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Write Evan!

NYCC 2015
Tuesday, October 6th, 2015 — 12:33 pm
I'll be signing copies of THE ELTINGVILLE CLUB at the Dark Horse Comics booth (#1636) on Saturday, Oct. 10th from 12 -12:45. I'll be happy to sign anything anyone brings, there's no purchase necessary, but FYI I understand DHC will have copies of ELTINGVILLE #1-2, and it's likely they'll have the MILK & CHEESE/BEASTS OF BURDEN collections available, as well. There will be free signing cards featuring the cover art from the upcoming ELTINGVILLE hardcover.

It's not a ticketed event, but you must bring ANIMAL CROSSING Amiibo cards to get in. Ha ha. I wish.

I might have to hand out dollar bills.

Full details on the Dark Horse panels and signings can be found here.

That's my full schedule for NYCC this time around, I'm not on any panels or anything, I think they got wise to me. I'll be spending a day at the show with the family and on Saturday when I'm not twiddling my thumbs all alone and abandoned by the fans at the DH table and wishing for a cyanide milkshake I'll be meeting up with a few folks for informal meetings, checking in with friends, avoiding a bunch of chumps, and manning a pop-up shop in Artists Alley to sell mace and body cameras to cosplayers and professionals who are sick of dealing with creeps. Sad to say, I should make a killing.

Might sell soap, too.

See you, maybe.
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Post Cincy-Con Wrap-Up/ General Update (long)
Tuesday, September 22nd, 2015 — 7:50 pm
So, we had a blast at the Cincy Comicon, everyone was super-nice, we signed a lot of books, we even had a line going a couple of times. We did really well at the table and sold out of almost everything, 22 Milk and Cheese HCs went the first day and we could have sold a bunch more. That's not an astounding number for a lot of folks doing shows, but for us, it's healthy -- we're still not sure what to bring to shows we haven't done before, we underestimate the MILK & CHEESE book a lot because the material's so old and the collection's been around a few years. Anyway, a book that's three years old or so still doing okay at shows is a good thing. And we sold 10 copies of BEASTS OF BURDEN, which is now five years old. I still have no idea what to bring wherever we go next.

Art sales were healthier than since our first Heroes Con, which is going a ways back, con-wise. Unexpected, but welcome. I treated myself to a Wolfman Funko Pop!, which I've been hunting down at shows this year. I always buy a gift if we do okay. Emily sold three hairclips, and won a Lego set in the cosplay contest on Sunday, in her really nice homemade (via mom) Hatsune Miku costume. I met Bruce Chrislip, who gave me a copy of his new book about mini-comics, THE MINICOMIX REVOLUTION: 1969-1989. We saw friends (old and new, industry and otherwise), had a swell dinner Saturday night with fellow comic book workers and heard a lot of jaw-dropping stories about horsehockey behavior in our beloved profession (I told a few, too). I got to hang out with people afterward for con bar talk, which is like dinner talk, only louder and with more alcohol and meaner stories. It was great seeing people at the show, talking to our readers, signing books, catching up with friends.

We were on a panel about Indy Comics on Saturday with Ryan Browne (GOD HATES ASTRONAUTS) and Jeremy Bastien (CURSED PIRATE GIRL, a book Em's a big fan of). The moderator was John Siuntres, of the Word Balloon Podcast. John's a radio professional as well as a fan of old radio shows, so he and I had a lot to talk about later on (and may talk more about comics and old radio on his podcast in the future). John's uploaded the panel on his podcast site, and I think it's worth checking out. It ran long, two hours (!) and not just because of me and my big mouth for once. A lot of information, a lot of real talk. Ryan talked about his experiences at Image and doing Kickstarters and the economics of creating comics, it was good stuff. Sarah and I had a lot of folks coming over to us afterward to thank us for the panel. That's not to flatter myself but to say the panel recording might be something young creators out there will find interesting, maybe even  valuable.

So, yeah, swell time. Maybe we should do more shows in places we've never been to. We'll see. Anyway, thanks to everyone at the Cincy Comicon and the folks who came by the table. We had a swell time.

