Posts Tagged ‘Dirty Publisher Tricks’

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VERY BAD PUBLISHERS! The Complete Saga

by Colleen Doran on September 29th, 2010
Posted In: Blog, Colleen's Work, Creator Resources, copyright/trademark, Creator Resources, Creator Resources, Legal, Creator Resources, Publishing

The blog update restructured the post order, and the oft referenced Very Bad Publishers saga is now at the very back of the queue.

Since I don’t know how to fix that, here it all is in order.

The Perils of Colleen Part I:

My first shock came the day I found out that even though you are with a publisher that has retail trade distribution, those retail trade distributors are not necessarily going to order your book. At the time, the direct trade market distributors like Diamond carried almost everything, and that was what I was accustomed to.

After being told by my publisher my work would be in major bookstores like Waldenbooks (a major chain at the time) I found the retail distributors weren’t even ordering most of the GN’s the publisher was producing – or anyone’s GN’s for that matter. I do not believe they made any orders on my first GN created by The Woman for this publisher at all, and when the combined orders for both the direct market and the retail trade came in, the book had only moved just over 3,000 copies.


The Perils of Colleen Part II:

Far from content to print 5,000 books when they got orders for 3,000, it was not unknown for them to publish 10,000-12,000 books when they got orders for 3,000.

On one book, they gambled so big I simply could not believe it.

When The Woman was unhappy with the coloring on the first print run of the GN I had illustrated for her, she ordered the entire print run be redone from scratch. The first print run was 12,000 copies against an initial order of 3,000 copies…ludicrous.


The Perils of Colleen Part III:

However, cross collatoralization virtually assured that I would not see any of those expected and needed royalties. For the duration of my contract (which was going to take years to complete) I was being consigned to a life of rock bottom poverty, and even the possibility that I would have to work for two years or more with no income at all.

The Peril of Colleen Part IV:

So, when I found out that my publisher (the one who had, within a week, gone from telling me to get out of publishing to telling me I was like a daughter to him) had sold my reprint edition rights to A Distant Soil to another publisher, a move that would, yet again, cut my non-existent royalties in HALF, the shit really hit the fan…

The Perils of Colleen Part V:

Since my new book was a $12.95 trade. I’d be getting a whopping 16 cents a copy on all sales in the direct market. So, if my book actually sold 30,000 copies there (NOT) I’d gross all of $4,856 – about enough to pay the colorist, but not enough to pay the letterer, or any other costs…including me. In order to earn out my meagre advance within a two year period, I would have to move something like 50,000 copies, assuming at least half of those were sold in the retail trade where I’d get a bigger royalty. Worse yet, even if I did earn out the advance, the take would be eaten up by the cost on the NEXT volume of the book, and the deficit on The Woman’s book.


The Perils of Colleen Part VI:

But all was not lost! No sirree! They were going to give me a goodie to compensate for cutting my pay!

Can you guess?

Can you guess what the goodie was?

Oh, I bet you cannot guess!

GUESSGUESSGUESSGUESSGUESS!

OK, I will not keep you in suspense any longer.

The publisher was going to print my name in the book.

The Perils of Colleen Part VII:

This man who had just spent a half hour claiming he was my good buddy, who had just sold himself as my first publisher, who had sold himself as the creator of the graphic novel, as the publisher of my first graphic novel, as Mr. Gladhand the Artist’s Friend, the man who was a partner in the company that had helped consign me to grueling poverty, this book to which I had dedicated so many years of my life for which he was trying to take credit while never having paid decent money for it, that sonofabitch couldn’t even remember the damned book’s name.


The Perils of Colleen Part VIII:

I do not approach my clients with the intent of forming familial relationships, especially when those clients are conducting their accounting in such a way as to assure I’m treated like a red-headed stepchild.


The Perils of Colleen Part IX:

Never sign a confidentiality agreement with Teh Crazy. In Crazy Land, they will expect you to fulfill the terms of every agreement (especially the confidentiality clause) no matter how much Teh Crazy lies, cheats, or steals, even if the US Supreme Court informs them that slavery is dead, and copyright squatting does not make them a creator. That said, my lawyer advises me to take the high road with them, and that is easy enough, for they are so low.

There are plenty of other posts about some other Very Bad Publishers, so click the tab. I hope you find the posts educational.

Thrill to this exciting breakdown of how late payments cost creators!

