DIGITAL COMICS

Before you read my post, it's absolutely required that you read this interview with Diamond Distributor's Dave Bowen. He talks candidly about the iVerse/Diamond partnership to sell digital comics and "digital plus" comics through brick-and-mortar shops. It's a long interview, but for anyone who writes, draws, or publishes comics -- it's essential that we are able to follow these new developments. Now my thoughts...

Whatever criticisms I've had about Diamond in the past are gone now. I'm very optimistic about this model, and Diamond's approach seems to be well-reasoned, researched, and well-timed. Diamond understands their role in shaping the industry, and they are open to adapting and changing as needed.

In the comments section of the Beat interview, Charles Knight says that no one will stand in line for a digital comic voucher when they can cut out the middle man and buy it directly on their iPad. "It's like attaching horses to the front of a car." A fascinating simile, but I think the market for this model are customers who already go to the shops. It's not seeking to add customers, but maintain a base that may shift to digital and leave the brick-and-mortar stores behind. Dave Bowen says, "We want retailers to have a way to use this method instead of being innocent bystanders." That's the key. It will allow stores to participate in the process. It has been used at Game Stop and Best Buy. The scale won't be the same, but Diamond has no illusions about that.

"If you are running a good relationship-based business, digital comics can’t affect you in any significant way." Another important point. We're not only fans of comics; we're fans of particular stores. When I started buying comics again after a long hiatus, I loved hanging out and talking with the guy behind the counter at Lone Star Comics (South Arlington location). Heck, I would buy comics I hadn't originally planned to read -- just because the store manager spoke so highly of it. Digital in-store comics might be great for regulars who want to "check out" a new comic, but aren't willing to pay full price for a physical copy. This bodes well for independent and small press creators. We allow retailers to "take risks" with our books through the digital marketplace. If we sell well, it should increase the orders for physical copies as well.

It may be frustrating to some that this iVerse/Diamond partnership isn't targeting the millions of potential readers who never set foot in the store. Future models for digital distribution will come, especially if this present model is even moderately successful. From my perspective, those "millions of potential readers" are just that: potential. They don't exist yet. Those creators who have been successful with digital comics in the past, via direct Internet sales, are creators who have already been successful in the stores. (Can anyone think of a digital comic that was successful without already having creators who made a name for themselves in the industry? I'm sure there are examples, but I don't know if there are enough to render brick-and-mortar stores obsolete.) How do we reach those "millions of potential readers"? I have my own theories. I used to think: it's so easy, if everyone would just do what I'm suggesting! But now? I'm less arrogant. There's no easy solution. Since that audience doesn't exist yet, it might be better to refocus our attention on what can be done in the current marketplace -- while still dabbling with direct Internet sales. I'm certainly not opposed to direct Internet sales. (More information coming soon on that front.)

A few other statements that caught my attention...

"I do agree with the assessment that digital comics are the new newsstand. I agree largely because I’m hopeful that it’s true because the old newsstand certainly does not work in terms of driving people or creating new readers. It hasn’t worked for a long time." It's true, but it's a sad truth. Success stories are isolated. Many stores fail. Even the best stores aren't so secure that they can survive a terrible year or two or three. Digital comics should allow for opportunities to try out and discover new comics.

"I think most large publishers right now are thinking how can I consolidate what I’m doing rather than how can I expand it." I know a lot of people are saying that iVerse/Diamond will fail because Marvel and DC aren't a part of it. I bet they will come over once they see how well it works. Large publishers will consolidate, and Diamond represents a safe and familiar place to do their consolidation.

Those are some of my thoughts. What do you think? Feel free to post in the comments section.

UPDATE: Via Twitter, Chris Williams told me they're building comicshop.net to keep retailers relevant and foster smarter business practices, including digital properties. This is great news. You can follow Chris's blog (click here), make sure to read: "It's about the EXISTING marketplace."

SCREENWRITING MASTER CLASS

Robert Turnage, the PR Director for the Dallas Screenwriters Association (official site | Facebook group), sent me the following information:

I wanted to let you know about a screenwriting master class we are having in February with Jim Hart, screenwriter of such films as Contact, Hook, and Muppet Treasure Island. His master class is titled “Deconstructing Dracula.” During this presentation, he will present the film “Bram Stoker’s Dracula” (of which he wrote the screenplay) and chart scene-by-scene the story and character arcs. By going through the presentation, he hopes to help writers have a deeper meaning of story structure and character development.If you or anyone you know is interested in screenwriting, story structure or character development, feel free to share this workshop information with them.

The master class is:

Saturday, February 19 Southern Methodist University O'Donnell Lecture/Recital Hall Owen Arts Center 6101 Bishop Blvd, Dallas, TX 75205 Time: 9:30 am - 6:00 p.m. (Lunch on your own)

Prices are $75 for Dallas Screenwriter Association Members, $95 for non-members, and $45 for students.

