Review copies for The Last Track land in NJ on Monday, so I’m looking forward the ceremonial opening of the first box. Although the publisher made some slight type-setting changes for enhanced readability based on the proofs those changes, along with about two dozen micro edits, will appear when the book goes to print.

Another noteworthy ( actually a lot more important ) development is that the publisher signed a PR maestro to guide the book through the review cycle. I’ve heard great things about Ellen, thus I’m super psyched she is on board.

Also, the up and coming actor recruited for a full length book podcast is ready for a run-through of the first section. I’m curious to hear what he came up with, especially considering the fact I have given him zero direction thus far. Tentatively we’re getting together this coming Sunday. Hopefully the room explodes with the sound of his great voice.

The proof landed for the reviewer copies, so I have twenty-four hours to read the first bound copy of The Last Track in existence, note any changes and return any comments to the publisher. At first glance, I have to say, all looks well.

But maybe I’ll see differently after the tears stop streaming.

From above

From side

Sometime Monday, proofs for the galleys to The Last Track will arrive. At that point it will almost be like holding the finished product, sans binding and the official cover. Wow. Presuming very few to no changes on my end, the galleys should land 8-10 business days after that. And that will be exactly like holding the book, sans the kick-ass cover Elynn Cohen devised.

Good timing because the actor has been rehearsing the earlier scenes for the podcast series, so I can let them loose with the rest of the story, and get the remaining galleys to reviewers.

Oh yes, there will be a picture of the galley. And some off camera tears from me.