Marvel at the kahunas on this dude who thinks you should be thrilled to work on spec! Don’t miss the epic jolly in the comments thread. Comedy gold.


Dazzle at the dastardly deeds of creepy comic book packagers!

Never a dull moment when dealing with Very Bad Publishers!

Enjoy.

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Late Payments Cost Creators

by Colleen Doran on November 17th, 2009
Posted In: Blog, Creator Resources, Creator Resources, Money Management, Creator Resources, Publishing

Creators pay big time when they screw up.

When creators deliver late, it can cost them their contracts. Everyone in the production chain on a book pays when creators screw the deadline pooch. As the schedule gets shoved back, people wait longer for jobs and payment, and schedules on other projects have to be rearranged – on creator and publisher end – to make up for delays. Deadlines push up against other deadlines, one project dominoes against the next. Contracts sometimes include financial penalties for late delivery.

However, in all the years I have been in publishing, I have only had one publisher pay interest on their late payments. The small amount due meant that I got about 50 cents in fees, but I was surprised to get the fee at all. I’ve been paid months or years late – or not at all – for jobs, and this year was the first time I have ever had a publisher pay their contractually obligated late payment interest fee.

While reviewing a royalty statement recently, I found one of my clients had made an error in calculation. They had been shorting me on all my payments for nearly a year. However, I did not review my previous statements carefully, so didn’t catch it sooner. The cumulative effect over one year’s worth of royalty payments shows the publisher owes me another $2,000. I was nervous about contacting the accountant to point this out, certain I must be mistaken myself. But within a half hour, his assistant called to politely admit that, yes, I had been shorted and the amount would be calculated back into my payments in the next accounting period.

Which means that even though I’ve been getting shorted on each statement over the last year, I will have to wait until the end of the next accounting quarter to get my extra $2,000. And, of course, I would love to have that money before Christmas, but probably won’t. I’d love to pay off the $600 I owe on my car repairs now, and the interest on the money I owe on VISA accumulates.

I won’t be getting a penny in late payment fees on those royalties. The company is not obligated to do so in this case, and the mistake was an honest one. But if you or I paid someone late for whatever reason, we pay through the nose in interest. When clients pay us late, we lose big time.

Almost every small press I ever worked for paid late, very very late, or not at all.

They seem to think not paying freelancers is an inconvenience, not a hardship. But the value of the money a client fails to pay his creditors shrinks with every minute that client doesn’t meet his obligations to them.

Every minute your money is not being used to pay off debt or is not being invested it is worth less than its face value.

Consider that some of these publisher debts go back years.

The average freelancer is probably carrying debt and paying interest on that debt. And the client makes no provision to pay late charges on any of the debt he says he may or may not pay sometime in the dim and distant future.

An unpaid debt of $1,000 is not an unpaid debt of $1,000. If the freelancer is carrying debt on credit cards with an average interest rate of 15%, that unpaid debt of $1,000 over the course of two years just cost an additional $347.35.

Consequently, for every $1,000 the client has not paid, the freelancers have lost that $347.35 in interest, and the face value of the $1,000 has dropped to $652.65. In only two years, the $1,000 has lost more than a third of its value.

Late paying clients aren’t an inconvenience, they literally drain the life right out of the freelancers they do not pay. A creator spends the hours of their life working to earn money just like anyone else does. Every minute you live costs money. Every minute you labor for which you are not paid has to be earned out somewhere else. The freelancer has to do double time to make up for deadbeats.

The time these freelancers could have spent working at McDonald’s would have been more profitable for them than working for most small press publishers. One month working for McDonald’s would have brought in over $600 and would have come with benefits.

Being published isn’t good enough. There are simply too many bottom feeders out there who take art and money, and who never come out with the finished work. And even when they do, the books usually bomb in the marketplace to the benefit of no one. It is not worth it to work for bad publishers to get a “big break”.

And to be perfectly frank, getting a clause in your contract which provides late payment penalties is easy. Collecting on those penalties from a publisher who pays you late is virtually impossible.

c

This post was originally written in response to the indifference Tight Lip Publishing exhibited toward freelancers to whom the company owes vast sums of money. To date, out of the tens of thousands of dollars owed, only one freelancer has been paid a portion of their fees. They received $100.