You can purchase tickets from the DSA website here: http://www.dallasscreenwriters.com/jim_hart_workshop.html

I might attend. (UPDATE 02/09: I'm attending.) I'm finally recovering from my writing lethargy, and a workshop would be good. I need to see if I'm able to coordinate it with my daughter's schedule. Family first.

If anyone else is planning to attend, please post in the comments.

STAY IN SCHOOL, DON'T DO DRUGS

Recently, I was the "celebrity judge" in the Knowhat2do comic book contest. I had the pleasure of reading through the submissions, giving feedback, and selecting my favorite. The winner of the competition sent me an email, thanking me for the feedback. He told me he wants to be a professional comic book writer/artist and asked for advice.

Thank you for your kind email. No worries. I'm not surprised you haven't heard of my work. While I'm a published comic book writer, my comics haven't been widely distributed. However, some of the local shops should have a copy of EMILY EDISON, KARMA INCORPORATED, or ASTRONAUT DAD laying around somewhere. This last year, I've been writing mostly for magazines and alt-weekly newspapers. Good luck in your aspirations to be a professional writer and artist. There are people who make a living at it. It's certainly a reasonable goal, if you work hard towards that end.

My advice is fairly simple. I don't know if it will be anything revolutionary. You need to pay attention in school and do well in your English and Art classes. I know too many writers who lack the basic ability to form sentences. Grammar is important, because it allows us to better craft sentences and thus organize our ideas. Writing is all about control. English class will improve your ability to express yourself clearly and effectively. I also know a lot of artists who cannot draw correctly in regards to anatomy and perspective. These skills are absolutely a must. All artists can draw their characters, but they avoid backgrounds. You should set yourself apart by being better than everyone else in drawing environments (backgrounds). If you can do this, your odds improve.

If it's possible, I'd also recommend attending college. Almost any university will offer writing and art classes. You will have the chance to further develop your talents. I would also recommend taking some business or entrepreneurial classes. The comic book is an art form, but it's also a business. In order to get your work out, many people need to self publish first. And in many instances, they find it is more profitable. If you take some business classes, you will be better prepared.

MAKING COMICS by Scott McCloud is required reading.

One last bit of advice, put together a good portfolio of your work. Take your work to comic book conventions, and ask editors and other artists for their honest feedback. Listen to them, and thank them for their help.

I hope this helps. Good luck.

So, what advice would you give? Feel free to post it in the comments section. Then, whenever we get the question, we can just direct them to this link. Genius!

YOU'RE WELCOME, ARLINGTON

As you may know, Paul and I produced our last SOUVENIR OF DALLAS for D Magazine. It was featured on their Frontburner blog -- right here. (Fear not. I'm still contributing to D Magazine. In the March issue, I have a feature. You will hear more about it soon.) In the comic, I took this shot at my town: "Does this train stop in Arlington?" "No, they don't believe in mass transit. It's a strange mysterious creature... that helps people commute." This jab refers to the fact that Arlington is the largest city in America without public transportation. Despite the fact that we have a huge commuter population, despite the fact that the geography of the Dallas/Fort Worth area makes it ideal for rail transportation, and that a bus system would make things much easier to connect Arlington, and even though the mayor and almost every council member wants public transportation, the same vocal minority continues to vote down proposals for such an improvement to our growing city. Good times. Why the resistance to public transportation? In part, it's an irrational fear of any tax whatsoever. Believe me, I like low taxes. However, not all taxes are created equal; some public programs have benefits that far outweigh the expense. When you avoid the most straightforward approach to fund a successful program with tactics that avoid a tax, you may create something ineffectual and wasteful (i.e., state lottery to fund public education, what?). I've heard some weak reasoning about public transportation bringing "a certain element" to our fair town, i.e., poor people. I'm sorry to break it to the fearful citizens, but we already have poor people in Arlington. They would benefit from public transportation. And that would help improve all of Arlington. Ideally, when poor people can travel to their jobs, they can make money, save money, and (ta-da) pay their taxes. Yes, hurt and offended middle class, poor people pay taxes too. I could go on a rant about how we've turned poverty into a moral failing, and how some people feel the liberty to punish the poor for their situation (doesn't seem very Christian, does it?), but I'll save my crazy ideas for another day. I also think some Arlington citizens are in denial. Arlington went from a modest suburb located conveniently between Fort Worth and Dallas to being a major city in its own right. We need to start behaving like a city. The problems that major cities face will come to us whether we like it or not, but we are in wonderful position to anticipate these problems -- and avoid them where possible. Cities suffer when they ignore the needs of its citizens.

I also write for QUICK -- right here. Instead of our regularly scheduled WE'VE NEVER MET, we created a special two-page "Welcome to Dallas" feature for next Thursday. It's in anticipation of the Superbowl. Geoff Johnston and I, along with our fearless editor Rob Clark, wrote the feature. My artistic collaborator and personal hero Chad Thomas submitted the final art last night. It looks incredible. Suitable for framing. And yes, I take one or two playful jabs at Arlington.

