The reasons for this blog: 1. To provide basic author information for students, teachers, librarians, etc. (Please see sidebar) 2. I think out loud a lot as I work through writing projects, and I'm trying to dump most of those thoughts here rather than on my friends.
Thursday, July 31, 2008
It's sobering to realize that in order to really do this properly, I probably ought to do a lot more pre-writing work. The way I envision this is as at least three books, each with a different MC. The thingee I'm working on now is for the character who would be the MC in book three. So every bit of work I'm doing now is necessary and will be used in full. It's not overdoing, and it's not just messing around.
However, the thought of having to do this--the background for three books at once, when I don't even have the proper feel for the first one--is overwhelming. I don't want to do all that right now. I want to write one book at a time, not spend four years or whatever putzing over the background for books that won't even start to exist unless I can sell the first one. I mean, anything could happen in the time it's going to take me to do this. I could get hit by a bus, or be forced to quit writing, or my house could burn down or my computer could explode.
I hate patience. I never wanted it. I don't even think it's a virtue. I think it's something other people tell you to have when they want you to behave in a way that's more convenient for them. But by g*d, if you want to be a writer, patience is forced upon you against your will. You have no choice. You'll be slowly covered in patience till you're smothered by it.
So. What must be done, must be done. To work. Sigh.
Wednesday, July 30, 2008
Now all the chapter breaks are shifting and scenes are changing focus and length and will have to be cut differently. Everything will have to be repaced to fit this new angle of approach. This is clearly going to be a major, major overhaul. Not quite from the ground up yet, but it's close, and it will definitely be from the ground up by the time I get to the middle third. Boy, I'm dreading that! I wish that by some miracle I could have some clue what I'm doing by then, but honestly, I don't see it happening.
Well, best not to think about that right now.
Tuesday, July 29, 2008
So I was thinking, maybe I need to go through my ms and consider in more detail how the two non-POV MCs (don't know what else to call them; they're not the MCs, but they're not minor characters) feel as the story unfolds. I hate to think the whole stinkin' book out step by step for two different characters (besides the one I've already done it for, the main MC), but maybe I should at least try. Sometimes I do think out scenes from non-POV characters' POV, but usually only for key scenes or to figure out what to do with bare-bones first draft dialog that I have to flesh out into a full scene. But with this book, since I'm working to stretch into a more plot-driven type of writing, maybe I'll have to go the extra mile. Otherwise, the story may not be "alive" like it should be.
Usually--maybe(?)--I start with feelings and work to let the story fall into place around them. With this ms, I'm trying to learn to start with story. I probably have to learn how to do feelings when they are set off or driven by what happens in the plot. I'm not at all sure how to approach this, or if I'm even on the right track. Will keep thinking.
No more writing today, though. Out of time.
*(my def. of "thingee"--pre-writing from any character's pov; usually helps flesh out and deepen ms; not often used in actual book although sometimes it can be cannibalized and pieces of it stuck in here and there)
Monday, July 28, 2008
Heck if I know. I'm clueless. Nevertheless, I'm diving in.
So here goes another crappy version. If there's a finite number of crappy versions to go through before I get it right, this will at least put me farther along the path.
Sunday, July 27, 2008
Note to self: Never write historical. Always call it "fantasy."
Saturday, July 26, 2008
1. Lots of work ahead, on multiple, multiple, multiple fronts.
3. But yep, agent is mostly right.
4. Probably I'll pick a few major issues to address, then see if those are working out before I deliberately face the others. If the others are somehow accidentally fixed while I'm looking at those few majors, well, hooray. Sometimes that does happen.
5. I thought I had pushed myself to the limits of my plotting ability, but I'm going to have to go farther. This is terrifying, because what if I already reached my limits? What if I can't do any better?
6. Well, I'm gonna. Even if I can't do better, I'm gonna anyway.
That's one of my mantras: "Well, I'm gonna." Like, when I knew I couldn't write 80K words in two months. "Well, I'm gonna." Sometimes it's nice to have a stubborn, willful streak to pull out in times of need. It's not of much use in real life, but it sure helps in writing.
The immediate decision before me is whether to do a readthrough before I start, or to dig in cold, and not waste a potentially fresh eye. Having a fresh eye for a ms is a rare and precious thing after you've been working on a ms for months and years. I last saw this ms a month ago. No matter what I do, it ain't going to be that fresh. So the question is, do I want to use up what little freshness a month's layoff and a new font and new margins will give me? I'm not sure. Must consider.
