Where I Will Be

We're starting to put together some plans for promoting Mom's Cancer early next year, including a multi-city book tour at some point. Right now I have just two firm dates:

New York Comic-Con, February 24-26, 2006, New York City. This will be my book's big coming-out party. Abrams is hosting a booth at which I'll spend some time signing, and we'll also take the opportunity to meet some booksellers and media people.

Comic-Con International, July 20-23, 2006, San Diego, Calif. These are the nice people who gave me an Eisner Award last July. I've been invited to take part in a spotlight panel and I'm sure I'll sign some books.

I've started a page on my main website where I'll post events and appearances as my schedule fills in. Right now, the list of cities involved in my multi-city tour is a mystery. As excited as I am to have my book coming out soon, this is a fairly daunting and intimidating prospect. It's all new to me (aw, poor baby). Still, I'm grateful that Abrams is so dedicated to promoting Mom's Cancer; I realize how unusual it is to receive such support. Luckily, I've got a few months to practice becoming witty and charming. I'll need it.

The Brain Trust

My editor Charlie Kochman (right) and I: the Mom's Cancer Brain Trust.

I met Charlie and his girlfriend Rachel at the airport yesterday as planned (see October 25), and we spent a couple of hours getting to know each other better over lunch. Charlie shared some great behind-the-scenes stories and I very much enjoyed talking with Rachel, especially since one of my daughters is interested in pursuing her profession. I admit I was nervous going into my first face-to-face with my editor. I mean, it's probably too late to pull the plug on the book, but you never know....

I'm going to say some nice things about Charlie now that I'm sure will come back to haunt me when we're locked in bitter lawsuits in a few years. I really had no idea that people as caring and conscientious as Charlie existed in the publishing business, and I have no idea how he's managed to survive with those qualities intact. His contributions to the book version of Mom's Cancer are significant. Not so much in content--the words and pictures are all mine (though he suggested some edits and additions I was generally happy to adopt)--but in form, approach, strategy, production quality, and a lot of other things that matter greatly, Charlie's work has far exceeded any expectations I had. If Mom's Cancer is the success we hope, much of the credit will be his. If it's not, it won't be for lack of effort; I couldn't imagine how any editor or publisher could do any better. My book was lucky to land on his desk.

A Bald Spot

A few months ago, a reader wrote to ask if Mom had ever felt competitive with the other patients undergoing chemotherapy at the same time she was. His own mother had been through the same thing and obsessively measured her progress against that of her cohorts.

That wasn't something I'd noticed during Mom's treatment and I didn't address it in Mom's Cancer, but as I thought about it I realized my correspondent was right. Most patients' chemo was done on a regular schedule so you tended to see the same people every session. Mom's peers included an annoying loudmouth that Mom prayed wouldn't sit next to her and a young Hispanic woman who always switched the television to Spanish-language soap opera. In a situation so frightening and uncertain, it was impossible not to compare and compete: Who went bald first. Who got fat or thin. Who looked better or worse. Who stopped showing up at all. "Winning" meant living.

I thought this was a great insight and considered adding a new chapter to the book about it. But since I hadn't noticed it in my own family's experience I had a hard time writing about it, making it "real," and fitting it into the flow of the story around it. I couldn't figure out how to express this abstract, internalized concept in drawings. I couldn't make it work.

Instead, I drew a new spot illustration that I thought touched on the idea, and hoped that we might use it to fill out the book's page count. It turned out that 128 pages filled up faster than I expected and the new drawing wasn't needed. So that's the story behind this never-to-be-published piece:

O Canada

Terry replied to my post of October 22 to let me know that, in addition to being available on Amazon, Mom's Cancer can now be pre-ordered on Canada's Indigo Books. Thanks very much, Terry.

Friday will be an interesting day. I've been working with my editor at Abrams, Charlie Kochman, for more than half a year now. It's been a tremendous working relationship, and on occasion a personal one, but we've never met face to face. However, the day after tomorrow Charlie and his girlfriend are flying to California to attend a wedding and I'm planning to meet them at the airport, maybe treat them to lunch. I'm looking forward to it.

I have half a suspicion that Charlie just wants to make sure I actually exist. And I had half an inkling to send one of my daughters in my place to tell him the entire project was a hoax concocted by a 17-year-old girl. But no...I like Charlie too much to let all the blood drain from his face like that.

#48,040

That was my Amazon ranking yesterday. Right between a "Touchy Feely Board Book" titled That's Not My Lion and the memoirs of "60 Minutes" correspondent Mike Wallace. In your face, Mike Wallace.