You're welcome.

I should say that I love Arlington. I love living here, and I ardently defend our city to those who still think we're just a place to keep their sports teams and amusement parks. We need to develop our downtown, support locally-owned businesses (you must eat here). We need public transportation. We need to develop our local arts and pub/club scene. The Highlands needs a frickin' parking garage. We need to push the planned bike routes into action. We need UTA to be acknowledged as the tier one school that it is. We need to support the GMC plant and its workers. All of this (except the parking garage) adds up to one thing: Arlington needs to discover its identity as a major city. Fort Worth did it years ago with its investment in Sundance Square and the Museum District, and with its undying support of TCU and the young professionals who live there. We shouldn't simply "follow the formula" and create something artificial. It's about championing the things that Arlington already possesses and focus on the needs of our people. Obviously, this rant is long on ambition and short on actual plans. Blogs are good for that. None of my rambling is too earth shattering. However, I felt the need to tell Arlington: I complain, because I care.

NO MORE WIZARD

I remember the last issue of Dazzler (#42). Across the top, it read: "Because you demanded it... the last issue of the Dazzler!" If I were the writer of that series, I'd be pissed. Because you demanded it? Ouch. In some ways, I feel a similar mixed sympathy towards the print version of Wizard Magazine. With all due respect to the employees, I sorta wanted this to happen. In the words of one twitter post by Steve Mohundro: "I'm sad for the employees, but no love lost from me if Wizard magazine is actually folding. Not the best face for the art form or industry." I have many friends and colleagues who have benefited greatly from the support of Wizard. However, I always felt like Wizard represented the very aspects of our industry I was most embarrassed by -- misogynistic, myopic, and moronic. Wizard championed big events and big companies. The few times they did offer page space to indie comics, they weren't really "discovering" anything. They were spotlighting the obvious hits, filed under "well duh." The magazine's role in "comics journalism" was also deferred to more capable hands on the Internet. For example, Rich Johnston at BleedingCool.com and Heidi MacDonald at ComicsBeat.com, both did more investigative reporting than Wizard ever attempted.

It's a shame Wizard couldn't be more. And yet, it's hard to fault them. They were trying to sell magazines. If I were them, I'd probably also load it with Wolverine and Megan Fox as much as possible.

I understand that many people could come up with examples that refute my own criticism -- and by all means, feel free to comment and respond. I promise I won't get argumentative. I realize that Wizard did, at times, have moments of brilliance. Wizard's overall trend is well known. As comics began to get smarter, as the readership got older, they failed to adapt. Maybe I just lament their poor branding? Wizard. Have you ever heard a more terrible name for a magazine about the COMIC BOOK INDUSTRY? Instead of faulting them, maybe I should instead be upset that their occasional competition could never pose a real threat?

The magazine is one thing. The conventions were problematic too. I never appreciated how they attempted to overthrow locally-owned conventions by scheduling their shows so close. Business is business, but it's dirty and you lost my respect as a result. Even when I attended Wizard World Texas (in Arlington), they could never compete with the guests of the Dallas Comic Con or CAPE. Both conventions were also more friendly to indie creators.

More than anything, I'm upset to discover how they treated their employees. I mean, sure, I might be a real jerk about your magazine -- but these people spent years of their life trying to make your magazine (talking to you, Gareb Shamus) work. They deserved better.

I see a theme emerging: Wizard's great failing was a failure of respect -- to comics fans, to non-mainstream publishers, to convention goers, to their own employees.

This post is worth reading, and I'll end with it: click here

EDITORIAL ASSISTANCE

Ever so often, someone is brave enough to ask for my opinion on something they've written. I'm a curmudgeony (yes, that a word) Creative Writing teacher -- and not the cute kind of curmudgeon either. My mind is trained to not like what you've written. Not out of spite, but just because there is so much crap out there. Something magnificent, by definition, must be rare. If someone hands me a script, I will always try to read it. Usually, I don't finish. That, in itself, should be taken as a sign. However, if I do finish it, my notes may not be kind, but they will be sincere. If the notes are cruel, be encouraged. It means I care, and I really want this story to be good. Over a year ago, October 20, 2009 to be exact (I keep every email), my friend and colleague Ryan Cody sent me his script for ICARUS, issue one. I sent back 43 notes. I can't claim to have actually improved upon what was already a good story, but let's pretend.

That issue is now available for purchase (click here). Both for digital download and if you want a print copy. You can also read a preview.

Here's the official word on ICARUS:

In 2014, a young child with the ability to look into the future sees an object approaching Earth, a giant spacecraft containing a species intent on invasion and occupation. She locates the most public superhuman of the time, The Golden Templar, and convinces him to take her to a secret group of world leaders. The Ameliorata do not believe her story and cast her away. When she, and other gifted seers go public with their warning, global riots break out and the world is turned upside down with religious and economic collapse. The Ameliorata decide that the superhumans cannot be allowed to roam unchecked and continue to upset the power balance. They order the execution of every known superhuman. Major Fisher Riley is put in charge of exterminating the world’s most powerful individuals. The Ameliorata convince the public that the oncoming object to Earth is only the asteroid Icarus, preparing to make its scheduled pass of Earth.