Oh, yeah, we also ended up with a gigantic stuffed bear. I don't know exactly what the backstory was, but it involved Tony and Kara Moore and Steve Lieber and Jeff Parker and I think these two monstrous plush bears from Costco were dumped on the Portlanders as a return prank from a con prank they pulled --? Something like that --? Anyway, there were these two Snorlax-sized plush bears sitting at Lieber and Parker's tables. And we ended up with monstrous bear #2. Fortunately our rental car was upgraded to a GMC Terrain (the car we rented wasn't available), otherwise he never would have made it back to NYC, where he is now taking up a ton of space in Em's room. She's grown attached to him. So, giant plush bear is staying. Oy.

Before heading home we took a trip to Columbus for a few days of hanging out and relaxing and seing what there was to see. We took Em to see the LOVE LIVE anime movie. I got a trivia question right before the movie and won a box of Pocky. A cute thing happened during that pre-film hangout event, a young woman with the anime club hosting the event asked a trivia question about the manga that Sarah did the localization rewrite for, KODOCHA (Sarah's first gig for Tokyopop). We started laughing and I made Sarah blurt it out, which made the woman really happy because it turned out KODOCHA was the first manga she ever read and it meant a lot to her. She was happy to talk manga and stuff with Sarah afterward. Emily got to eat a lot of Pocky, she loved the movie, and she got three exclusive codes for her LOVE LIVE app game and there was just a hell of a lot of rejoicing and stuff over that.

We were crashing with the mighty Tom Spurgeon and as you might expect there was much talk about comics, cartoonists, creeps and CXC. CXC looks amazing, I wish I was going (I hope some of you are). Sarah and I did a little work while there, not a ton, mainly going over art that was coming in on a project, making notes, etc. Em read a stack of comics while we were staying over, including the IDW BLONDIE collection, a good run of MOUSEGUARD, and a bunch of others. We had a super time in Columbus. We got to say hi to Jeff Smith for about ten minutes before he had to run for CXC business, so we didn't get to eat pizza with him. The pizza was great, it wasn't NYC grease triangles but it was really good. The food was good everywhere we went. I ate a lot. Cripes I ate. I ate everything on my plate every time and finished some on Sarah's plate at almost every meal. It was like I just got out of prison (comic con as prison experience, maybe an essay there?). Columbus was all right. Even if they have two-way streets there that are only the width of one-way streets. Ridiculous. Apparently they have this thing called "politeness" which people use to navigate and negotiate while driving on these roads. Ridiculous!

We met Caitlin McGurk, who had invited us to take a private tour back in the stacks of the amazing Billy Ireland Cartoon Library and Museum, which was basically a dream come true for me. I have ached to enter this temple ever since they re-opened in their refurbished space. It exceeded expectations. It is cartooning heaven on Earth.

If I had a dollar for every time I said "oh, my god" I'd be able to retire. Oh my god. We goggled while handling originals by Frank King, Segar (color Sunday, a good one we remembered), Tezuka (!), Soglow, Richard Thompson (a huge stack being processed, first thing we saw, including one of the paperback collection covers), Schulz, Charles Addams, Jack Kent, McCay, Chester Gould, Foster (everyone needs to see original Fosters, even if they aren't fans), Watterson, John Cullen Murphy (et al), as well as Disney storyboards and pencil animation sequences from PETER PAN and ALICE IN WONDERLAND (I had to flip them). We saw the painted backgrounds used in the original TRON, which are postcard-tiny and bizarre. We saw Caniff's death mask and hand casts. Sculptures by Rube Goldberg. Photos of Bill Blackbeard's home and collection (which looked like I thought it would), and stacks upon stacks upon stacks of his collected tear sheets of dailies which are being organized (a miniscule portion of the collection). NCS awards and trinkets. A monstrous NANCY head from a parade costume (inknerd me tagged it as a Jerry Scott-based suit. Something to be proud of or --?). I kept tossing out names of cartoonists or strips, trying to see stuff we don't see regularly at cons, things we all like, things we thought would look great as originals, it was like a spot quiz, like having five minutes in a toy shop spree, only more time, and more choices, and more awesome.

We walked past endless stacks of manga, comics, graphic novels and ephemera. This doesn't include the on-display collection (Kirby, Caniff, Lynda Barry, Gould, Schulz, etc, etc,etc, plus chapbooks, comics, sketchbooks, awards, props, toys and novelties and Chester Gould's ink-and-match-streaked drawing board). Or the PUCK and World War exhibit. While we were in town Jessica Abel was at the Ireland for her lecture/book signing tour, it was packed so I sat on the floor to watch. I haven't packed so much cartoon living into a week in my life ever. It must be what going to a European festival is like, to a degree, running into cartoonists, looking at cartooning, talking cartooning, and eating a lot and talking a lot. It was fun. Emily enjoyed the tour a lot, we took pictures while we there.