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Your Lives Will be a Lot Simpler If Some of You Would Just Listen To Me Right Now.

by Colleen Doran on September 1st, 2009
Posted In: Creator Resources, Agents/managers, Blog, Culture, Comics, Creator Resources, copyright/trademark, Creator Resources, Creator Resources, Legal, Creator Resources, Publishing

I’ve been getting a number of reports from various freelancers about unsavory practices at companies which are going to have to remain unnamed for the moment.

In short, there are a number of book packagers out there setting up deals with aspiring creators, then selling the works to third party book publishers trying to get a foothold in the graphic novel racket.

Some of these packagers are contracting overseas talent on the cheap. The overseas talent is ruthlessly exploited. Sometimes they are not paid at all, and they often lose all rights to the work.

I don’t know to what extent the publishers involved know what is happening with these creators. They might want to have a look into it, because in more than one case, the packager has failed to secure contracts from the talent prior to execution of the assignment. Which places the publisher in a bad position, to say the least.

In some cases, the packager has gone back to the talent and asked them to sign post-dated contracts.

That’s a no-no. It’s an even bigger no-no when you consider that work for hire contracts must be executed prior to the start of the assignment to be valid.

Dear Freelancers: Never, never, never, never work for ANY client which does not present you with a contract up front, which does not allow you to show this contract to your attorney, or in any way whatsoever balks at getting you this contract in time for you to review it before the start of the assignment.

Dearest Freelancer, I hate to break it to you, but when your creep of a book packager attempts to dazzle you with their connection to the Big Name Publisher, you do realize that you do NOT work for the Big Name Publisher, you actually work for the creep of a book packager. You do not have ANY agreement with the publisher. You have an agreement with the PACKAGER. Therefore, you do not get any perks, any cache, any brownie points whatsoever for your credit with Big Name Publisher. The packager does.

Beloved Friend Freelancer, if the book packager violates the terms of your agreement, or rips you off in any way, the Big Name Publisher is not liable for diddly squat because YOU DO NOT HAVE A CONTRACT WITH THEM! You have a contract with the PACKAGER! If the packager decided to fold up its tent, declare bankruptcy, and open up again under another name, you can’t go to Big Name Publisher to get your royalties.

Freelancer, please pay attention: there is no blacklist, there is no blacklist, there is no blacklist. I don’t know how many times I have to repeat this, but, there is no blacklist. I am astonished at the level of paranoia floating around this business, but half the aspiring creators seem to think every publisher has the entire internet bugged and is just running around looking for the merest whisper of dissent. At which point, the sad freelancer who had the temerity to complain about not being paid by some crook of a book packager will NEVER EVER WORK IN PUBLISHING AGAIN! BWAHAHAHAHA!!!

For crying out loud, would you people listen to yourselves? I spend half my freaking time on this blog outing bad publisher practices, telling you where to get legal aid, and relating jolly tales about class action lawsuits against publishers no one in their right mind would ever want to work for in the first place. And I work for EVERYBODY!!! NOT BLACKLISTED YET!!!

And what do some of you do?

You sit around worried that some evil client who DOES NOT PAY YOU will keep you from ever working in a business in which you are so desperate to work that you will allow yourself to be abused, and robbed and exploited without airing a single complaint. And THEN you worry that the Big Publisher may never hire you again!!!

Holy Cognitive Disconnect, Batman!

Look, Freelancer, if this client IS NOT PAYING YOU, if they are STEALING YOUR COPYRIGHTS, and THREATENING YOU, then WHY THE FLAMING HELL WOULD YOU WANT TO PRESERVE A WORKING RELATIONSHIP WITH THEM????

Do you honestly believe that if you squeal on some packager doing business with Random House (just an example,) that Random House will never hire you again? Really?

And if your work is all that and the bag of chips, what makes you think Random House is your only option?

How does your book sell? If your book sells, it’s a guarantee that ANY publisher in today’s marketplace is going to be happy to have you cross their palm with silver. Seriously, if your crap ass book packager has not been paying the clients, and is exposing their publishers to liability by not properly securing contract rights before they license works to third parties, YOU ARE DOING EVERYONE A FAVOR BY DOING SOMETHING ABOUT IT. Including the publisher!!!