Icarus is expected to pass Earth on June 16th, 2015.

I highly recommend it. After all, I finished reading the script. The concept is fascinating, focused and well delivered. I've always enjoyed Ryan's art, which I think is particularly well-suited for modern adventure stories -- potent with dark, deep colors.

Read it. Enjoy it. I did.

GOODBYE YEAR OF THE TIGER. HELLO RABBIT.

Welcome to my traditional "year in review" post. Stay awhile. Read and enjoy. Last night, we (April, Mandy, Scott, two of their friends, and myself) went to Riscky's Steakhouse in the Fort Worth Stockyards and then to Billy Bob's for their New Year's Eve party. We had a good time. In the spirit of THIS AMERICAN LIFE, I could make wistful comparisons between being at Billy Bob's, a strange place full of anxious energy, and the feelings of this previous year. However, I'll just leave that alone and say we had a good time. I'm not much for late night partying. So, it was fun to be out at two in the morning like all those crazy young cowboys. Mandy commented on how responsible she had been at Billy Bob's. I told her I have that affect on people. I'd like to think my very teacher-presence inspires sobriety and moderation. It's my lame mutant power. This year has been good. I post that every year, but it's true. I've been fortunate. I promise whenever I have a terrible year, I'll let you know. Yes, 2010 was a very good year. April and I are engaged and planning a wedding. My daughter is happy and healthy. I'm getting comics published in a weekly entertainment newspaper. And I've been setting aside time to do the things I enjoy. Good stuff. I'll admit my writing output has seriously diminished and that's worried me, but I just don't know if it was possible to maintain my breakneck writing pace of the previous seven years. At a certain point, I need to "recalibrate my expectations" and that wasn't easy. It's still not easy. I hope in 2011 I find a happy medium between writing and everything else that's important.

Previously: 2004 | 2005 | 2006 | 2007 | 2008 | 2009

Memorable events for 2010:

* Officiated Wim and Brenda's wedding * Competed in the Texas State Amateur Chess Tournament * April and I got engaged * WE'VE NEVER MET comic goes weekly * Kennedy as a flower girl at Bethany and Deanna's wedding * Taking Kennedy to the State Fair * Dallas Mavericks games with April * Wrote my first article for D Magazine

Favorite comic books I read in 2010:

* 20th Century Boys * Market Day * Scott Pilgrim's Finest Hour * Yotsuba&! * GoGo Monster * Octopus Pie * The Walking Dead

Favorite TV Shows I watched in 2010:

* Six Feet Under * Madmen * The Office * 30 Rock * Modern Family (We're behind on this one!) * The Walking Dead

Favorite movies I watched in 2010:

* Scott Pilgrim vs. the World * A Serious Man * Inception * The Imaginarium of Doctor Parnassus * Ramona and Beezus * The Kids Are All Right * The King's Speech

Favorite food for 2010:

* The spicy tuna roll at Sushi Zone

Favorite music I listened to in 2010:

* Gorillaz, Plastic Beach * Deerhunter, Halcyon Digest (thank you, April) * Edward Sharpe & the Magnetic Zeros, Up From Below (thank you, April) * Blood Money, Tom Waits * Wolf Parade, Expo 86

MERRY CHRISTMAS!

Better late than never, but here is the 6th annual posting of O Holy Night (trainwreck version). Share the song with someone you love... then apologize to them. Blessings to you and your family! Merry Christmas, Happy Rohatsu, and a Happy New Year!

LAST YEAR, THIS YEAR, AND GETTING MARRIED

Hey November. Where did you go? I didn't post anything last month. Remember last year? Last year, I was busy coordinating a mini-comic project (ONE NIGHT STAND) with thirty different artists. Chad and I had also started work on WE'VE NEVER MET. And I was desperately trying to get out of debt. This year is better.

I got out of debt in May. (Thank you. Thank you.) Of course, then I got in engaged on July 3rd, and we went back into debt planning for the wedding. Good debt in my opinion. We'll get back out of debt in 2012! Then, we may start looking for a new house and we'll be back in debt. It never ends.

Also, no mini-comic project this year. Don't get me wrong. ONE NIGHT STAND was a huge personal accomplishment. I'm very proud of what we created. I'm just in no rush to try it again.

After a year, WE'VE NEVER MET has moved from every other week to every week. That's 52 pages each year. The story, I think, has also found its voice. The series did not come into its own until WNM #6 -- still one of my favorites. And it's getting better. I only hope that Quick continues to adore us and that Chad still digs our work. If we keep doing this for a few years, who knows where the story might lead? It's exciting. My biggest/only concern is developing the local fanbase. I don't get much feedback from readers, and I miss that. With my graphic novels EMILY EDISON, KARMA INCORPORATED, or ASTRONAUT DAD, we had people reviewing that work. Sometimes the reviews made me cringe, but I didn't mind. It let me know that people care enough to have opinions. Even if their opinions were wrong.

