Here's an example of the tailpieces I've been doing for Swill. There are one or two that need to be replaced but they're pretty much done. I think they add something to the sauce.
This is just crazy, isn't it? I've recently the full run of Weirdo magazine -- R. Crumb's long-running Mad-modeled humor anthology and a high point of Western culture, you slaggardly gobnards, I'd start pimping it but I'd get out names like Peter Bagge and Aline Kominsky-Crumb and then wake up in the middle of the night going, "Oh, shit, what about Elinor Norflus? How could I forget about Elinor Norflus?" -- but the qualities that give this one a Wierdo feel are totally the product of an Illustrator algorithm. I had nothing to do with those scratchy little lines -- I just picked them out.
Before I start barging around today's blog post, I've got a confession to make. I've been sucking lately. Doing a lot of work that has not proven to be anything I'd care to show to the public.
I'm going to try something different, something involving self-promotion. I'm going to go to a local store that sells bones and dried insects and stuffed animals and so on and ask them to sell me a bunch of their detritus. I'll bring a presentation folder to leave with them and a portfolio so I can show them my paleo art.
I will ask them if they'd be willing to sell me a bunch of detritus. The broken, the shop-worn, the stray bits and pieces. Trash I can scan in on my new scanner. In fact, now that I think of it I'm going to try and scan in as many different objects and so on as I can. Today I go to get the glass for my scanner.
Because I need to bust out. There's so much that's already been done on the magazine and here I am freezing up. I need to break free of this crap and start cranking out the pages. Bim bam boom. So a fresh and crazy dose of source material should hopefully get me going again. I'll call it a different series and do more of the Rorschach Dreams when they come to me. Right now obeying those rules is producing bad work.
I've also been thinking a lot about volume two of the novel. It's a bit problematic at this stage and here's why.
Right now, what I've got for the second and third volumes of the novel is as follows. Third volume, an outline and a rough draft of the beginning.
For the second volume, the one I need to work on next, I've got a number of scenes written along with the rough draft of the climax. So I know where I'm going and I know roughly what I need to do to get there. This book needs to provide the linkage between what I've done and what I know for sure I'm going to do.
It's all a mess right now. I've decided to try experimenting with conventional, structured outlining techniques I learned in multimedia courses.
I'm going to figure out each plot line, figure out exactly what needs to happen to bring them to their proper stage of ferment by the end of the book, and then look at all those lists together and start weaving them. Put 'em on post-it notes, clear off some wall space and use filing cards and pushpins...
I hope it works.
I hope it works.