And news flash: you really want to make your California-based-we-are-totally-in-with-Hollywood-we-will-get-you-a-movie-deal-even-though-we-can’t-seem-to-come-up-with-the-moolah-to-pay-you-$50-per-page-for-an-adaptation-of-the-work-of-a-best-selling-novelist-packager SQUIRM LIKE THE LITTLE PIGGIES, then kindly hidey-ho yourself over to this info and make sure you let that creep of a book packager know that YOU know this:

Under California law, a party transferring rights a work made for hire agreement is an employee for purposes of workers compensation and unemployment insurance and thus there are a wide variety of issues related to those said matters including but not limited to the need on the part of the engaging party to have workers compensation insurance covering that party. Failure to have such workers compensation insurance is a crime under California law as well as exposing the engaging party to unlimited liability and substantial fines and penalties. And this is irrespective of whether or not there is any injury.

Work For Hire Agreements With Creators Outside of California

The California Department of Insurance states:

“Out-of-state employers may need workers’ compensation coverage if an employee is regularly employed in California or a contract of employment is entered into here.

In other words, even if you hire someone you found on Elance who lives in California (and you do not), if you want SEO copyrights, you may still need to treat them as an employee subject to California employment laws.

Yes, my dear Freelancer Buddy! That’s right! Your California-based packager – the one which had you sign that work for hire agreement, the you didn’t-really-know-what-you-were-doing-agreement, because English is your second language – well, that California-based packager may owe you a wad of employee benefits. Even if you live in Timbuktu.

And as much as I appreciate your trust, my dear Freelancer, you should not be coming to me for help. You need an attorney. Now. Soon. Yesterday.

At the bottom of this post is the tag LEGAL and you should click on it. That will take you to various posts, particularly a post on the Volunteer Lawyers for the Arts. You should read that post, and then contact that organization for help.

There are literally HUNDREDS of attorneys affiliated with the VLA in California alone. No, you do not need to be a US resident to receive legal aid. My very dear friends at Black Mermaid Productions used the Volunteer Lawyers for the Arts to handle a serious and thorny small press problem which was settled with Black Mermaid retaining ALL rights to their original creations. Our lovely friends from Black Mermaid are way down there in beautiful Australia. You know, the other side of the planet.

I appreciate your letters. Your stories are terrible, and sad. I am sorry that these things are happening to you.

But I cannot help you if you do not take action on your own behalf.

If you have stayed in a bad situation year after year after year, you MUST take responsibility. You MUST walk away. You MUST get competent legal counsel and stop trying to handle this on your own.

You DO have resources. You DO have rights.

There is NO BLACKLIST. Fighting for your rights will NOT end your career. And if you have been treated this badly thus far, ask yourself why you are so desperate to maintain such a lousy working relationship anyway.

This bad experience is NOT the way it is supposed to be. This is not normal. This is not the way reputable publishers behave. Just because you are working for a book packager which treats you badly, that says NOTHING about the publisher you have not bothered to inform of your treatment. At all.

Why are you holding them responsible for what is happening to you? They do not have a contract with you. They do not know you. You have never even spoken with them. Do you assume they have psychic powers that they can intuit what is happening to you at a third party supplier?

Take your ball and go home. Leave. Get an attorney. Walk away. Don’t look back except to sue the bastards.

And if you aren’t doing these things…

What are you afraid of?

Are you afraid no one else will hire you? Do you really believe this publisher you don’t even work for has some kind of magical powers that can steal your appeal from you so no one else will ever want you?

You don’t really believe that.

If you do not have enough confidence in your work to walk away from a client which is treating you like dirt, lying to you, and stealing from you, then you do not have enough confidence to be in this business.

You have to believe other people want you. You have to believe your work is powerful.

And if you don’t believe that, I cannot help you at all.

c

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Work is Good

by Colleen Doran on August 27th, 2009
Posted In: Blog, Creator Resources, copyright/trademark, Culture, Culture, Literature, Creator Resources, Publishing

One of my favorite popular writers, Dominick Dunne, passed away yesterday at the age of 83.

Vanity Fair got tossed in the waste bin at the end of the month, but Dunne columns got clipped and saved.

An archive of Dunne’s Vanity Fair articles can be found here. You’ll find articles about Claus von Bulow, the Menendez trial, Imelda Marcos, and many more.

A tribute to Dunne by Tina Brown is here.

He told me he was off the next day on a tragic mission—to attend the trial of his 22-year-old daughter’s murderer. His beloved Dominique, a rising actress, had been brutally strangled by her boyfriend John Sweeney, the chef at the swanky Ma Maison restaurant in West Hollywood. Not knowing at the time that Dominick was always an avid documentarian of his own life in scrap books and journals, I asked him if he would keep a journal of the trial and show me what he had written at the end. The result was the ironically titled “Justice,” his riveting, impassioned account in Vanity Fair of what he always believed was a judicial outrage, Sweeney’s conviction for manslaughter that led to him getting out of jail in under three years. It was the first of innumerable great pieces as he went on to become one of Vanity Fair’s star writers.