Also, I'm working on my first feature for D Magazine. Pray for me. I plan to have it finished by Friday.

Let's talk about the wedding. April and I have set the date for June 25th. It's going to be in northwest Wisconsin near Rice Lake in a barn, this barn. We have a minister officiating, this minister. We have a photographer, this photographer. We have a DJ, this DJ. We booked our honeymoon here. April bought her dress and her shoes. Last Saturday, April, Kennedy, and I went to museum district of Fort Worth for our engagement/family photos. April's friend Andra took the photos, and we're anxious to see them. It was fun. We're getting everything together.

YOU + DALLAS VIDEO

I tried embedding the video, but it messed up the right margin. So you have to click this link instead. It's definitely worth watching. A film crew from You + Dallas came to the Dallas Comic Con and made a great video. The triumphant music cracks me up a bit. I wish I had that playing every time I teach my Creative Writing class. Anything sounds profound with music like that.

Also, cool to see Jake Ekiss, Lawrence Reynolds, Jim Mahfood, and a few other friends in the shots.

HERE'S THE UPDATE

As a mentioned last week on this blog, after a five month unplanned hiatus, I need to reevaluate how I can "sustain momentum" as a comic book writer (i.e. no more nervous breakdowns and still keep writing). Find balance in my life, family, teaching, and comics. Thus, I need to prioritize, focus, and cut down my work load. No more working on seven projects at a time. I'm going for a leaner, smarter David Hopkins as writer. The plan. I've divided my writing work into five categories:

1. Completed projects: stuff I've already written (and maybe it's completely art'd), and it just needs to be published 2. Ongoing projects: stuff I'm currently writing and/or it's in the process of being published 3. New projects: stuff I haven't written yet, but I'm planning to work on 4. Abandoned projects: the graveyard of rejected proposals and unfinished projects 5. Loose ends: small bits of writing I've promised to people

As far as completed projects, I need to renew my efforts to find a home for ASTRONAUT DAD and HOW TO LOSE BIG. In regards to ASTRONAUT DAD, it's frustrating for a beautiful 160 page graphic novel to be completely finished and yet unread. Also, HOW TO LOSE BIG is such a great story. The proposal looks great. We just need to find it a home.

With ongoing projects, I'm focusing all my energy on WE'VE NEVER MET, which resides on the back inside page of the free weekly entertainment newspaper Quick. On a professional and creative level, it's everything I could ever hope for. It's consistent, paying work where I get to develop a continuity and collaborate with a talented artist. We have a massive local readership (Quick reaches more than 90,000 per week), and the potential for a huge fanbase. Story wise, I love the slice-of-life feel of WE'VE NEVER MET. It's a story about a person's life, an adventure in searching for meaningful relationships and pursuing artistic goals. It doesn't have to be a "gag comic" nor does it need super heroes, monsters, robots, zombies, pirates, or ninjas. Although, it does have one hobo.

ANNOUNCEMENT #1: As of this month, WE'VE NEVER MET is now weekly. It's no longer on an every other week cycle. This will give us a much better opportunity to build our audience. That's 52 pages every year. Unfortunately, it does end the regular appearance of LISTOONS (click here), created by my friends Geoff and Cal, with whom we alternated on that back page. LISTOONS isn't gone. There should be periodic appearances elsewhere in the pages of Quick.

In the next few weeks, Liz (our protagonist) will be in the studio recording an EP. We will introduce a new character, Lindsay Graham from Junius Recording Co. Liz's last name will finally be revealed, as well as the band's name. Exclusive preview: The band name is Inklings.

ANNOUNCEMENT #2: Speaking of Inklings, music producer Lindsay Graham and I are entering the bold terrain of fictitious bands -- Gorillaz, Josie & the Pussycats, Partridge Family, Monkees, The Oneders, etc. We're still in the early stages of everything, but you can expect to actually hear Liz's band. You'll be able to buy the album, proudly wear an Inklings t-shirt, request them on KXT, or vote for them in the Observer Music Awards. Who knows where it will all lead? I'm proud to be working with Lindsay, and I can already tell this is going to be an exciting experiment.

Inklings are my new favorite band.

But first, Liz has to write some more songs (below: a preview of the October 14th comic).

My other goal in the "ongoing projects" category, unrelated to WE'VE NEVER MET, is to try to write at least two features for D Magazine every year. And guess what?

ANNOUNCEMENT #3: I just signed a contract for my first magazine feature (2,000 words). I don't want to go into any further details. Let's wait until the story is sent to my editor, and then off to the printers.

With new projects (and this is a difficult issue), I'm going to work on only one new graphic novel proposal at a time. Jamar Nicholas and I have our BULLETPROOF WEST project. That's the one. Nothing else until that's complete. I know I've mentioned this idea before, but it's new because all we have is a plot outline and some characters. I'll have more details soon.