Friday, July 25, 2008
I guess I need to spend some time sitting down and looking at what needs to be in this first part, at what will give the reader the info needed to carry on, as well as raising enough questions to pull him/her along from page to page. Not to mention all the world-building that has to be done.
If I was an artist I bet I'd already have some ideas for how to juggle all this. But I'm not, and I don't.
Will try again tomorrow.
Thursday, July 24, 2008
Who knows? Lots to think about, and my brain is fried. Today's been a long day.
I have to say, I've been very reluctant to try this route for business reasons that I won't go into, but that mean this story will probably be unsellable as a GN. I'd guess there's a 90% chance it can't sell as a GN. But if it does want to be a GN, that makes the project pure fun exploration on my part.
And that is actually quite freeing. You know, aside from the factors of starvation and foreclosure and my family living in a van down by the river. Aside from all that, it would be truly exciting if this wants to be a GN, because if it can't sell then there's no pressure at all to get it right. I guess we'll see. I could get stuck again as soon as I get through this first part. If that happens, I swear I'm gonna set it aside.
However...today I'll hit a problem that was glaringly huge in the first version; so huge that I skipped over it and moved farther into the ms so that I wouldn't have to deal with it. It'll be very telling to see if I can solve it in this format or not. The problem was: a good 14+ pages (double-spaced) of dialog, all setting up and giving backstory.
For this story to work as a GN, it'll have to stand completely alone, even though it's a sequel. It's still in first person, but I think in a GN (this is one of the aspects of GNs that really appeals to me) I can skip around pov's without losing the reader. I think I can give backstory in real time, not in dialog or in thought, so it doesn't bring the story to a screeching halt. (I have no idea why a visual flashback doesn't throw the reader off the way a prose flashback does.)
One thing I don't have a feel for, though, is pacing. I know that 14+ pages went on waaaay too long in prose, because I can feel myself getting bored and impatient when I look at it. I don't have a good feeling for how to pace a GN. The only times I get bored or impatient with a GN-type thing are with some of the manga series where people are fighting interminably, or where there's a cute little interlude of a running gag about a character's personal quirks. Usually where people stomp each other's heads and it's supposed to be funny. But I don't think that bothers me because of pacing. I think it bothers me because I'm being forced to leave the story behind for something that's completely unnecessary, and often way out of line with the tone.
I don't see anything in the index of either of my Scott McCloud books (Understanding Comics, Making Comics) about pacing. I remember reading something; maybe it was when I was flipping through something in a bookstore. Most books about writing GNs or manga are all about drawing and have very little to do with storytelling structure or stuff like that. Maybe artists instinctively have a sense of pacing a visual story. I sure the heck don't. I just can't see this dialog going on for very long in this format either, because how many times can you look at pictures of two people talking before you get bored?
Although I swear Death Note had frames and frames and pages and pages of people thinking. Just thinking, either in thought bubbles or ostensibly out loud. They were thinking about what they were going to do next, what the other person might do next, what they should do to make the other person think they were going to do something they weren't really going to do next. That's the only manga that's ever taken me an hour per book to read--and that's because of all the thinking.
However, my characters' thoughts are not nearly that detailed or that involved. So. We'll see what happens as I work on it.
Wednesday, July 23, 2008
Basically this is a format change. If the format was all that was wrong with it--if being in the wrong format was what kept the ms from progressing--then I ought to be able to work on it relatively steadily now ("relatively" in terms of writing, which really means "not steadily at all"). But if format isn't the problem, then I'll stall out again, and probably very quickly.
Of course, the problem could be external pressures keeping me from digging in. But usually I can write through those, at least to some extent. Sigh. I dunno, I dunno.
I'm wondering more and more if this ms isn't ready to be written yet. I can get a good day of writing in here and there, but I can't get any momentum going. This is worrisome.
Well, I think today I'm going to try a new tack. And if that doesn't get the ball rolling to where I'm able to at least feel like I have a grip on it, or can move forward without stalling out more than I'm actually moving forward, then I'll have to set this ms aside and pick up one of my other projects. I'm not going to beat myself up over this and make it into a hated chore. I've got enough hated chores, like scooping the cat litter and weedeating.