DSCN0116

Now, the daily natter.

My blog posts aren’t deathless prose. They aren’t meant to be, any more than I expect every letter I dash off to be as glorious as the correspondence of Abelard and Heloise.

I have immense respect for the power of great writing, and the care that goes into it.

Just because someone is not a professional writer, that does not mean they don’t have the right to a voice. And as a professional, I can’t possibly afford to put as much care and attention into a blog post as I do into something I get paid for. I would starve to death, unable to do anything for an entire day except write, rewrite, proof, and re-proof.

Professional writers have dopey opinions with which I don’t agree in the least, disguising poor reasoning with $2 words. The ability to write beautifully does not make their arguments valid. It does not make their opinion more valuable than yours or mine. The ability to write beautifully does not endow you with any more common sense, wisdom, or honesty than the fruit seller on the corner.

There are many professional writers who do not write particularly well, no matter how much they get paid for it.

They fulfill the terms of their agreements with clients. And they sell. There is nothing in this equation that makes them inherently better at writing than anyone else.

There is nothing inherent in writing for your own pleasure that makes you any better than a professional writer, either. Money does not make you good at anything. Lack of money does not make you good at anything. It does not even mean your motives are pure. It just means you have no money.

Many of my favorite writers are stylists, like Tanith Lee. I do not write nearly as well as Tanith Lee, or Jane Austin, or anyone else I admire.

Being less than the very best at anything does not remove from you, me, or anyone else the right to enjoy what we create, or to say what we need to say.

While we may never achieve universal praise for what we create, that does not mean we do not have the right to create it.

Being a great artist has absolutely nothing to do with being a good human being. Being a good human being does not come with any other reward than the knowledge that you do the right thing whenever you can. A great artist may be a total schlub, but his work will be enshrined in museums.

In the end, he was still a schlub.

And one from the Twilight Zone: I’ve been approached by two publishers in the last month about collecting these posts, and/or expanding the content into a book.

I was offered a Work for Hire contract.

No.

At some point, I will probably collect these musings. Perhaps some publisher will read these posts, pay attention to the content, and realize I am the wrong person to offer a WFH agreement for use of original material.

In the meantime, my tip jar appreciates you.

And so do my ebay offerings. I will be selling art until the end of next month, and then it all goes back off the market for awhile. Current offerings: A Distant Soil, manga art, Sandman, Book of Lost Souls, more. UPDATED: The cover art to the unpublished Book of Lost Souls #7 is now on hold for a purchaser.

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I can’t seem to make any progress on my drawing. So, I will try to make the world a better place.

by Colleen Doran on August 1st, 2009
Posted In: Blog, Culture, Comics, Creator Resources, Creator Resources, Publishing

I drew and drew and drew and drew, and it looks like I didn’t accomplish very much the last couple of days. I don’t know how that happens, and I am a little down about it. I took in a lot of coffee to stay alert today, and now am too wired to sleep. I guess I should just keep drawing then. Maybe in a few more hours the pages will look like something got accomplished.

In the meantime, go read some links.

Rich Johnston is following the strange tale of a fraudster who has been passing himself off as various noted comics artists, taking advances on work, and running off with the dough. This scam has been going on for months and months. The story of Josh Hoopes started at Rich’s old Lying in the Gutters column, but is now continued at Bleeding Cool. (And if you missed my earlier post about fraudsters, go back and read it now.) LINK FIXED.

Impersonating comics creators is not new (it’s happened to me) but Josh Hoopes excels at this scam. You can see his face here.

Publishing companies should always do an internet search and contact creators directly before contracting with them. Almost every creator has an internet presence and it is not difficult to contact them or their official representatives.

How this dude managed to convince people he was a penniless Art Adams looking for dough, I cannot fathom. I know what Adams’s original art goes for! Man, all he has to do is a pinup or two, and he’s set! No need for Adams to be working for chump change for small publishers!

Also at Bleeding Cool, the latest on the bizarre tale of Rick Olney, who does not appear to be any closer to paying the people he owes than years ago when he originally incurred his debts to artists and writers.