It was insane. If the temperature in the "vaults" wasn't kept cool to maintain the collection I'd have been sweating like a Johnny Craig murderer the entire time I was in there. It was overwhelming. It was incredible. I want to live there. I want to sleep there. I want to work as a security guard and stay inside forever. I want to see everything. I want to have my ashes sent there. And I want to see those, too. I want to have a singular relationship with the library similar to Sally Brown had with her school. Only with a happier ending. No building suicide. I want to marry the OSU Billy Ireland Library.

I will go there again someday. You should go, now, soon, someday. You really should. You can request materials in the reading room which will be brought to you to read or marvel at. Bring friends. Take your class there. There was a class going through while we did our tour. Use this incredible resource and support it. It is marvelous and wonderful and too good to be real. Thanks you, Caitlin McGurk, everyone we met at OSU, Tom, Lauren, Jeff, whoever made the food we ate, whoever made the ice cream at that that amazing ice cream place, etc etc. A very nice week.

Glad to be home, though. We have a ton of work to catch up on. Which is good. We started working on a creator-owned gig (Sarah and I co-writing), I signed off on the BILL AND TED collection, we're just about signed off on the ELTINGVILLE CLUB collection, a non-comics project we did earlier this year is coming close to fruition, we're considering a new WFH writing gig, still waiting for notes on the BEN 10 script, and I'm still slowly revising a creator-owned pitch with a very talented artist.

Which leaves BEASTS OF BURDEN. Yeah. From what I understand Jill Thompson's actually actually finally started really actually maybe working on maybe finally finishing the art for the second issue of the long-delayed mini-series. Finally. Again. Supposedly. Maybe. I don't know. I give up. I saw two new panels the other day. That makes seven pages from early last year, and two panels painted last week. Maybe there's more, I don't know. I have no idea. I give up. As the BIG NUMBERS tribute schedule might suggest, things kind of suck with BEASTS OF BURDEN. The second issue was written in October of 2013. There's two more scripts gathering dust. If they were magically finished tomorrow the collection would still not see print until 2017. Seven years between volumes. That's kinda nuts. I goof up my own work, I delayed ELTINGVILLE CLUB #2 over a year, but when I crash and burn, I tend to do it in a single passenger plane. I don't know when these three issues will appear, or if they ever will appear. I don't know what will happen after that. Kids: always sign a collaborator agreement, even with friends. You never know what might happen. Or not happen. Yeah.

Hey, let's end on a happier note -- the temporary medication for my arm and hand and neck has helped a lot. I feel better. My hand hasn't been going dead, the pain's calmed down a lot. Seeing a neurologist soon for the mitt, hopefully something can be done to fix it or make a real difference. My mood's also better these days. I'm getting more done, getting better at making decisions, trying to stay positive, ride through bad stuff with less anxiety. Things are better. Hope they stay that way. Hope they're good for you folks, as well.

More soon later! Maybe! 
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Bill & Ted's Excellent Comic Book collection set for December release
Thursday, September 17th, 2015 — 4:06 pm
BOOM! Studios is collecting my Marvel Comics' Bill and Ted run from the early 1990s in a single volume, under the title BILL & TED'S MOST EXCELLENT COMIC ARCHIVE.

Unlike the SLG two-volume set it's a single 368-page volume, in hardcover, and in color rather than gray toned black and white. The interiors were scanned from the original run and enhanced on computer, I would have loved it to be recolored (the 90's were a rough time for mainstream funnybook color) but I obviously don't get to call the shots on this. Even so, I think it will look a hell of a lot better than either the original Marvel run or the SLG volumes.

The series inkers were Stephen DeStefano and Marie Severin, lettering was done by Kurt Hathaway, colors by Robbie Busch. A few others folks chipped in when deadlines got rough on the BOGUS JOURNEY movie adaptation and issue #11.

I provided a new introduction to the book, as well as a timeline (expanded from the second SLG collection), and a batch of extras including pin-ups, penciled page xeroxes, and scans of original art featuring inks by Marie Severin and (single-page secret guest inker) David Mazzucchelli. I also consulted with BOOM! on the project, going over the PDFs for corrections and making suggestions and the like.