Monday, July 21, 2008
But I know what I'm going to do now. I'm going to abandon this stinking computer and get my nice spiral hardback journal that a writer friend gave me, and a pen I have with an actual nib (although unfortunately the ink is purple) and I'm going to just write stuff, little thingees and snippets from my MC's pov. Just. For. Me. This computer has too much writerly pressure hanging over it, like a big old cloud of Write For Publication Doom.
Sunday, July 20, 2008
I'm in a rough spot right now, can't tell what to do. The backstory isn't coming out in the MC's voice. That means it's like a lot of little dead ends. I can't even use them in the ms, if they're like this. There's so much of it (backstory), and it has its own little arc, so I don't feel that I can cut it up and sprinkle it around to hide that it's a different voice and style.
But the backstory is part of this character's arc--his "journey" starts way in the past, and is completed in present day--so it's not like either the backstory or the regular story will stand alone as a book. Not sure what to do.
In the back of my head, I'd thought for a long time about trying this as a graphic novel script, because that's a way to give equal weight to present and past (and parallel unrelated storylines in the present) without worrying about losing the reader. And the idea of working on it as a GN really appeals to me; I think I might not have to worry so much about reining in the darker aspects of it. Plus I could really look forward to working through some of these scenes visually, if I let myself.
But I've already got a GN script that obviously isn't quite right, and the thought of having two crappy GN scripts sitting around is more than I can bear.
And anyway, then the MC's voice came on super strong, and that seemed to indicate the story needs to be told as a regular prose novel.
But now not all of it wants to go that way.
One thing that occurs to me is that this book may be about pov and how the MC's guilt and anger colors his perceptions. Maybe I need to figure out more about what I want to say about that. I think I do want to say something about that, because it's an important subject to me. I'm just not sure what I want to say, exactly. Is it enough to just have him see more clearly, at the end?
And if that's a big point the book is trying to make, then how should the backstory be presented? And what about the parallel story of the stray--I was going to cut that, but maybe it should be used. Should I rethink the whole thing in terms of this idea--and rethink format? Maybe be more open to how this story needs to present itself?
H*ll if I know. I'm totally confused. I'm going to go eat a hamburger.
Friday, July 18, 2008
Thursday, July 17, 2008
I wonder if it's too soon to be working on this.
Wednesday, July 16, 2008
That's interesting, though, that my MC is grieving. Of course he is; I just hadn't realized it. And he's concentrated much of his anger on two people (one of whom is Cole, who is not in this book as far as I know). He's also focused some of it on the Colony in general.
Not a heck of a lot on himself, though. And he really is the one at fault.
...if the MC's main deal is that he avoids responsibility and consequences, then how do these two new characters play into that? The MC is sort of a Peter Pan type, only snarky and negative and oppositional and profane. He's supposed to take things very seriously--his life depends on doing so--but he refuses to, because he doesn't like being told what to do or feeling that he has to follow other people's rules. He's pretty immature, for somebody who's over a hundred years old.
And at the end, I know he comes to accept that nobody can fix some things; some things are permanent and ugly, and pretending they don't exist doesn't make them go away. Sometimes (rarely, for most of us) if you do what you know you shouldn't--what you were told not to do--the consequences are tragic and permanent. No matter how he refuses to take things seriously, the evidence that things are serious is right there in a tiny room off a hallway in a house in the middle of empty flat plains.
He has to learn to let go, to accept what he already knows: he can't fix it. He's been holding this knowledge at bay, but now he faces the stark, sober truth. It's not a big plot moment, just a quiet moment of recognition and sudden maturity.
So, by the end, is acceptance enough? In a way, I think it's like the stages of death, and he's stuck in denial all through his life, up till the end of this book. Huh, I need to look those up and see what the stages are (bargaining, denial, anger, acceptance--what's the fifth?) and if they're supposed to come in a certain order.
This is hugely important, because until I know what the point is, I'm not sure what to do with these two new characters. I don't know what their conflicts with my MC are, or how they advance the story or what any of their scenes might be. So far all I have is dialog and a feel for who they are.
And then there's the stray, Royal. How does he fit into this?
Does any of this fit together? What is the climax of this book? What is the conflict? How can these four characters meet and clash and join together in ways that will drive the MC to his journey's end? Do some of the characters not belong in this puzzle?