I owe it all to Thursday's commenter Anonymous, who was probably the first person on Earth to buy Mom's Cancer. Thanks, Anon!

Amazon.com

My brother-in-law just informed me that "Mom's Cancer" is now available for pre-order on Amazon.com.

Cool.

The Start of It All

I've told the story of how I decided to do "Mom's Cancer" before. I had driven Mom to a chemotherapy session early in the course of her treatment. Chemo takes a few hours and Mom typically slept through it. I'd brought along some paperwork to pass time but got bored, so I turned over a sheet of paper and drew a sketch of Mom reclining in the chair.

I thought the drawing and its few captions captured something true about the experience in a way that words alone couldn't. Chemo's not dramatic, it's tedious. Ordinary comforts like a strawberry milkshake or a CD player contrast with the extraordinary medical technology and biochemistry employed. The unusual becomes the norm, to the point that Mom could sleep through procedures that might have terrified her weeks before. I'd been thinking about finding some way to communicate Mom's cancer experience, and this drawing convinced me that cartoons might work. I went home and started writing "Mom's Cancer."

Immediately below is that first sketch, followed by the finished art. This sketch is an important scrap of paper to me; it's where "Mom's Cancer" began.

Monday

Just a brief report on the memorial celebration we held for Mom yesterday, because I don't have energy for a long one. It turned out very well, with all the right people and just the right amount of them. Friends and relatives, some flying halfway across the country on short notice. A perfect amount of food (it's hard to order when you don't know whether to expect 30 or 300 guests). People even seemed to like my PowerPoint presentation, which many of them took home on CDs I'd burned as mementos. Pretty exhausting, and it's hard to turn it off Sunday night and get back to work Monday morning.

Just one more photo of Mom, this one from her days as a model around age 19. I'm afraid I cut this career short for her--by being born. My mistake. I love Mom's modeling pictures and it took my sisters a week to figure out where she had hidden them.

I guess one good thing about a memorial is you learn new things about someone you thought you knew about as well as anyone could. Mom inspired and even saved the lives of people I didn't even know. That was great to hear.

I'm going to try to keep this blog focused on the book and off the maudlin from now on. But I'm sure I'll write more about Mom from time to time. After all, she is the book. And it is my blog.

Wonderful World of Color

I wanted to say a little more about the pictures I posted yesterday.

Each is a single poster-sized sheet of paper with 16 pages on it, with another 16 pages printed on the back. A book goes together like a complex jigsaw puzzle. It looks chaotic on these big sheets but, when the pages are cut, collated, and glued or stitched together in the right order, it all falls into place.

Those who saw "Mom's Cancer" online may remember that it's mostly black and white. I used color sparingly and deliberately to add extra meaning or punctuation to the narrative. I wanted the effect to be like the change from B&W to color in "The Wizard of Oz": a signal to the reader that something different was going on.

When "Mom's Cancer" was an online comic, I had complete freedom to use color or not as I chose. But in the physical world of ink and presses, Color = Cost. B&W printing takes one run through the press; color printing takes four. I don't know actual numbers, but conceptually color printing takes four times the ink, film, time, and labor as B&W (the only cost saving I can think of is that you only have to pay for the paper once). So from a publisher's perspective, it's evident why color is a big deal.

Look at the 16-page sheet above. Only two of the pages (at upper right) are full-color images. The rest are black and white. IF I had laid out the book so that those two pages were also B&W, this sheet could have been printed much less expensively. Now, I'm a cooperative guy, so when my editor and I first laid out our plan for this book--it's called a "book map"--we looked for ways to economize on color printing. He'd write me a note saying something like, "if we could keep the color to pages 7, 8, 17, 18, 55, 56, 111 and 112, that would be great." And I'd shuffle, slide and sort the pages as best I could, then reply something like, "well, I'd hate to give up my blue dots on page 6." And he'd sigh gently and go back to the map.

To my editor's and publisher's great credit, they never pressured me to compromise. We never found an ideal solution--my color pages were scattered and clumped all wrong, and no amount of shuffling worked without breaking up the story. So they bit the bullet and decided to print the entire book in four-color, even if 95% of a sheet was B&W. I find that amazing. There is one page in the book with a spot of color that I doubt most readers will even notice, but to me that one spot is a dramatic and thematic key to the story. If I'd had to change it to black and white I would have. But I'll always be grateful that I didn't.

Processing

Posted below is what 48 pages of book looks like on its way to the presses. And this is little more than a third of it. I enjoy everything about the printing process.

Memorial services Sunday. A process I expect to enjoy less.