With abandoned projects, unfortunately, there are too many to name: FRONTIER, BOLIVAR, OMISOKA BRIDGE, JACK RUBY, KARMA INC 2. Better not to think about it.

With loose ends, Paul and I are working on the finale for SOUVENIR OF DALLAS to appear on D Magazine's Frontburner blog. Also, Brock and I have a short Emily Edison side project that I need to script this week.

And that's the update. Sound good? Let me know your thoughts.

A NEW SHORT STORY WITH DAVID DEGRAND

Here's the first page. With the exception of WE'VE NEVER MET, this is the only thing I wrote over the summer. Like "Fighting David Parrot," it's another autobiographical adventure from my childhood.

PRIORITIES AND LEARNING TO SAY NO

One of the benefits of my hiatus (click here if you forgot) is that it's caused me to re-prioritize a lot of the projects I've been working on. I have the unfortunate tendency to say yes a lot. However, if I'm going to survive as a writer, I need to cut down on the work I accept. Leaner, meaner. In another week or so, I should be able to post what my plans are for the next year. It's been good for me to reevaluate.

Okay, that's it. Nothing much to add.

ILLUSTRATED COMPANION PAMPHLET

A few months ago, David DeGrand and I partnered with the Happy Bullets to produce a mini-comic that would accompany the release of their album Hydropanic At The Natatorium. It was a small print run of 100 copies. 50 copies were included with a limited vinyl edition of the album. The other 50 were sold at some shows, distributed to friends, family, and local comic book stores. It was a fun experiment to take some of the songs and recreate them in comic form. I love working with DeGrand. He has such a great style and approach to comics, which always makes me feel comfortable taking risks.

I've now made the pages from THE HAPPY BULLETS PRESENT AN ILLUSTRATED COMPANION PAMPHLET FOR THE ALBUM HYDROPANIC AT THE NATATORIUM available on this website -- click here and scroll down.

Enjoy.

ADIEU TO SOUVENIR

Paul posted earlier today on Facebook:"Souvenir of Dallas is no longer going to be featured in D Magazine. I just want to say thanks to Tim Rogers and the rest of the fine folks at D for giving it a home for the last few years and letting us do some crazy stuff. And thanks to David Hopkins for writing such awesome scripts. Not sure if it will live on or in what form, but I'll keep you posted."

Our editor Tim Rogers then followed with: "It's a shame, really. David ruined the whole thing. I just couldn't work with that jerk. But you're peaches, Paul. xxxooo"

And then, I said: "If anyone would like to read all the Souvenir of Dallas comics, you can click here and scroll down. Tim: *Takes a bow* That's impressive, because I've seen some of the people you work with. Paul: I will remember every single time we were on assignment, wondering aloud: "I can't believe we're getting paid to do this..." Thanks for being such a great collaborator. To everyone who supported us and picked up a copy of D, Paul and I really appreciate it. The editors took good care of us. And with magazines, everything has its season. Three years was a nice run. We have no regrets. Paul and I will be working on something else very soon. We'll keep you updated."

It was a crazy gig. Three years ago, after meeting with Tim and Trey Garrison, I got the offer to develop a one-page comic for D Magazine. I asked Paul if he would be willing to come on board as the artist, and I couldn't ask for a better person to handle this project. (These scripts were not easy. Seriously. The deadlines, the panel descriptions, and the references all required a talented professional. Paul was awesome.)

Our first assignment was to cover the opening of Dean Fearing's new restaurant, and I'm proud to say we reported the hell out of it. Interviews, notes, reference photos, more notes. And alas, barely any of it was needed for the actual comic. In fact, most of Souvenir was like that. We went on assignment with journalistic fervor. We gathered more information than we would ever need. Not that we minded too much. Our research got us into the Dallas Mavericks' locker room. I took my daughter to Great Wolf Lodge, and Paul joined us for dinner. I stalked the mayor of Dallas for an entire weekend, from a Shakespeare In The Park gala to a Celebrity Waiter gala to an Earth Day gala... mayors attend many galas. We went to interesting clubs and met interesting people. I spent a morning with Julie Dreher, talking about chickens.

The chicken one and the Main Street Garden were my proudest moments from a reporting standpoint. In contrast, the Deep Ellum restaurant assignment was absolute hell. The night before my deadline, I roamed the streets desperately trying to get an interview with just one more restaurant manager. "Stadium Death Star" was the easiest one to write, and Paul loved drawing himself as Han Solo. My favorite panel is from "State Fair Apocalypse" -- the last panel with a monster battle involving Big Tex, the bronze Dallas Zoo giraffe, and the red neon Pegasus from the Magnolia Building (who returns in our "Pritzker" comic). I have the original art framed in my office. The "Lost In Victory Park" comic was our least favorite. I just don't know if the LOST references translated well.