H*ll if I know. Could all be a waste of paper and time; who knows?
Back to work.
And so. To write. Ugh, ugh, ugh. Blech. Snarl.
Saturday, July 12, 2008
Friday, July 11, 2008
Thursday, July 10, 2008
Now, the last time I added in a couple of characters along these same lines (in the swordfighting ms) it was a humongous time-wasting detour that messed me up and bogged me down for a good while. But I feel better about this one. That other detour started out much more purposeless than this did; I think I might have been trying to flesh out a new setting by introducing characters and seeing where they led. This time I see how they could fit into the story, move it forward, and develop the MCs character arc. I think I see, anyway.
Anyhow, a decent writing day. I nearly burned the spaghetti while thinking about it all, before I could get to the computer to write it down.
And hopefully at some point I'll be able to look back and see that I can skip some of the mind-numbingly deadly dull itinerary by using a simple recap or brief line or two that will quickly carry the reader to the more interesting part. May I be so lucky.
And so to write.
Wednesday, July 9, 2008
Tuesday, July 8, 2008
I noticed right away when reading that yep, this chapter is way too long. I need to break it up, but I hate breaking one scene into two chapters. Must think about this. However, before I think about it, I have to prepare some more for the writer talk next week. I can't just write down what I want to say and read it aloud. Not for a lecture-type thing. I have to outline it and then somehow try to remember what to say from that. Not my strong point at all.
I don't know what tack to take on the Night Road sequel. I've got all those scenes from the previous version, the one with the wrong MC, that I could translate into the new MC's POV. Or I could try to outline a little bit, if I want to be daring and masochistic, since I don't really know how to get the story rolling.
I've got the MC and this other guy (not an MC) in a room, talking. I don't know what happens right after that. The story is set off by this first-chapter meeting/confrontation, but I'm not sure where to go as soon as the chapter is done. This is the plotting issue I'm blank on; this move from setup to story is one thing that's making me think multiple viewpoints and outlines. Also, in the the first version of this ms, the two MCs don't meet till late in the story. That may not be appropriate here. To me, the question of when they meet is not a plotting question but a thematic one, and it's also to do with the character arc. What do these two learn from each other, about each other, but about themselves as well, during the course of the book? How does their meeting change each of them?
But first, I have to work on this talk for next week.
Monday, July 7, 2008
This MC is so unreliable, I'm tossing around the idea of multiple narrators. Usually when I toss this multiple-narrator idea around, it ends up being dead ends, thingees, and prewriting, all of which eventually fold back into the original single narrator I started with. But we'll see.
This is why it takes so freakin' long to write a book.
But I sort of feel that if there were multiple narrators, the other two would be third person past. While the MC is first person present. The only book that comes directly to mind that has done something similar is--or are--Tales of the Otori. Huh, let me check. Lian Hearn used first person past for Takeo and third person past for everything else, mostly Kaede, I think. Maybe all Kaede. I remember the first time I read Across the Nightingale Floor, I had to stop each time the voice changed, and reorient myself. That's not good--but it was well worth it, in Lian Hearn's case. However, I am no Lian Hearn.
I also want to take another look at Silence of the Lambs. I know it switched to the killer's pov at some point, but I don't know how far in. And now that I think about it, how did Thomas Harris keep my interest up till then? It's been so long since I've read it, I can't remember.
I also had the terrible thought today that I might have to have a plot in this book. I'm looking at the pieces I have, and thinking that yes, an actual plot may be what is needed to pull it together. The only problem being that I still don't know how to plot. I am making baby steps into figuring it out, but only baby steps, and not very good baby steps at that.
Sunday, July 6, 2008
I wrote over 8K words of what I want to say. Why can't I write that much on my novel mss? I may have hit 3K in one day, on a very rare occasion, maybe even 4K once--the period when I might have done it is all a blur, so I don't know--but never on my own projects. Yesterday was an excellent day at over 2K of new stuff, but there are days and days where I rewrite one paragraph for hours till I get it right, sometimes losing word count rather than gaining. And what's weird is I'm usually pleased about it, and feel that I've made good progress.
Anyhow. I think when I get back to work on my WIP, I want to write out some backstory. I suspect that writing out backstory will help me zero in on what the current story needs to accomplish. Fingers crossed, anyway.