More Photos

Just a few more pictures of Mom. I'm preparing a PowerPoint slide show to present at a memorial service this weekend and these are some of the photos I've scanned for it. PowerPoint can be a dangerous tool in the wrong hands, and I'm doing my best not to make it an interminable bore. For me, this project is a real nice way to recapture the scope of Mom's life. I'm burning several copies as keepsakes for family and close friends, and I think they'll make a fine way to remember her by.

This is one of my favorite photos from my entire life. Mom, Nurse Sis and I dressed for Easter. Incidentally, those green gloves of Mom's are the pair I borrowed when I dressed up as Robin the Boy Wonder (I also had the requisite red vest). Stylin'!

Just a nice shot of Mom.

Mom and I during her chemo. Her hair later grew back very well and she looked great. Me, not so great.

About the Book...

Somebody asked me about the book. Understandably not my highest priority right now, but I've still got responsibilities and a job to do....

"Mom's Cancer" has been put to bed and is on its way to the printer. In a coincidence I can only compare to Charles Schulz dying on the day his last "Peanuts" strip ran, Mom passed away hours before my book's final deadline. Next question: will the book address Mom's death? Yes. I had time to write a page, very much like what I posted here on October 3, and add it to the last page of the book as a kind of coda.

I wasn't sure it was the right thing to do. My editor said it was my call but argued that it needed to be addressed. Other people I respect and love argued against it. After thinking it over for a couple of days--days during which I knew I wasn't thinking straight anyway--I went with my first instinct and decided I had to do it. When I created "Mom's Cancer" I resolved to be as honest as possible about the experience, and hiding the fact of Mom's death would've violated the spirit and purpose of the story. What clinched the decision for me was recalling that back when I began writing and drawing "Mom's Cancer," I didn't know whether Mom was going to live or die in days, weeks, or years. In any case, I set out to report the story. And so I have.

We'll see how that works out....

Photographs and Memories

I've been going through old photos in roughly chronological order to prepare a slide show summarizing Mom's life for what I'm calling her "memorial celebration." I thought I'd share some favorites here, and may post more as I work through the decades.

The top photo is Mom with her older brother Cal. The bottom is her junior prom in 1957. What a babe.

Mom

I’m sorry to have to write that Mom passed away the afternoon of Saturday, October 1. She died peacefully and painlessly with family and friends, including my sisters and me. She was 66.

It seems odd to say that Mom’s death came as a surprise but, until even hours before the end, we and her physicians always saw a reasonable path to recovery. In fact, I’d flown to southern California just three days earlier to help move furniture in preparation for her return home from the hospital. But her body had simply had enough.

As far as we know, Mom died free of cancer. She beat it. However, she took steroids to control brain inflammation caused by the brain tumor and its radiation treatment. Administered in high doses over a long time, they were as damaging to her body as cancer would have been. The steroids had to be reduced, renewed inflammation put pressure on unexpected parts of her brain, and the end came quickly.

Mom never regretted moving to Hollywood. Despite her struggle in recent months, I don’t think I ever saw her happier living anywhere else. She loved her new neighborhood: the brilliant bougainvillea spilling over her back fence, the giant avocado tree next door that dropped guacamole hailstones into her yard, the towering palm at the curb, the yellow curry dish from the Thai restaurant around the corner. This was where she needed to be.

The publication of “Mom’s Cancer” will go ahead. Mom always sought purpose in her life and, in recent months, her suffering. She shared in the production of “Mom’s Cancer”: the drafts, proofs, correspondence with my publisher and the public. She wrote the book’s Afterword. Nothing made Mom more proud or happy than hearing from readers who said her story had helped them or that they’d quit smoking because of her. She told me she thought she’d found her purpose after all. I didn’t disagree.

She lived and died well. I will miss making new memories with her.

Gertie the Dinosaur

Sorry for the tease. Yesterday's entry marked my acquisition of an original drawing from a 1914 cartoon called "Gertie the Dinosaur," created by the man I consider the best cartoonist who ever lived, Winsor McCay. Some references call Gertie the first cartoon, but she wasn't. There had been several earlier experiments. What Gertie was was the first animated star and, in my opinion, way ahead of her time. Years before Disney's rubber-legged "Steamboat Willie," Gertie the Dinosaur had substance and personality.

(Gertie was actually McCay's third try at animation. His first two short films, featuring a boy (Little Nemo) and a mosquito, were supposedly so convincing to audiences of the time that they thought he'd somehow shot them in real life. So for his third movie, McCay decided to feature a creature he couldn't possibly have filmed live: a dinosaur.)

