comic, OH NO POGO illustrated by Brock Rizy and PRINCESSES VS. UNICORNS. Erin Riggs was attached as the artist at the time. Yes, the comic would include violence between princesses and unicorns. (click here)

January 18, 2009: Paul came over to the house, and we finished plotting the story HOW TO LOSE BIG. I said I was happy with it, and that Paul had most of the good ideas. (click here)

February 3, 2009: I posted a page from OH NO POGO. I described the style as "Brock Noir" and said the story was my attempt at something involving secret super agents and monsters. Concerning the outline for HOW TO LOSE BIG, I commented that Paul and I kept each other entertained with insane twists in this story, especially the climax. I said the story has a message about the strained relationship between commerce and artistry, professionalism and friendship. (click here)

February 4, 2009: I posted a page from HOW TO LOSE BIG. (click here)

And there you go. The most complete update on HOW TO LOSE BIG I can possibly offer. Keep us in your good will, start a fan club -- we need to get this graphic novel published.

AND WE'RE BACK

Kennedy, April, and I came home from our trip. We returned to a broken A/C unit. It was 11 PM and inside the house it was 91 degrees. Outside? Much cooler. Rough night with little sleep, but the fine folks at Douglass Heat and Air are working on it right now.

April's twitter describes it perfectly: "only asks for a peaceful re-entry into society. Is that too much to request?"

The trip itself was about as perfect as you could hope for. We went to my cousin's wedding. April and I took a road trip up Hwy 1 to Big Sur, Carmel, and Monterey. We visited the Hearst Castle, the Monterey Bay Aquarium, and ate at some great restaurants. During that time, Kennedy stayed with my parents. My sister and mom took her to Disneyland. When we returned, we had a few relaxing days in Huntington Beach. April bought an iPhone 3GS. Then we went to Laguna Beach for the 4th of July.

Some photos posted to Flickr (click here)
My sister also posted some photos to Facebook (click here)

MINE ALL MINE REVIEW

Mark Campos of Poopsheet Foundation wrote a review of MINE ALL MINE (click here).

It's a cool site. For anyone who likes mini-comics (and who doesn't like mini-comics?), I'd recommend checking it out.

From their website:

Here at the Poopsheet Foundation our intention is to be a central meeting place for mini-comics publishers, artists, writers, readers and collectors. It's a community-driven site that's also got social networking features built in.

Poopsheet, in one form or another, has been an active concern since 1993. It began life as a small publication that reviewed other small publications. The zine eventually became a website and the Poopsheet Shop sprang from that. Owner Rick Bradford has been actively involved in the mini-comics scene since 1985 and has been running the Poopsheet Shop online since 2004.

And there you go. I recommend the site that recommended my mini-comic.

KARMA INCORPORATED SCRIPTBOOK ON LULU

I will have copies at Dallas Comic Con. But if you're just too darn excited to wait, the KARMA INCORPORATED SCRIPT BOOK is available on Lulu for $9.99 (click here). I ordered a proof copy, so it's possible you may get the book before I do. I'm almost 100% confident there won't be any print errors. I followed all the specs very carefully. Got some helpful feedback from A.C. Hall who uses Lulu a lot. Cover design by Paul Milligan.

This script book features the first series POOR MR. WILSON and the unreleased second series VICE AND VIRTUE. The book also includes sketches, original pages, and promotional art by KARMA INCORPORATED collaborator, Tom Kurzanski.

There are two other "surprise" short stories at the end, but the main course is the unreleased VICE & VIRTUE script. It may be the only place where you'll be able to read what happens in the second series. This is why I decided to print a script book for KARMA INCORPORATED as opposed to one of the other comics I've written. Exclusive content, oh yeah.