Paint for Macs?

So at first I was getting kind of overwhelmed when I was editing my friends' pieces they had sent me, because (unexpectedly) I was actually timid to tell them about the changes I thought they should make, especially the poetry.
I guess when it's someone I don't know, it's a lot easier to address it professionally. But other than that, I feel like my project is really starting to come together.
The only thing I wish I had was some sort of paint program on my Mac for my cover. Does any one know if there's a similar program that Apple sells?
Also did any one realize that we only have like 6 more classes? That's kind of frightening...

Print Quotes

Getting confused with the print quotes...it looked so easy in class. 

On Bookmobile.com:  What is the difference between a galley and a paperback?  Why can't I do anything other than get an "instant quote?"  How do you create an account?  

On unitedgraphics.com: the only question I understand is my address.  What are halftones and duotones?  And how many do I need?  

Those are the only 2 companies I'm really aware of, and the others I'm finding online seem to be way expensive (Blurb.com = $18.95/book with minimum of 10 - but you get a 10% discount).

[*Just found www.instantpublisher.com    Seems pretty simple and about $100/25 copies.  Cannot print detailed quote, though.]

Anybody that's had success with this, please let me know.  

Personal email:  eric.a.hanson@comcast.net

Plan B

I feel as though I am in a similar boat as KT with Kaleioscopic Resonance. I would like to believe that I came up with a nice concept for the magazine's premiere issue. I've asked several people and sent out a few more emails, but I have yet to recieve any submissions. This sucks! I'm going to have to tackle, tag and cage this beast from a different angle because right now its winning. I guess I have to be prepared to put up my work only for the first issue, but I pray that it will all come together sooner than later.

As far as my interview with Amy Schroder, she was really cool about the whole thing and easy to talk to. As you all could tell from class, she's not really an angry, firey feminist. She calls it like she sees it and has a descent wealth of knowledge of female artist across the board from musicians to painters. I can appreciate how she refined the clarity of her mission with Venus and is going for it completely. As she hones her business and literary/journalist instincts she's well aware of any obstacles to the mainstream growth of her magazine, as well as the pit falls that other small magazine publications have come against. I admire her drive and ability to find other editors and writers just as hard working as she, who are willing to stick it out, not for a woman, but for a an editor, a writer and an entrepreneur they trust to stick with into sucess.

Getting Closer

Like my dad used to tell us kids while on lengthy road trips, when being grilled on how much longer,  "We're getting closer every minute."  Then he'd usually slap somebody's finger out of their nose.  

Even though everything seemed overwhelming a few weeks ago, I can almost see the final point of destination.  I have received two printable short stories with at least one more on the way.  With my own contribution(s) I'll hopefully have enough to make an interesting prototype.  That's my mantra, anyway.  My main concern is the artwork.  I'll have to shop around on the net for downloadable artwork that will correspond with each story, all along keeping with the theme.  It's like mowing the yard - I have to keep going 'round in circles until it's done.

Another issue that is taking my attention is trying to get published somewhere.  I recently picked up a copy of "Writer's Market," and have been shuffling through it.  Now all I have to do is write something worth publishing.

"ONE MAN ARMY"

WHILE I'M WAITING FOR MY FINAL SUBMISSION FROM MR. LAST-MINUTE HERO, I'VE ASSIGNED THE VISUAL LAYOUT TO MY ARTIST. IT'S NOT EASY HAVING TO PLAY EDITOR-IN-CHIEF, GRAPHIC MANAGER, AND SUBMISSION MANAGER ALL AT ONE TIME. MY BIGGEST CHALLENGE YET IS TRYING TO CONVEY WHAT THE JACKET IS TO LOOK LIKE TO MY ARTIST WHILE GATHERING BIOS FROM MY AUTHORS; BASICALLY, NOT HAVING ENOUGH TIME. I REALLY NEED HELP. I'M KEEPING IT UNDER WRAPS AND ALL, BUT MY SANITY AND PERSONAL LIFE HAVE SUFFERED SEVERELY . I'VE PRETTY MUCH TUNED OUT THE WORLD. I WOULDN'T EVEN CARE IF SOME PLUNK FELL FROM A SKYSCRAPER AND LANDED RIGHT IN FRONT OF ME; I'D SHRUG, KEEP WALKING, AND LIGHT UP A CIGARETTE.

IT DOESN'T STOP THERE, OH NO. I'M ALREADY TRYING TO FIGURE OUT HOW I'M GOING TO FIT A MEETING IN WITH "THE POWERS THAT BE". PLUS, I'M HAVING TO CO-ARRANGE MY MOVE BACK TO THE WEST COAST. FUCKING DEAD-LINES ALL AROUND ME; I'M TELLIN' YA!

April 8 class

So we had a poor showing for class on April Fool's Day. Guess spring break extends further than I thought.

Here's a list of what you need to have ready to go in class on 4/8:

1. You must have read Stranger Things Happen by Kelly Link and be prepared to discuss.
2. You must have your small press interview ready to roll.
3. You must have figured out costs for your project. Web people, that means you've decided on how you're publishing online (free or paid), and have decided on whether you're buying your domain name. Print: That means you've put out print quotes (this can be to United Graphics or other printers, Bookmobile, Kinko's, etc. Use the internet to find printers). You should have received quotes from three printers.
4. I want everyone to bring in one submission for their project, the draft that was submitted to you and how you've edited it, and be prepared to discuss. If you're self-publishing, that's fine, bring in two drafts.
5. Looking ahead to the 4/15 class, you're going to have to have a sense of how you want your project designed. Zach will be in class to discuss design principles, and I'd like for everyone to have something to show him, so he can give you practical, individualized attention.

All right, that's about it.

Change of Focus

I've decided to change the focus of Kaleidoscopic Resonance (at least for this first issue) to stories that use strong sensory details in ANY of the senses, rather than just focusing on hearing for the first issue. After the devastating lack of submissions, I figured I would have more luck if I broadened the scope a bit. I figure I'll separate the stories by the strongest sense they use and have a section for each sense, perhaps. Now I've got two submissions - both from friends who are very amateur writers (if you could even call them writers). But with a little editorial work with their stories, this magazine may actually feature someone's work other than my own! If any of you have a story you think would fit, please feel free to send them my way. :) Hope everyone else is having better luck than I am.