Thursday, May 24, 2007

The Italian Job

Deadlines. You know the drill.

Editor Charlie forwarded me the cover art for the Italian edition of Mom's Cancer, which is being published next month by Double Shot-Bottero Edizioni. Looks a lot like the English edition, which is fine with me--although I also don't mind when a foreign publisher changes things up to fit their perception of the audience, as the French did. I find that very interesting. I'm surprised the Italian editors didn't translate the title.


I guess some writers demand painstaking control over how their work is presented overseas. I certainly understand that need but don't necessarily share it. My publisher Abrams has my foreign rights (which, as I've explained before, I voluntarily and happily assigned to them) and our understanding is that the pictures and words of Mom's Cancer remain as unaltered as translation allows. As long as I get that, I'm pretty flexible about format, cover art, soft or hard cover, etc. Of course I want it to look its best, but I figure the foreign publisher's job is knowing what appeals to their market. Since selling books is in our mutual interest, I don't mind investing some faith in them.

I got a very nice note from the Italian editor about a week ago, telling me that they debuted my book at a big national book fair and got a lot of positive response. They seem enthusiastic about it, which feels great. As always, I'm a bit befuddled and bedazzled that people I don't know halfway round the world are reading my story in a language I don't speak. Don't know if I'll ever get over that. Hope not.

.

Thursday, May 17, 2007

I Feel the Earth Move Under My Feet

I live in Earthquake Country and we had a fine little one yesterday: a nice, sharp boom-shudder that sounded and felt like a fully loaded cement truck had run into our living room. Somewhere in the house, something I still haven't found fell off of something else and hit the floor. My wife and I looked at each other, our attention quite engaged, and flinched through that fraction of a second of waiting to see if it stopped or got worse. It stopped.

Our sport is guessing whether a temblor is small and nearby or large and distant. This was certainly the loudest one I can remember but it left nothing swaying, so I guessed it was a pip-squeak magnitude 2 directly underfoot. My wife was more impressed and guessed a magnitude 4 farther away. The U.S. Geological Survey has a nice website that within 10 minutes told us it was a magnitude 3 whose epicenter was four miles beneath a high school less than a mile from our house. We called that one a tie.

Magnitude 3 is nothing, a trifle. My personal best was of course the magnitude 7 Loma Prieta quake of 1989, which knocked a section out of the Oakland Bay Bridge and interrupted the Giants vs. A's World Series. I was working as a supervisor in an environmental chemistry lab at 5:04 p.m. on October 17 when the earth broke 110 miles away. I suddenly felt dizzy and thought it was just me until I saw everyone else reeling, too. Now, the official advice is to stay indoors and ride it out under a sturdy piece of furniture; in 1906, a lot of people were killed when they ran outdoors and got clocked by falling debris. All I know is that everyone in the lab simultaneously realized they did not want to be inside a concrete slab building filled with hazardous and flammable chemicals and gases if it decided to come down. I got behind my co-worker Ken, who is about 6-foot-7 and 250 pounds, and followed him out like a running back on the heels of a blocker. Out in the parking lot I saw the most amazing sight: asphalt rippling like waves on the ocean, with parked cars bobbing up and down like boats. It was, frankly, both deeply disturbing and really cool.

(I imagine my friend Sherwood, whose home I reckon was right on top of the Loma Prieta epicenter, has a much scarier story to tell, assuming he was in the area at the time.)

There's a kind of irrational, fatalistic insouciance that goes with living in Earthquake Country. I think you either get used to the idea that the world can shake itself to bits at any second or you move away. I have a friend who grew up near my neighborhood back when it was a plum orchard and remembers how the neat ranks of trees were split and offset by the faultline that ran through them. I always laugh when I tell people that, although it's not really funny. But the fact is that, although some locations are better than others--bedrock beats alluvial plain--almost nowhere on the West Coast is safe.

I don't believe in fate but I do trust probabilities and statistics. Big quakes happen on scales of decades to centuries, while major quakes (like 1906) happen on scales of centuries to millenia. Modern building codes give me some confidence that my wood-frame home will survive anything short of total disaster. We take the prescribed precautions. All in all, I'll be here a relatively short time (geologically speaking) and like my odds better than if I resided in Tornado or Hurricane Alley. For us, living here is worth the risk. Still, it's interesting to get a little kick in the pants once in a while. Makes you think.

My Little Earthquake, all over in
about half a second (courtesy USGS)
.

Tuesday, May 15, 2007

Nobody Tells Me Anything

A quick note to mention that Bill Reed at the Comic Book Resources blog "Comics Should Be Good!" named Mom's Cancer one of the "365 Reasons to Love Comics": specifically, Reason #133. It's a good write-up and I appreciate it. Bill made his selection on Mother's Day (last Sunday), which some might question but I think is entirely appropriate and touching. Nice comments, too. Thanks.