McCay used his Gertie movie as part of a live vaudeville act in which he interacted with the dinosaur on the screen. She did tricks on command. At one point in the performance, McCay threw food behind the screen that Gertie caught and ate on-screen. At the conclusion, McCay himself "stepped" into the screen and an animated version of the cartoonist took a ride on the beast. By all accounts, the performance was a sensation.

Until the advent of computers, virtually all animation was done on cels, transparent celluloid sheets onto which the characters were inked and painted. Artists only made multiple individual drawings for objects that moved--sometimes an entire figure, sometimes just an arm or mouth. Because cels are transparent, the animators only needed to create one background painting for each scene, on top of which they layered the cels and shot one frame of film. Then they swapped out the bits that moved and shot another frame. Repeat 100,000 times and you've got a movie.

In 1914, they hadn't figured that out yet. In Gertie, Winsor McCay and a single assistant hand-drew both character and background in every frame. Every single frame. They redrew every rock, water ripple, and blade of grass thousands of time on sheets of rice paper that, like tracing paper, were transparent enough to allow them to copy from a master drawing underneath. Then McCay glued each sheet to a piece of cardboard so they all lined up, and shot them.

There are somewhere between 200 and 300 original Gertie cels left. As I said yesterday, until a few years ago I assumed they were long destroyed. Once I discovered otherwise, I learned all I could about them and kept my eyes open. Finally, a couple of weeks ago, everything came together: a beautiful full-figure Gertie pose, good condition, a reputable dealer, and a fair price. I couldn't pass it up. I'd always resolved that I didn't deserve to have a Gertie until I could pay for it with my earnings from cartooning. Thanks to Abrams, that finally came together, too.

To read more about Winsor McCay and Gertie, see
http://www.bpib.com/illustrat/mccay.htm.

Look What UPS Brought

Some of you will know what this is and some of you will not. As of 20 minutes ago, it is mine.

It's old and it's important. Ten years ago, I didn't even know it (and about 300 others of its kind) still existed. The first time I saw one, I was thunderstruck. For the past five years, I've kept my eyes open, learning and looking. On my Lifetime Top Ten List, this was numbers One through Three ... and yet, I knew in my heart I didn't really deserve to have it until I was a cartoonist.

So now I've got a book coming out in a few months and some (a little) advance money from my publisher in the bank, and I swear that one of the first coherent thoughts I had after winning the Eisner Award was, "maybe this means I've earned the right to have it." So, whether I really deserve it or not, and with the backing of a family definitely more understanding than I deserve, I bought it. (On the other hand, I figure my wife's lucky in some respects ... she could have married one of those classic car guys.)

This means a lot to me, and I'm going to give it the best home any steward ever could. As Belloq said to Indiana Jones as Indy aimed a bazooka at the Ark, "We are simply passing through history. This is history."

Endpaper

Someone wrote to ask about the endpaper; my poor powers of description in the previous entry left her puzzled. Endpapers cover the reverse sides of the front and back covers. Mine should look a little something like this:

Blog-Only Exclusive!

Today's pulse-pounding, over-hyped title is meant facetiously, by the way. I don't have much to report on the publication front right now, but wanted to put up some new content. So I thought I'd post and talk about some new art I've done for the book.

This drawing of a game pawn and die, suggested by my editor, echoes the "life is playing the odds" theme of my story. We're going to use it as a stand-alone spot illustration on one of the opening pages, and then again as part of a fine repeating pattern for the endpapers. The endpaper effect will be subtle--imagine this drawing shrunken very small and colored beige against a tan background, repeated in a diagonal pattern.

This was just a miscellaneous spot drawing I did of Mom and her dog Hero that we'll also use in the book, probably on the title page. I'm a modest guy, but I've got to say I like how Hero came out: he's attentive, doting, ready to help Mom any way he can. That pretty much captures their relationship, I think.

This is a skectch that won't be in the book, or anywhere else. I described earlier (August 3) some of the decisionmaking that went into designing the cover. This was one idea I had, and I drew it up in about five minutes using a brush-pen that was a new tool for me. This was the first time I'd taken it out for a spin and I liked the line it produced. If I'd discovered it earlier, I might have done the whole book in brush-pen. Colored in Photoshop.

Let me know if you'd like to see more unpublished, preliminary, edited or rejected art from Mom's Cancer. I've got bucket-loads of it.

Relocated!

Just to acknowledge the obvious: I've moved my "What's New" stuff from my momscancer.com website to an actual blog. This blog.