I'm writing in first person present tense so far, so I wonder what I'm going to do with the backstory. His voice is very modern, but his backstory takes place in the second half of the nineteenth century. Not to mention he's Irish, and I'm sheer Texan through and through. Maybe he'll tell it in first past, but as if he's looking back--like he's narrating his own life. We'll just have to see how it wants to come out.
Saturday, July 5, 2008
It's always wrong, IMO, to value how people speak over what they're trying to say.
But anyway. I wrote nine pages double-spaced, which is odd in itself because I always work single-spaced on a first draft. I do like this guy a lot. I know this chapter will look like sh*t on a real readthrough, but it's a good, strong start. I just wish I could write the whole book tonight, because if I think about how it's really going to take a couple of years of agony and mistakes and wrong turns to get this story told, I could get overwhelmed.
But there's no way around it. This first draft will s*ck, and I'll have to revise and rewrite ten million times. And then it still may not be any good, and even if it is any good, it may not get published. Them's just the breaks. The point is, today was good, and I like my MC and I like the story and I like some of the scenes coming up later. All in all, an excellent writing day for this stage of the game.
Friday, July 4, 2008
But I do wonder if Riis posed some of his photos. And if so, I wonder if he paid the kids to drape themselves over each other and act like they were asleep. You'd think he would, being such a reformer and patron of the poor. And you'd think those kids were pretty tough and wouldn't curl up together just because some photographer told them to. It would be awful if Riis told the starving homeless kids to pose for him and then didn't give them a dime. Surely he did pay them. Surely he didn't just say, "Hey kids, lemme take your picture and you can be in a book!"
But noooo, today I've been thinking about the backstory I have for the NR sequel, which up till now has been barebones (the backstory has). But some of it is starting to click already (in my head, not on paper), in a very satisfying manner. Today I had the thought that I already did a bunch of research on NYC in the nineteenth century for NR. Well, not a bunch; mainly it was about setting. Most of which, now that I think about it, was distilled down to a paragraph of description in the book. Oh well.
I have had a thing for the Five Points area for a while--not a serious thing, but more than a passing interest. What draws me to it at this moment is that it's gone. It was pretty much wiped out in the reforms of the 1890's and built over. So the only way somebody can be pulled out of the story by me screwing up research is if they really, really know their Five Points history. Nobody's going to say, "Hey, I live there, and this is way off base."
Even better, I can set it in Five Points in my head but never use the words "Five Points" or any of the street names, and then there won't be any problem because nobody will know exactly where I'm talking about.
Problem: I did most of my NYC backstory research from the library, so the only helpful book I have on hand now is Jacob Riis' How the Other Half Lives. I need to own some of the books I'm thinking of, because this will likely take a couple of years, and I like to sticky note pages so I don't forget.
Some potentially good news; I started getting snippets of this guy's voice. Or I hope I did. You never know. But what's come to me so far is angry, rebellious, wry, cocky. If you tell this guy to do something, he'll do the opposite just to show you're not the boss of him.
I do wonder how much of this is me absorbing the four MCs from this manga series I've been reading, Saiyuki. I never read vampire books because I don't want to accidentally pick up somebody else's voice or mood. But now it occurs to me that I really like the four MCs in Saiyuki, especially Sanzo and Gojyo--although Gojyo seems to be softening a little as the series wears on, while Sanzo still seems as likely to blow somebody's head off as look at them.
Manga and anime characters (dare I say stereotypes? I forget what archetype means) do seem to heavily influence my writing these days. I always like the silent enemy/ally, the cold and heartless one who may have a secretly soft side, but nobody knows that for sure, and if you say anything about it he'll kill you on the spot, and never look back.
However, that's not my MC. My MC likes to have a good time. He's not silent, he's charming. And he doesn't kill.
However, I sense that I am missing a huge chunk of this story, if I don't know what the final bit needs to be about. I know the MC has a problem with responsibility. He doesn't like it. He avoids and even hates people who represent responsibility and facing the consequences of your action. I know one big thing he avoids, and I already have the scene sketched out where he faces it. But I'm thinking that's not the ending. It doesn't feel like an ending, but a big step on the way to the ending.
I also have this plot thread involving the stray from NR. That's a plot thread, literally, and I am horrible with plotting. I'm trying to learn how to do it, but am struggling. The whole swordfighting thing was supposed to be me learning how to plot, but right now it (the swordfighting thing) is a hybrid of my usual character-thematic stuff and plotting. And it may not even be working. I may have failed at it.