Sarah and I did a new cover for the project, but BOOM! decided to not go with it. Instead, it will be used as an interior page. It ran as the solicitation cover on at least one comics site so I'm posting it here for folks to see.

Anyway, there you go. 
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Us at Cincy Comicon This Weekend
Wednesday, September 9th, 2015 — 11:09 pm

Our first appearance in Ohio, although the con is physically being held in Kentucky. Whatever!

Please think about seeing us if you are attending the convention, okay? Okay!

THis is the last show we're setting up at this year, if that matters to anyone. We may be at NYCC, as usual, and as usual, if I'm there it's to do a penl and/or a signing only.

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Interesting Times
Tuesday, August 18th, 2015 — 12:49 pm
Eltingville Club #2 is out, and some folks are reviewing it, some are sending me nice tweets and mail about it, some are scanning it and making it available illegally online, and a few are calling me names over the comic and the Paste interview I did. Such is life. If you read it, I hope you liked it. The Dark Horse hardcover collection of the entire run is set for February, 2016. All our work is pretty much done for it (new pin-ups, text material, selecting extras).

I will be doing a signing at my local shop, Comic Book Jones, on Staten Island, Wed August 28th, from 5 p.m. until closing. Afterward, I'll be a guest on the CBJ podcast taping, which I beleive customers can also sit in on.

Sarah and I are working on a script for the new Ben 10 cartoon series (!).

We're also developing a creator-owned comics project that seems to be coming together nicely. If all goes well, we'll have an agreement with an artist this week, and following that, an agreement with the publisher. Fingers crossed and all that.

I'm working on a separate creator-owned project with another artist. We have some interest at an established publisher and are working on a revised pitch while finishing up some WFH assignments. Really hoping this comes together.

We finished up some work for a collection of old work that will be announced soon (?).

I finished up a Mermaid Man script for the SPONGEBOB SQUAREPANTS comic, working on thumbnails for the artist.

Apparently DC Comics will be releasing a new version of WORLD'S FUNNEST in March 2016 (!).

In other WTF news, Marvel will be releasing an expensive Omnibus edition of Deadpool comics which will include my AGENT X arc and the FIGHT-MAN ONE SHOT (!!). I know freelancers working for Marvel who can't get comps of their own comics these days -- and Marvel supposedly likes those folks -- so the early odds on my getting a comp of this $125 monster are coming in at 1,459,311-to-1.

Almost done with a page of new Fun Strips for this year's LIBERTY ANNUAL comic benefiting the CBLDF.

Still working on the commission list. My hand is giving me a lot of trouble so drawing takes me longer than usual right now. Very frustrating.

We will be appearing at the Cincy Comicon September 12th-13th.

Hoping we might have some good news fairly soon about new BEASTS OF BURDEN material. Supposedly Jill Thompson is planning to get back to work on the remaining issues of the mini-series that HUNTERS AND GATHERERS kicked off back in March, 2014. Here's to hoping. We're trying to work out some other things, as well, that may help get new material out. Not holding my breath, but trying to stay positive.

More to follow soon, if things work out as hoped. Interesting times.
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This is the End of The Eltingville Club. Finally.
Monday, August 10th, 2015 — 9:02 pm
Twenty-one years in the making, and after more than a year's delay, the final Eltingville Club story will be in stores this Wednesday.

Hope those of you who pick the book up enjoy the final curtain. I don't know how well it stacks up against other Eltingville stories,or if it works successfully as a finale, but it's done, it's dense, and I'd say it's worth a few bucks to folks who like my stuff.

The hardcover collection is scheduled for February, 2016 from Dark Horse. Only until I get a copy in my hands will I believe the beast is finally dead.

Otherwise -

We had a nice time at the Boston Comic Con. It was our first time setting up in Bosotn and we were very busy signing comics, local-area ska comps we did covers for and even a few Space Ghost Coast to Coast DVDs. We did pretty well at the table and met a lot of nice folks during the show. The panel Sarah and I were on seemed to go well, I don't think I was as overbearing as I usually am, at least I tried not to be. I picked up the last DC Archive we needed for our collection for $20 (Doom Patrol vol 4). That was really cool. I also got a Cthulhu glow-in-the-dark Pop for a decent price, because I am a goofus. I think that was about it for me, other than some comics people gave me. Emily got some anime keychains and a Dalek Funco Pop. Oh, and a Hordak Pop that I was supposed to get her ages ago (I got her the wrong one). She also got two new sketches in her blank Little Golden book collection, one from Mouse Guard's David Peterson (a quail) and another from Tony Moore (skeleton and Cthulhu -- he went nuts on it). On Sunday night we went with Tony and Kara Moore to a really good diner for dinner and then I got us lost while driving home. It was pretty ridiculous.

