Alas, no exhibiting at online TCAF… this year.

However, I got a great message back from them with some useful advice:

For those who are interested in applying for TCAF in the future, we want to take a moment to provide some context for what our committee considers when selecting applicants for TCAF:

TCAF exhibitors should have a substantial body of comics in print. We are a comics focused show, which means that we try to prioritize exhibitors who have lots of comics for sale.

TCAF exhibitors are encouraged to debut new work at the festival. New comics and new books help make TCAF exciting for patrons, and tend to ensure more successful and profitable shows for exhibitors. It’s great to see applicants who have a solid idea of a new comics project, especially one that has a clear and confident plan for completion.

It’s important to note that these aren’t “the rules” for applying to TCAF, and many other factors are taken into consideration, but we hope this helps with your future TCAF applications.


So I’m going to finish “Little Lost Part” as if I were exhibiting it at TCAF, and keep going from there!

Getting Closer to a Cover

Here’s Version 5 of the cover for “Parts: An Industrial Fantasy”. I’m getting closer. And I realized that Gordin and Laisa may have red circuit boards for greater visibility.

I’m still learning more about these watercolours. I am going to layer them more; I’ve been treating them like Photoshop paint-bucket fills or comic-strip colours…

It came!

It came! Nineteen Tales of COVID-19, the compilation I submitted a story to! 😀 (I changed the pictures when I realized how many crumbs were on the kitchen table… now it’s in front of my computer.)

The compilation was organized by the awesome Jackie Brown of Jackie Brown Books. The writers all have some connection to Durham Region (for example, I grew up in Whitby).

Yes, I also designed the cover and laid the interior out.

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Back and Forth Between Scrivener and InDesign

The Beginning of a Long Journey

Jackie introduced me to Scrivener, a writing program. I wrote a draft script for Parts in it, using the Comic Script template provided with the program, and tips from its author Antony Johnston.

This format gave me automatically-incrementing page and scene numbers, which are adjusted on output. There were paragraph formats for character names, dialogue, narration, and more. It was a lot like the well-known screenwriting program Final Draft.

Final Draft itself is of course one of the well-known programs for screenwriting. It allows the writer to manage characters and plot points and make sure that all the loose ends are tied up. I believe that there is a detailed script output goes so far as to tabulate what characters (and therefore actors) and locations and even important props are in each scene (clearly useful in panning the shooting of a movie).

I have found that graphic-novel scripts are a lot more like screenplays than regular prose novels, and I tend to think more in pictures than text when creating story. I considered using Final Draft for my script, but decided to try Scrivener, as I found that Scrivener was a considerably lighter program, aimed more for writing.

However, Scrivener (and Final Draft) are text only. Parts is going to be a graphic novel. I decided to lay it out in Adobe InDesign, which I had used before. In InDesign I can design pages, choosing page size, margins, fonts, and so on. Then I cam import and place artwork. InDesign is much more flexible than Scrivener in the way that it can size and arrange artwork on a page. It places images and text in “frames”, which can themselves have different shapes and outlines. I immediately thought of dialogue boxes and word balloons in comics.

Ideally, I would like to write the script in Scrivener (or Final Draft for that matter), and export it in such a way that the structural information of the script is preserved. It would include not just a piece of text, but some record that the text was a piece of dialogue spoken by Character X.

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Getting close to publication!

We have been working hard over the holidays getting the manuscript of “Nineteen Tales of COVID-19” ready for publication on Amazon.

Jackie Brown, publisher of the compilation, has been masterminding the project: getting needed material from the authors and designers, setting deadlines, and keeping things going.

Maxine Wray, marketer, has been getting promotional material going, such as graphics for posting to social media. She has also been setting up the distribution of the book.

I’ve been setting the book up in Adobe Indesign and generating manuscripts in PDF format for the others to check over and suggest adjustments. I also built a cover in Adobe Illustrator, using a graphic from Freepik (which had to be credited in the book).

Based on the others’ feedback, I’ve been making adjustment after adjustment: eliminating typos, correcting odd formatting errors, adding late-arriving material, and making adjustments to the cover. For example, two of the authors wanted to use different family names, which meant I had to rearrange the names on the cover and the chapters in the book…

We’re getting close!

Welcome to SRD Books!


This website is all about the books and book-related projects I am working on.

The big news is, the compilation I’ve been working on is ready! The compilation, Nineteen Tales of COVID-19, has been organized and edited by Jackie Brown of Jackie Brown Books. The contributors have all lived in or otherwise been associated with Durham Region, east of Toronto. Many have been members of the Writers’ Community of Durham Region.

Nineteen Tales has been released!

It is available through Amazon as an ebook and as a printed book:
Amazon Canada:
Amazon US:
Amazon UK:
Amazon India:

It is also available through Kobo as an ebook:

L-R: Nineteen Tales as an ebook from Amazon in the Kindle app on an iPhone; as a printed book from Amazon print-on-demand; and as an ebook from Kobo in a Kobo Glo book-reader.

I submitted a story to it, The Rabbit Hole, but I also designed the cover and laid out the interior!