Recommended by the NY Public Library

Happily continuing the theme of much-appreciated recognition, I just learned that the New York Public Library recommended Mom's Cancer as one of its 2007 "Books for the Teen Age" earlier this month. The library's 78th (!) annual list of recommended books is 19 pages long and comprises probably a couple hundred titles, with a few dozen graphic novels scattered among them (available online as a huge pdf; I'm on Page 10).


As I've written a few times before, I didn't set out to create a book for teens--nor would I consider many of the library's other selections primarily teen reading--but I'm honored. I deliberately wrote Mom's Cancer to be accessible to all ages, from little kids to grandparents (I think I actually said something like that in my initial book proposal). Since that includes teens, I'll take it.
.

Monday, May 14, 2007

Mom's Cancer Wins the Blooker

More than a word that sounds as if it were made up by Mel Brooks, a "blook" is a book that originated as a blog or similar online content. Such as mine. Lulu is a print-on-demand publisher that each year awards Lulu Blooker Prizes to blooks in fiction, nonfiction, and comics. Such as mine.

As announced this morning, Mom's Cancer has won the Lulu Blooker Prize for comics. Judge Paul Jones said, "Mom's Cancer takes web comics beyond science fiction parodies and fan boy remixes of superhero comics. The story telling is engaging. The story is important, as well as fun, surprising and rewarding to read. Well-drawn and a real winner." The other judges on the panel were Arianna Huffington, author Julie Powell, philosopher/writer Rohit Gupta, and journalist Nick Cohen.

The nonfiction and overall first prize winner is Colby Buzzwell's My War: Killing Time in Iraq, which began as a series of blog posts from the front. The fiction winner is Andrew Losowsky's The Doorbells of Florence, whose subject appears to be exactly as described--photos of ornate Italian doorbells accompanied by short stories about the people or events behind them. That sounds just odd enough to check out.

This is terrific recognition that I appreciate very much, and not just because it comes with $2500 (wow, that's like ten college textbooks for my kids!). Blogs are increasing in literary, cultural, and journalistic importance at the same time print-on-demand publishers such as Lulu have the potential to transform the publishing world. It feels like a vital, interesting place to be tangentially connected to, even if my book was not self-published (which was not a prerequisite for the prize).

All my thanks to the judges and others involved with the Blooker, I'm very grateful. This is nice.

Saturday, May 12, 2007

San Diego e Italia

Yesterday I firmed up plans to attend the International Comic-Con in San Diego this July--meaning I finally found a place to stay, which is a genuine challenge when 100,000-plus descend on a city. As I mentioned earlier, the people who decide such things were nice enough to nominate Mom's Cancer for two Eisner Awards, and it seems polite to show up even though I don't expect to win (not being humble, just analytically realistic). It's a fun event regardless. I'll get to sign some books at my publisher's booth, see a few friends, and no doubt make one or two new ones. My wife and I also enjoy the city itself and we'll make a nice, not-all-comics-all-the-time vacation of it.

I also found out yesterday that the Italian edition of Mom's Cancer will be published in June. And that's literally all I know about that. I'm looking forward to seeing what they did with it.

Friday, May 11, 2007

Cartoon U.

I steal all of my ideas from Mike Lynch, who pointed me to an article in the Christian Science Monitor about the first graduating class of the Center for Cartoon Studies. Located in Vermont, the center offers a two-year, $30,000 degree program whose mission appears to be teaching students to produce literary graphic novels. This emphasis seems a bit different than that of the Joe Kubert School, which has been running successfully for 30 years and takes a very hard-nosed vocational approach to comic art education.

As I commented on Mike's blog, I have some mixed feelings about a program like this. Drawing an analogy with journalism, the best reporters and editors I knew never went to journalism school. They majored in history, political science, English, or even hard science, then used that background to enrich their journalism careers. Some never went to college but had decades of life under their belts. A good editor once told me he'd rather hire kids who know something about the world and teach them journalism than those who know nothing but journalism and teach them about the world. I agree with that sentiment.

Turning to cartoon school, I just wonder if they're missing the point that cartooning isn't technique, it's ideas. Art Spiegelman didn't win a Pulitzer for Maus because he's the best cartoonist ever--he's not--but because he communicated great ideas. I knew a lot of kids in high school and college who were excellent cartoon artists but quickly fizzled out because they had nothing interesting to say about the world. Good cartoonists are smart, curious and well-read--really, all the qualities required of a good writer plus the ability to draw. Surely that description fits some graduates of the Center of Cartoon Studies, but I wonder if anyone there ever emphasized that?