Otherwise, pt 2 -

We're super busy with multiple projects and pitches for the first time in a long time. I'm finishing up some work-for-hire stuff -- the Peanuts script has been drawn by artist Derek Charm for the BOOM! tribute book, I wrote a 12-pg  script for a Mermaid Man and Barnacle Boy story for the Spongebob Comic, and a little while ago I finished up some business for a comic project that should be announced next month or so. I still have to finish some thumbnails for the Mermaid Man story (I'm not drawing it, just doing basic layouts for the artist), and I have a little bit of work left to do for a page of Fun Strips for this year's Liberty Annual which is being edited by Alex Cox of the CBLDF.

Sarah and I wrapped up a beat outline for a cartoon script we've been hired to write. Fingers crossed they'll like it.

We've also found artists for two projects we're putting together. One I'm writing alone and the other is a collaboration with Sarah based on a concept she came up with. That one looks like it might fall into place really soon, possibly even this week. Here's to hoping. The one I'm doing still needs some work, but not a ton -- I was asked by a publisher to revise the pitch I sent them, and now that an illustrator is involved we can get some character and pitch art into it. Lots of fingers crossed, I really hope we can all get both projects going. It would be steady work for the first time in ages, not too mention these are two projects we're really having fun with and would like to see happen. Putting them together has been a weird experience, I've barely ever pitched things before, and never with another artist. It's weird. Like I said. Yeah.

There's another non-comics thing that might happen down the line, and, oh, yeah, the other recent WTF news is that according to Amazon, DC Comics is reprinting WORLD'S FUNNEST in some sort of trade form. I didn't think it was the same book, but the cover art for the listing has the imps on a pile of bodies. Unless it's an elaborate prank. So weird.

So, yeah, super busy, and some of it's finally starting to turn into checks, which we really need, and maybe some others will, too, because we kind of could use that as well. Things are getting interesting. The only thing worrying me at the moment is my stupid drawing hand, which is also my main typing hand (the one that pecks) and it's been killing me. Eltingville really gave it a beating. Work on outstanding commissions goes slowly, but I am putting time in to finish those up. I'm thinking about not taking any commissions until my hand completely feels better. I've only drawn one professional piece since Eltingville, not counting the Fun Page, part of which was drawn months ago. My hand's in constant pain and I have a lot of trouble sleeping because of it. I am planning on going to the doctor to see if there's anything to be done other than rest it, but at the moment we're trying hard to stay on top of work and everything. I am taking breaks and doing what I can to rest it. We'll see how it goes.

In case I don't make it back here for a few weeks, just fyi in September we're going tobe at the Cincy Comicon.  I'll try to post details before then and now.

Time to eat --


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Everything You Need To Know About Us At The Boston Comic Con This Weekend
Monday, July 27th, 2015 — 10:28 pm
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Everything You Need to Know About Us at Heroes Con this Weekend
Monday, June 15th, 2015 — 6:37 pm
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More Interesting Times
Thursday, June 4th, 2015 — 3:09 pm
I'm typing this in a wrist brace that's on more than off these days, and that's been a pain (ha ha) but what can you do, right? I have to see the doctor, the problems with my arm have gotten to that point. Sleeping's been a real problem. Essential art supplies now include the brace, a soft neck collar, Tylenol and an ice bag. Watch yourselves, young ones with drawing in your blood. Don't bend over a flat table, rest the hand occasionally, and maybe ease up on the detail work. Just saying. Watch yourself early, because you'll probably live as na old person for more years than you will as a young person, if that improper sentence makes sense to you. You can't do the 24-hr work stretches all your life, unless you maybe want to be Wally Wood (i.e., dead early).