So, is this thread about the stray the key point that builds to the ending of the new story? Is it a plotting device to keep the reader reading while I enjoy wallowing in character betweentimes? Or is it leftovers from NR that need to be cut? I don't know. I don't want to rehash the same old stuff from NR; been there, done that. But is it possible for me to learn to intertwine a plot thread with a character thread, and make a story work? Or does the plot thread have something to do with the theme of responsibility, something that I'm not seeing?
Is this thing even ready to be written?
H*ll if I know.
Thursday, July 3, 2008
The question is, what next? I have multiple projects going, so the choices are:
1. graphic novel script, first draft completed. This is a completely new format for me, and I have no artistic background, so I hesitate to move forward without at least some idea of what I need to do. There's no point in poking at it helplessly with a stick. A writer friend offered to look at it, so I'll send to her; maybe we can discuss it at some point and see if anything strikes her strongly about it.
2. midgrade semi-historical I started a billion years ago. I think I finally found the right voice and pov character for this, but I'm about midgraded out right now, after so much intensive work on the swordfighting ms.
3. sequel to swordfighting book. See above. Plus, what's the point? If I start it and then can't sell the first book anyhow, my heart with be doubly and triply broken. Why punish myself if I'm not driven to write this ms right now, above all else?
4. sequel to Night Road. This is what I'm leaning toward, maybe because I ended up talking about NR so much at ALA, and also because I'm ready for some darkness and angst for a change. I have some scenes already sketched out--in fact, I have an entire ms for the book. It's just all with the wrong MC. I know who the MC is now, and what he lacks and fears. I have an antagonist I really like, in a twisted way; I've never actually had a real antagonist before, one that I had no sympathy for. I understand him, but I have no sympathy for him. I don't know if that's good or not. It might not be; it might make him cardboardy. But no point in fretting about that right now--it's just something to keep in mind.
My main worry about the NR sequel is whether (in my head) I've pulled away from NR enough moodwise and characterwise to do right by a completely different story. Also, I can feel echoes of the MC from Repossessed in what I'm thinking about this new MC, and I don't think that's a good sign. This new guy has got to be his own person. But maybe if I take what I already have and start reworking it from his pov, and write this one brand new scene that I know is his alone--which I have been excited about for some time, even though it's not a big deal of a scene--I can start to get a stronger bead on what I'm doing.
One thing I must get straight in my head is how this guy (he's a heme) deals with omnis. Up till now, he's been confused with Cole in my mind. I've got to get him out on his own.
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- Very tired. I knew I was going to have to sit in a...
- Wrote a little on the thingee, then transferred wh...
- Did a page or so of thingee*. Then was thinking, w...
- Busy day; won't get much writing time in at all. I...
- Okay, read through agent's notes many times, read ...
- No actual writing today. Laying groundwork by doin...
- Well, I'm gonna.
- Didn't get much writing time today. Still not sure...
- Hmm, this is interesting. Already I can tell I'm g...
- Settling in to keep trying this new tack again. I ...
- I forgot to note that the movie Titanic was on the...
- Not sure how it went today. Will keep on with it t...
- No writing yesterday. Family stuff, all day. I'm ...
- Not a bad writing day, post-hamburger. I thought ...
- No writing yesterday. I'm in a rough spot right n...
- This ms is so odd. Half of it is dark, over-the-to...
- I don't feel very pinned to the ms right now, so I...
- Pulled a bit out of the old version and started pu...
- Depression, that's the fifth one. Jeez, you'd thin...
- Thinking out loud... ...if the MC's main deal is ...
- Back from writing talk/reading. I am going to forc...
- No writing today. Worked on talk/reading. Also am ...
- No writing today. Spent the whole day working on t...
- Ended up going through the old version of the ms a...
- I've been working on the very beginning of the NR ...
- Was thinking about the multiple viewpoint issue, a...
- Went to critique group today and read the first dr...
- Hmm, well. A couple of issues present themselves. ...
- I should work on my writing talk--which is in less...
- No writing of my own today. I worked on a writing...
- don't think, just write
- Spent entirely too much time poking around on the ...
- Was thinking about the NR sequel. I don't know wha...
- Back from Anaheim. Several people are looking at t...
- June (17)