For some bizarre reason, I got the weirdest mail from Olney (whom I do not personally know) about my Very Bad Publishers posts. Olney convinced himself the posts were about him and his family. Here is the entire text of the letter which came in some time ago:

Colleen,
You made a remark about my father being a ‘bad’ businessman. My father was NEVER a bad businessman. He actually had a great business and had much more than you could ever realize or be willing to give him credit for. It was not until after his brain bleed and subsequent operation saving his life back in 1995 that his life began a slow decline. Your idiotic comments about my family are something you should be proud of. I’m going to tell you once, knock it off. Talk about your worldly theories about me all you like but leave my parents out of your crap slinging. I realize that you can’t help yourself It must be tough living a life of estrogen driven, dysfunctional personality psychosis, with overtones of jealousy and insecurity.

R

I have never worked with Olney, never known anyone in his family, and have not made comments about his family business, about which I know nothing. The Very Bad Publisher posts are clearly about my time at a company called Starblaze. I have no Earthly idea why this ridiculous Olney person would assume any of this material was directed at him, but then, this is not the first time some random nutter assumed I was speaking to them through the internet.

And me – jealous of Olney? Dude, what is he sniffing?

Olney followed up his bizarre email with another, alluding to the death of my cat last summer. Presumably, my talking dirt about his bad businessman father (which I did not do) resulted in the karmic backlash of the death of a 16-year-old cat.

I think my cat died of old age. He was 16 after all. And, of course, I said absolutely nothing about Olney’s father, his business, or anything else about the guy. I’ve never worked with him, Olney, or had any direct contact with anyone in his family whatsoever.

And what kind of karmic hoodoo kills an innocent animal over a blog post? Man, that’s messed up.

I used to try to be subtle on my internet postings, not naming too many names so as not to embarrass people from my past, while still writing candidly about my experiences.

It’s a wasted effort. There’s nothing I can do about Teh Crazy who thinks I am sending them secret messages through the computer, and ruining their poor little careers with my dispatches to the Sekrit Comic Book Industry Cabal.

There’s a couple more nutters out there who conflate the most tenuous connection (I spoke to them on the phone, I answered email, they met me at a show) in order to give them an ontological argument for why their lives suck: “Colleen was supposed to HELP my CAREER and now she won’t even talk to me except via SEKRIT MESSAGES on the INTERWUBZ.” Oh yeah, and I am STALKING them and out to GET them and a total HATER.

Jesus Christ. File right next to Olney and his weird karmic theory about my cat.

Fortunately, I don’t seem to have too many problems with Teh Crazy. I am not worried about this Olney person, either. But I thought you’d appreciate a direct illustration of the cognitive disconnect that occasionally darkens the corners of my happy life down on the farm.

The good news is, this sort of thing is extremely rare. With thousands of readers, I feel blessed that I have so few problems.

Count on fingers of one hand, have fingers left over.

Life is good. Really.

And I am happy to bring it to your attention so you can know what to look out for. When it comes to Very Bad Publishers, I don’t think you’re going to beat Rick Olney’s Tightlip. Do click the link and read.

There’s a part of me that feels a little better knowing I am not the only person who had to deal with a VERY bad Very Bad Publisher, while at the same time, I feel terrible for the creators who got rooked.

It’s never personal. Remember that. When you get involved with one of these creeps, or when you have some internet nutter railing about the Sekrit Cabal, just remember it happens to everybody in the bizz – well, the real pros anyway, as opposed to the resume-inflating wishtheywere’s who are sure the Sekrit Cabal stands between them and the riches and fame they deserve.

You did nothing to deserve Teh Crazy, and Neil Gaiman gets 437% more of this crap than you ever will.

And he seems OK.

In happier news, our good buddy Tom Stillwell has a new collection of his comic called Honor Brigade, and I have contributed a pinup. You can order Honor Brigade HERE

Also, Tom will be making a print of my pinup of Mystery Girl. The pinup will be available at Wizard World Chicago and ALL proceeds will go toward the medical costs of John Ostrander. If he makes this available via mail for some of the readers here, I will be sure to post the info. EDIT: See it here.

OK, now I have to work for 3 more hours to get this caffeine out of my system. Wish me luck.

c

PS: More trouble with the Dabel Brothers. Don’t really know much about that lot.

PPS: We are NOT hosted by WordPress, even though this blog uses WordPress software. If you want to post, you have to register here. Sorry about that.

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