Otherwise, yeah, interesting times. Phone conversations and pitches and revisions and maybes and waiting and wondering. Like a new career, almost, as if much of the past thirty years didn't happen or matter. And they don't matter all that much, I guess. It's a crowded field and without a recognized run on a Marvel or DC title you're not super-viable, no matter how many industry awards or past minor "hits" you may have. On the plus side, you pick up some fans over three decades, hopefully, and some of these readers end up in the business, hopefully, and they remember you when they need work done, hopefully. Or you have contemporaries who remember you back from the days when Nick Magazine lived and breathed, that sort of thing. So, I have a few freelance assignments. But it's not like it was, when I knew folks at the Big Two and that kind of work didn't turn me off, the way, say, modern DC comics do. The anthologies are all dried up, and the internet boom of "let's pay people for stuff" was a while back, wasn't it? And I missed that little brass ring. I can only really write right now, so that's another limitation. Interesting.

It's still better than most folks have it. I'm not complaining, I'm just explaining.

And it's not all gloom and doom/end of the world, don't get me wrong -- part of the "problem" is not wanting to do just anything for any amount of money. On the one hand, I'm not enough of a fanboy to jump for joy at the prosect of working on some revived 80's pop culture property. And for crap money, nineteen times out of twenty. I don't get that, never will. I'd rather learn to run a cash register again than do underpaying work-for-hire with no royalty but the "glory" and "fun" of being a cog in some IP machine. And they don't tend to let you run with the ball the way I got to when I worked on Bill and Ted in the 90s. That was a plus. And Marvel paid decently on a loser book like that, to boot.

Anyway, one of the WFH script gigs I turned in was a lot of fun, they did let me run wild on it, it was for an okay page rate, and I'm looking forward to sharing when the time comes. It's being drawn right now, I believe, and it should be a lot of fun. The other writing gig is something I was hoping to do last year but Eltingville bumped it out of the playing field, I should have that wrapped in a few days and a beloved industry vet will be drawing it, if all goes well, which is really nifty. This is not trudgery or drudgery, by any means.

After that I get back on the commissions (oy) and we prep for Heroes Con. I dunno if I'll be sketching at the show, my hand is so problematic and I have to get some lines down on paper on these outstanding commissions (oy). And a cover gig. It's a drawing gig I couldn't really turn down, you'll see what I mean when I can talk about it.

I'm looking forward to Heroes because we enjoy the show, but it's a financial gamble, even if we're mostly comped. We did very badly last year, partially because I don't have much new work out, partially because that can happen to anyone, especially if you're hitting a show regularly. With no new books out. So, well see. We have dug out the last of some old merchandise stock I've decided to part with, mostly to lighten the load of our old merchandise stock, so I may have a few odds and ends on the table this time around. I also have a newly-acquired stack of World's Funnest copies from back in the DC days, which I'll be bringing (along with some promo pins from the project). And I'm going through the art files. So, we'll see. If nothing else, Sarah's making Emily a new cosplaying outfit and we'll get to see friends and folks.

Speaking of new books, Eltingville #2 won't be out until August, but at least it's back in the Previews pipeline and finished. A big, messy chapter of my life over and done with. We're waiting on layouts and the like from Dark Horse on the hardcover collection of that big mess. I can't wait until that's out and over and done with and I can hold the book in my hands. My editor on Eltingville, Daniel Chabon, was just promoted at Dark Horse, by the way, which he deserves for putting up with Eltingville, if nothing else. Ha ha (oy).

I hope to speak to our Beasts of Burden editor, Sierra Hahn, in the next day or two to see where that's going. Or not going. We still have three scripts sitting and waiting to be drawn, one of which we do have about eight pages finished. It's less than an optimal situation. We're trying to poke it back into life, honest. I think about that book every day.

Otherwise, the phone conversations and pitches and all that continues. We're still waitng to hear from someone out in Los Angeles about something. We have a good shot at launching a fun project that Sarah and I would be writing together, something that came out of left field and decided to stick around a while -- if it doesn't happen now we want to pitch it around and do it somewhere else. We're almost done with a long-gestating pitch we want to move forward. And I have a publisher interested in a limited series I pitched them off the cuff. It's not a terrible place to be. It's all very interesting. As things sift out, we will hopefully be left with something solid, and steady, to build on. If that settles in, I can rest the hand and eventually see about drawing something again, pushing some gag stuff along and/or a series of strips I've been slowly working on for fun. That's the plan, and it all seems do-able. So, here's to the next few weeks and things settling. Huzzah.

In the meantime, I should be able to talk about one of the freelance projects I'm involved in in about two weeks, and by then we'll hopefully have some more solid news, or at least a solid idea of solid news. So, talk to you soon.

And I hope to see some of you folks at Heroes Con in a few weeks.

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