While I'm sharing, there's a never finished Souvenir of Dallas that was supposed to be in the December issue. It was about these new segway-type vehicles the Dallas Police Department purchased. I scripted it. Paul penciled most of it (one scene included Paul and me trying to free an elephant from the zoo). And then, it was cut at the last minute due to a lack of space in our section.

Not every comic book writer gets an opportunity like this one. We had a massive audience, and we were able to explore and experiment with our craft. I consider myself lucky.

LOSS TO LONGEVITY RATIO

Quote that Lindsay Graham shared with me:

"Pere Ubu is not now nor has it ever been a viable commercial venture. We won't sleep on floors, we won't tour endlessly and we're embarrassed by self-promotion. Add to that a laissez-faire attitude to the mechanics of career advancement and a demanding artistic agenda and you've got a recipe for real failure. That has been our one significant success to this date: we are the longest-lasting, most disastrous commercial outfit to ever appear in rock 'n' roll. No one can come close to matching our loss to longevity ratio."

Also in a somewhat unrelated matter, I'm working on new stuff for WE'VE NEVER MET. Very excited about it.

EVERYTHING I HATE

Everything I hate about Hollywood and the comic book industry in one convenient email (sent to me earlier today). Here's a link to the website.

Having Trouble Selling Your Script?

Learn How to Write and Produce a Comic Book That Will Capture Hollywood’s Attention!

Comic books are red hot in Hollywood now. Numerous blockbuster movies including Sin City, 300, Road to Perdition, Wanted, and Hellboy started out as indie comic books.

With its combination of words and visuals in one attractive package, a comic book can be a great sales tool when pitching your project to movie studios and producers because it’s easier for these busy professionals to see beforehand what the movie will look like.

Today, it is much easier to sell a graphic novel than a spec script. With a comic book in hand, you separate yourself from the huge crowd of new screenwriters that only have a spec script to peddle. Studios are looking for pre-branded properties with an existing fan base. You need to build an audience and generate buzz prior to submitting your project to producers or film financiers. And comic books are a great, low-cost starting point to develop your story world.

Writer Martin Shapiro (Chopper, Lair of the Fox) will take you inside the comic book industry and teach you everything you need to know to get started, including how to:

Hire a good artist Lay out the panels for maximum impact Construct the visual elements like a film director Create vibrant character designs Color the pages like a cinematographer Do speech balloons Self-publish the book on a tight budget Distribute your book to bookstores Produce an iPhone and iPad version of the book Market your product via the web and conventions Submit your book to agents and movie producers Using a creator-owned comic book as a case study, the instructor will demonstrate the tools and skills necessary to create strong, cinematic artwork that brings your script to life. We’ll also discuss the potential pitfalls faced by beginners that can severely hamper a project. Most of this insider information is NOT available in books or online.

Date: Saturday, October 2, 2010 Time: 1:00 pm – 5:00 pm Location: The Writers Store in Burbank Instructor: Martin Shapiro Prerequisites: None

Seating is limited. Enroll today for only $79!

Teacher Bio: Martin Shapiro is an award-winning WGA screenwriter and producer. He created the horror comic book series Chopper and co-founded Night Owl Comics. His action-thriller screenplay Lair of the Fox was sold to Ilya Salkind (Producer of Superman). Mr. Shapiro has written and developed projects for MGM, HBO and numerous independent production companies. He received his Master’s Degree in Screenwriting from UCLA.

Guest speakers will include the following industry pros:

Andrew Cosby is the creator of the TV series Eureka on the Sci-Fi Channel, currently in its fourth season. Andrew is also the co-founder of BOOM! Studios, a comic book publisher that currently has 7 movies in development at major studios. BOOM! has signed a deal with Disney/Pixar to produce comic books based on their properties.

David Wohl is Editor-In-Chief of Radical Publishing (publisher of Caliber, Hercules, and Freedom Formula). Previously, he was the Editor-In-Chief and President of Top Cow Productions. With over twenty years of experience in the industry, he was responsible for bringing numerous Top Cow titles to the shelves, co-creating and writing The Darkness and Witchblade, even serving as the producer of the Witchblade TV series. Radical Publishing currently has production deals with Universal Studios, New Regency, director Bryan Singer, Johnny Depp, Sam Worthington, and Wesley Snipes.

No offense to David Wohl, Andrew Cosby, or Martin Shapiro (well, maybe a little). I'm sure the workshop will be very informative. Instead, I hate hate hate the idea that Hollywood screenwriters will jump onto the comic book bandwagon in order to produce a comic in order to convince a Hollywood producer to buy their story. ("Having trouble selling your script? Learn how to write and produce a comic book that will capture Hollywood's attention!") Screw you. Seriously. You want a "pre-existing fanbase?" How about actually writing comics for the love of the medium itself?

I adore comics. If you're not serious about being a comic book writer for its own merit and reward, stick to your crappy screenplay and leave our comics alone.

