I got a few things completed this week, which is satisfying. Though it did mean I, of course, didn't get the most important thing started.
I coloured Space Elain, and on Friday got it uploaded to Lulu. Until now it's been available as a black and white book, which has been selling rather well in relation to my other books (71 copies sold this year, compared to 78 colour Richards and 72 Findlay Macbeths). But of course the material that kickstarted the book, the two original Space Elain strips that I drew for Wallop magazine in 2021 and resized for my paperback, were already in colour. That gave us 18 pages of material. Now all I had to do was colour the other 80 and...Yes, of course it was a silly time-wasting project, colouring the newest Elain story (drawn last year as Lois In Space), as well as the five Hot Rod Cow strips and the four Meanwhiles. But by golly it's satisfying to have got it done. And why did I bother? Because, since I introduced the colour version of Richard The Third earlier this year, it has far outsold the black and white version whenever I'm at live events (black and white Richard has sold a deceptive 565 copies, but that's cos I only offer the bw version to schools, and they have bought, as I've noted, as many as 80 in one day!). If the kids are choosing but the parents are paying, they'll go for the colour book every time. Let us see how that plays out.
If that wasn't time-wastey enough, check this out. Having completed Findlay Macbeth entirely in greyscale, and printed those copies ready to send to the Kickstarter supporters, I've looked at it again and tweaked the last page.
I was always frustrated by the final page of the story and never felt it gave a satisfying close to the book, so now I've redrawn what was the final panel, at the end of page 125, and I've added a completely new page 126. That's more like it. I'm happy now. And so should the Kickstarter supporters be, because they'll be getting an even more limited edition of the book, with the halftone but without the new ending. There'll only ever have been twenty of those printed.
Responding to this I made some darker tartan lighter, and some black areas grey. But I went further, changing the backgrounds for The Porter scene and Othello, which had formerly been performed against a plain tartan backdrop, and giving them actual scenery. I was particularly pleased with Othello's Rialto bridge, which didn't take long and vastly improved the finished result.
Socks Do Shakespeare is already on sale on Amazon, would you believe. Get one quick!




















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