I like blogs and blogging. Some of my best friends are bloggers. But I never really wanted to be a blogger. Still, the fact is that updating, maintaining, and archiving is so much easier here it seemed foolish to resist just because I never pictured myself as...you know, one of those people. Then I thought about it a few more weeks and it seemed even more foolish. Then a few weeks after that I capitulated.

A quick note on the purpose of this blog. A lot of people--friends, family, readers--are interested in how the book is going and tend to ask similar questions about it. I find the process of publication infinitely interesting and educational myself. I can't tell you how much I've learned in the past year. In addition, as we get closer to Spring 2006, my publisher and I will arrange events and appearances that I'll announce here. And I like the idea of involving others in my book's creation; when you see it in the store, you'll know how it got there. What you probably won't read here are many humorous or insightful musings about my life and family. I'm in enough trouble already.

No real news on the book right now. I returned comments on the proofs, we're picking at a few technical nits, and as far as I know all is well.

Newer Proofs

I received my printer's proofs today and, at first glance, everything looks great. Especially the trapping and registration (see Aug. 31 below). Over the next couple of days I'll go through every page with a loupe (a little magnifier, like a jeweler uses) to find stray smudges or spots, misaligned colors, etc. I'll also read the book all the way through twice or thrice, checking for different problems each time. This is the final draft and it's important to get it right.

I love my family and I love my book, but to tell the truth I'm getting a little tired of looking at this thing. After you spend a few hours scrutinizing for microscopic flaws, flaws are all you see.

We're talking to folks in other countries about foreign language editions. I can't say more now, except that I am looking forward to starting a collection of Mom's Cancer translations. I don't know what they'll make of my U.S. idioms, though. I've thought about providing annotations explaining images or references that North American readers would take for granted. When we get a little further along I'll have to ask my editor about that.

I'm reminded of an early review by a blogger in the U.K. who liked the online version of Mom's Cancer but commented that it was "very American." I've always wondered what he or she meant by that. Is "very American" good or bad?

Trapping

"Trapping" is an obscure but interesting part of the pre-press process. When a color picture is printed using four colors of ink (cyan, magenta, yellow and black, or CMYK), each color is put down on the paper via a separate pass through the press. If the paper lines up perfectly with each pass, all the colors align and you get perfect registration. Very often, though, if you look at four-color printing closely enough, you can see that the inks are just a bit off. You'll see a colored halo on one side, or colors slopping out of their black boundaries, or a gap where colors don't meet up.

Good registration (left) and bad (right)

Trapping helps minimize registration problems by spreading out the non-black colors a few pixels so that, even if registration is a little bit off, they still have some "wiggle room" to fit and overlap as intended. With Photoshop, trapping is as easy as pushing a button (I can't imagine how anyone did it pre-digitally, or whether they bothered at all). Coincidentally, a private cartoonists' board I frequent just had a long discussion about trapping.

That discussion came in handy when I got word late last week that the printer wasn't happy with my color registration. It wasn't coming out right. Not lining up. Within half a second I realized the problem: no trapping. When I submitted my final image files to Abrams they were trapless. Trap-free. Bereft of trap. My trapping had shuffled off this mortal coil, run down the curtain, and joined the choir invisible. The subject never came up and I never thought to ask. My bad.

So I spent a few hours this morning speedily trapping the 26 color pages scattered throughout Mom's Cancer. I envisioned the overseas printer tapping his toe, glancing nervously at his watch, paying overtime while the presses waited in idle silence for my upload.

Assuming my trapping worked, I should have first proofs to review in a few days. Next book, I'm hiring a high school kid to take care of this.

The Back Cover

Abrams has turned in our final digital files to the printer, with the first real printer's proofs expected back in a couple of weeks. Below is the back cover and spine of the book. I'm very, very happy with it. Whoever thought of putting those wordless panels of Mom across the top was inspired. (Yeah, I drew the pictures for the book, but I didn't think of laying them out like that for the cover. It was either my editor or Abrams' art director, and they don't remember who deserves the credit.) I also drew the little Eisner Award at lower right just for the heck of it; my editor surprised me by finding a place for it here.

By the way, the price shown here is what it will be: $12.95 ($17.95 in Canada), which I think is an exceedingly reasonable price for a hardcover. We want Mom's Cancer to be an affordable "gift book." If folks want to buy two or three of them, I'd be all right with that, too.

Vote of Confidence

I got some exciting news from Abrams this morning. My editor just presented Mom's Cancer at an internal sales meeting that went so well Abrams decided to greatly increase my first print run. I'm not sure I'm free to report the numbers, but it's a big jump that I take as a big vote of confidence. They expect the book to do well. I reminded my editor that if they all end up sitting unsold in a warehouse it's his fault, not mine.