
At long last, LIQUID FIRE is on its way to production at Bell Bridge Books!
This was a particularly difficult copyedit - not because the copyeditor was demanding anything particularly weird, but because a misunderstanding on the style guide led to an edit with five thousand annotations.
At one point working with the PDF, I was zooming in the text 200% to try to see what the copyeditors did, and even when what they were suggesting was clear, the number of edits caused everything to jump around crazily.
Finally I had to ask Bell Bridge to send me a .DOC file, so I could use Microsoft Word's superior tools. I was quickly able to identify 2,500 of the edits as being completely correctable - ellipses and spellings and such - and started a style guide.
Many of the rest were simple things like the Oxford comma, which we had a style change on. Counting these took us down to about a thousand edits.
Most of those thousand were minor changes which I readily accepted. The copyeditors had different suggestions than me on things like the use of the colon, which I often accepted, and paragraph breaks, which I generally did not.
But there was one particular thing - a replacement of the colon with the dash in sentences that already had the dash, which irked me intuitively, and which also turned out to violate the very Chicago Manual of Style rule the CE was citing.
Because we'd gone back and forth on this so much, what I finally sent back to Bell Bridge was a document with 200 tracked changes - mostly, the copyeditor's comments with extensive responses from me on what CMOS rules I was citing.
(We also had changes to Cinnamon Frost's broken English, contributed by the linguist Keiko O'Leary who helped me develop Cinnamon's dialect; but these were largely nonproblematic).
Debra and the copyeditors accepted these with few changes - but still sent a document back with over forty comments. At this point, even if I didn't agree with them, I took the changes very seriously.
A lot of their remaining suggestions violated some of the "rules" that I write by. But those are not hard and fast rules - and the fact that Debra critiqued them told me that, regardless of my "rules", the particular text at hand simply wasn't doing the job.
I accepted most of these comments. I rejected a small handful of others. And in a few cases, I took Debra's suggestions and solved them a different way, with a larger rewrite which just made the whole problem she saw just go away.
The manuscript I sent back to them had 30 comments or changes. By my count, it was close to the 130th distinct numbered version of the LIQUID FIRE manuscript that I've worked on.
Debra accepted it and sent it on to production on Thursday.
That was a good day.
Now on to the edit of THE CLOCKWORK TIME MACHINE!
-the Centaur







Yaay! Once again, I have completed National Novel Writing Month … this will be my 10th successful Nano. I've only been doing it 9 years, but this year, I started tackling Nano more often - in April and August. April was a success, but August I found I wanted to do more editing than writing, so I've officially succeed at Nano just 10 times out of the 11.
I'll let the August one slide, as it was really ambitious (and I also really try to reserve the time leading up to October for preparation for 24 Hour Comics Day) but when November rolls around, I get serious. This is the time all of my novels are born, and when I see a month start off with the kind of deficit you see above, I get cracking.
I'm so serious about this, I take the whole week of Thanksgiving off every year just to work on this (something that is easier because my family is a rough plane ride back over Thanksgiving, and I see them every Christmas). But you know what? I want to enjoy my Thanksgiving … so I really poured on the juice near the end.
The National Novel Writing Month site has some awesome word tracking tools, but I often turn off the Internet during Nano, and so I have developed my own Excel spreadsheet specifically for this purpose, which shows me, graphically, how much I need to write to get on track. Cells turn from red to white as I successfully get ahead of the game, and so by the end I was pushing 3-4000 words a day, trying to finish early. And I did, yesterday afternoon, at Panera Bread near my house.
PHANTOM SILVER is one of the oddest books I've worked on yet. The plot has taken many strange twists and turns, including some that popped out of a deep harvest of some of the older material in my massive cuttings file. It's also turning into a deeply personal story, as my exploration of ghosts has led to an exploration of my characters' ghosts, and, by extension, since my characters are often based on me and my family … I am exploring the ghosts of my own friends and family as well.
This picture was taken standing quite close to my father's grave (not visible in the picture) and while my father won't picture in the story … I'm having fun exploring Dakota Frost's background, since she came from a (fictional) place in the South that is literally right up the street from where I grew up in real life.
But, as fun as it is … I'm glad to be done with this chunk. Already (since yesterday) I've finished a first draft of a short story in the Jeremiah Willstone universe (due at the end of December, for a Clockwork Alchemy special anthology) and I look forward to diving back into the editing of LIQUID FIRE, which is going *very* well. Hopefully you'll see it soon.
No excerpts on PHANTOM SILVER, though; there are too many horrible spoilers for other books. You'll have to wait on this one, and I know it will be a while, because SPECTRAL IRON and LIQUID FIRE and HEX CODE must come first; till next time.
-the Centaur 







APE is held at Fort Mason this year, and they gave us a space in the back provided by ComicsPRO, the comics retailer's association. The tables were all right, but once Nathan, my partner in Blitz Comics, arrived and took a look at the scene, he put some thought into it and rearranged the space to make it more inviting.
The end result is that our yellow tables made an arrow pointing at the Blitz logo, and there was now a central entry space where Nathan could put information designed to guide creators to "drop in" at the event.
We had seven people signed up for the event, which we marked with nametags. Not all those people showed up, but many did, and we had a sizable table of people tackling at least one leg of the IRONHAND Triathlon.
The pure 24 Hour Comic Day experience is unbroken - 24 pages in 24 hours, with no preplanning or preparation. But Fort Mason closes at 7, so we had to break up the event into three shifts of 8 hours each, the first at Fort Mason and the two latter ones nearby. But once we split it up, we decided to evolve the event further, and to encourage everyone to just drop in and draw!
After some iterations on the signage, Nathan hit on "Creator's Drop In Area" and enough messaging so people knew how to use the space. At the end, we had artists dropping in to draw without us having to explain anything, and I got to kick back at our table and draw and shoot the breeze with Marco of ComicsPRO and with Nathan.
The event was a big success, and we then moved to the
We had the place to ourselves, so creators spread out over a few different rooms. I think we succeeded in creating a creative oasis for our creators, as some who had left earlier made it a point to come back and join us.
More people joined in the IRONHAND Triathlon remotely, so Nathan is hard at work on the winners certificates, which will have laminated pieces added to them, one for each of the segments of the Triathlon they completed.
We're still chugging away, with Paxti's pizza about to arrive, so I think I'm going to close this blogpost and get back to it. I may not be doing 24 Hour Comic Day this time - I did it last week - but I want all of our creators to be happy.
Excelsior!
-Anthony 