To clarify, it's not that I have a problem with Hollywood screenwriters writing comics. I have a problem with them writing a comic book with the sole purpose of developing an IP ("intellectual property") for a film. Hell. If you refer to your comic book as an "IP," also, screw you.

One might argue that there's a double standard here. After all, comics have benefited (in some regards) from Hollywood's keen interest and large bank account. Why not use comics to kick start film properties? For years, publishers have released comic books based on films. Yes, but I've seen a lot of bad indie comics flood our industry because a writer had this idea he wanted to turn into a movie. It's insulting to people who take their craft seriously.

If you feel the need to defend this Hollywood corruption, feel free to post a comment. I'm in the mood for a good discussion.

A LITTLE CLOSER

This week, Daniel Warner sent me thumbnails for the final 8 page section in our 50 MILES TO MARFA story. Combined with the middle section, illustrated by Evan Bryce, the entire comic about a bank heist that goes awry will be 24 pages long. It's going to look great. I will have more to share soon.

SO. YEAH. AWKWARD PAUSE.

Since May, I've been on an unplanned hiatus. It's not writer's block. Writer's block is when you want to write, but can't. I just haven't been writing much. At all. I wrote an 8 page short story for a kid's project (a new collaboration with David DeGrand). And I've been writing for WE'VE NEVER MET, which appears every other week in Quick. However, besides that? Nothing. For the past seven years, my summers have been reserved for writing, writing, and more writing, but this summer was different. So what's up?

A lot of my larger projects have hit a wall. I have stuff completely illustrated (or art'd, if you're offended by me calling artists "illustrators" +), other projects completely scripted from beginning to end; I have proposals awaiting approval -- I just haven't been able to find a home for anything. I've published a few short stories, and I enjoy writing short stories. This year, I published one with Oni Press. Last year, I wrote one for PopGun 3 with Image. I have another short story with Outlaw Territories 3 (also Image). I self-published MINE ALL MINE, a collection of one-page stories, and I published a mini-comic with the local band The Happy Bullets. All this stuff is fun, but it doesn't recharge me the way that working on a larger project does.

I guess the above paragraph is excuse #1. It's not the first time I've complained about this wall, but it'll probably (hopefully) be the last time. Fact is the momentum isn't there -- and if it were, I'd be more proactive in submission process. The blame lies with me.

Excuse #2. I've been afflicted by chess lately. Some people play chess. And for others, it's a condition. As best I can surmise, it comes in an eight-year cycle. Last time was about eight years ago before I started writing comics -- and before I got engaged. Before that was in high school, after I gave up Dungeons and Dragons. Eight years before that, I was in Elementary School when my dad first taught me how to play. My current state is rather severe. I've been competing in a few USCF tournaments with mixed results. I have the U.S. Class Championships coming the first week of October, and I've signed up for the "Class D" section. Am I using chess to supplement my extra time due to excuse #1? Probably. Maybe this is research for my next comic book project? At a certain point, I need to declare my hiatus over and find a balance -- or else I'll slide into an early retirement.

Excuse #3. A lack of inspiration. I need to start something new. I've been wrestling with the same seven or eight stories for a few years now. I don't feel like I've been able to contribute anything worthwhile (or original) to this comic book industry that I love. It's been a long time since I've started from scratch with a new idea. I can tell you right now that whatever I work on next, it'll be dark and offbeat. Creatively, I just feel that in my bones. I wish I could describe it better, but sometimes you get a sense for the tone/mood before you even have the story.

Excuse #4. The season finale of LOST destroyed my faith in all that is good in the world. (Kidding.)

That's my confession. I'm on hiatus. I wish I wasn't, but I need to call it what it is. Returning to school will help me settle into a routine, and a routine is always good for writers.

DALLAS COMIC CON IS ALMOST HERE

I hate the weather right now (even with AC blasting in my car, it's still intolerably hot). And I'm not completely ready to return to school. But one good thing can be said about August: another Dallas Comic Con! Dallas Comic Con always brings in some great media guests. However, I'm especially excited about... wait for it... Edward James Olmos. Frackin' Admiral Adama! The guy saved human civilization (belated BSG spoiler alert), and now he's coming to Dallas. He wins major geek cred for going to the United Nations and leading everyone in a chant of "So say we all" (video). This is a man you want to meet.

Among the comic guests, Adam Warren is making a rare appearance. He helped popularize the "manga art style" in mainstream American comics. I'm truly excited to see him. Other guests include: Keith Pollard, Angel Medina, Mark Brooks, Pat Broderick, June Brigman (co-creator and artist of Power Pack -- I love Power Pack), Roy Richardson, Kerry Gammill, Kez Wilson, Ben Dunn, James O'Barr, Josh Howard, Joe Eisma, Steve Erwin, John Lucas, Brian Denham, Andrew Mangum, Brent Peeples, Evan Bryce, Cal Slayton, Richard Dominguez, Lawrence Reynolds, Bill Williams, and more.

So you missed San Diego Comic-Con. Boo hoo. Think of this as your last chance to geek-out this summer.