Futuristic Tales of the Here and Now nationwide

I just got word from IDW, the publishers of my graphic novel Cory Doctorow's Futuristic Tales of the Here and Now (which collects six of my short stories, adapted for comics by a team of talented writers and artists), that Barnes and Noble and Books-a-Million have both taken very large orders of the hardcover, every copy of which is signed and numbered (yes, I signed thousands and thousands of tip-in sheets, by hand, until I thought my arm would fall off). They're available online, of course, but practically every BN and BAM store nationwide is bound to have them. The book has also seen great orders from independents across the nation -- and, of course, it's available as a free, Creative Commons licensed download. Futuristic Tales on BN.com, Futuristic Tales at Books-a-Million, Futuristic Tales at independent booksellers near you, Download Futuristic Tales for free!


  1. That looks like a Paul Pope cover. Nice to see he’s still drawing, if it is him.

  2. But those of us who actually bought subscriptions for the original IDW run get no signatures, is that the story here Doctorow? Yeah, real nice man, I sure feel appreciated. ;-)

  3. Reed, send me an email — I’ll GPG sign a copy of the collection CBZ and email it back to you!

    Srsly, though — signing thousands of collections nearly killed me. If I’d signed the singles too, I’d be crippled by now.

  4. Yes, it is Paul Pope. He’s definitely still drawing, catch him at Pulphope. (Disclosure: I got nothin’ to do wit’ Paul Pope.)

  5. Paul Pope’s also on flickr and had previews of this (awesome)cover several months ago.

  6. As the guy who adapted Craphound for the IDW series (as well as “Anda’s Game” and “I, Robot”) I was not only thrilled to find out Paul Pope was drawing the cover, but doubly pleased with British artist Paul McCaffrey’s beautiful interior pages.

    By the way, it’s one thing to read a well-written story by a talented writer, but it’s a whole new experience dissecting it for the purposes of translating it into another medium. You get a whole new level of appreciation for the craft that went into constructing the story. And if any of you have read the 3 issues that I adapted, I’d love to hear from you. What worked? What didn’t? What could I have done better? Drop me a line at ferret @ ferretpress.com

    And to Cory: thanks for being accessible and helpful during the adaptation process.

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