Still, I'm sure these students worked hard and learned some great stuff--just as journalism school students work hard and learn some great stuff--and some will surely go on to achieve tremendous things with their training. It'd be interesting to survey that graduating class in 10 years and find out how their expectations met reality. I suspect some--many?--most??--will discover they're the best unemployed cartoonists they know.

Thursday, May 10, 2007

Medical Humanities

My stats tell me there's a bunch of y'all who check my blog regularly and are more loyal than I deserve. Thanks.

One of Mom's ambitions for Mom's Cancer was that it might help physicians, nurses, and other medical professionals better understand the experience from the patient's side. We saw some signs that was happening almost from the start. One of the first, best e-mails I got when Mom's Cancer was still an online webcomic was from a nursing instructor in Australia who asked permission to include pages of my comic in her course materials. I've heard of it showing up in oncology clinics and smoking cessation programs. And probably the highlight of my entire book experience was a talk I gave to a group of hospice and healthcare professionals in Tucson last July, some of whom said my story would change the way they approached their jobs.

When Mom's Cancer first came out, my publisher Abrams got a list of oncologists and sent free review copies to a whole bunch of them. I thought that was a great idea and appreciated the expense and effort very much, but it's very hard to tell if something like that pays off. If Abrams got any response they didn't mention it to me. Just one doctor who really likes it and recommends it to patients and colleagues could make the whole push worthwhile, but you'll never know. It feels like throwing pebbles into the ocean.

A while ago I was helping my daughters buy college textbooks (by "helping" I mean "handing my charge card to the cashier") and saw Art Spiegelman's Maus and Marjane Satrapi's Persepolis stacked up for a literature class. Since everything's about me, I started wondering why Mom's Cancer couldn't be a textbook somewhere. But where? And with an epiphany that should have occurred to me months before--that in fact other people had explicitly told me but I hadn't quite registered--I realized that medical schools teach courses in "Medical Humanities" whose entire purpose is training new doctors to understand their patients' perspectives. Duh. Once I set my mind to it, it wasn't hard to put together a list of professors teaching Medical Humanities at medical schools across the country. Although I was perfectly willing to buy the books and pay the postage myself, when editor Charlie heard my plan ("You want how many books?") he took care of it even though I doubt it was in his budget. For which I'm grateful.

I've since heard back from a couple of profs who thanked me for the book and said they think it'd make a nice addition to their curricula. We'll see if they follow through--or more likely, we'll never know if they follow through. Pebbles in the ocean. The idea of flocks of new docs coming out of medical school having read my book is tremendously exciting. That's what it's all about. Mom had it figured out from the start.
.

Wednesday, May 02, 2007

Wimpy Kid: I Told You So


My friend Jeff Kinney's book, Diary of a Wimpy Kid, just made the New York Times Bestseller List for Children's Chapter Books, entering at number seven. Wow. I'm struggling to come up with a simile for how cool and amazing it is for a first-time author to crack the bestseller list right out the gate: like a minor-league pitcher getting called up to the majors to throw a no-hitter in the deciding game of the World's Series? Cooler than that.

I met Jeff at Comic-Con International in 2006, when our mutual editor Charlie brought us together so Jeff could tap the deep pools of experience and wisdom I'd accumulated during my whole year in the business (that's sarcasm). We had a good talk, I liked him a lot, and we've kept in contact since. I also reviewed Wimpy Kid when it was published earlier this year, and I'm feeling a little smug that I saw this success coming a mile away. You never know what the book-buying public will go for but I had a good feeling about this one--which, by the way, is the first of a three-book Wimpy Kid series and, I strongly suspect (hint hint), much more to come.

Anyway, congratulations to Jeff, a great guy who I know truly appreciates his good fortune. My young Padawan learner has become a powerful Jedi knight with more midichlorians than I'm apparently packing. If it were anybody else, I'd be jealous; in Jeff's case, I'm just very happy for him.

Comic-Con 2006: Jeff Kinney on the left, me on the right, and our mutual editor Charlie Kochman butting in uninvited. I just noticed I'm wearing that same shirt today. I need a new shirt.
.

Monday, April 30, 2007

Fly Me To The Moon

I didn't realize it'd been a week since I last blogged. Man. It's just been one of those weeks, with a deluge of bread-and-butter paying work (an essentially mindless copy editing job, which I enjoy once in a while) and more speculative maybe-it'll-pay-someday work that I hope to tell you about later. "Too busy" is a poor excuse but it's the only one I've got.

Meanwhile, here's a new video from NASA intended to get people talking about returning to the Moon:


You probably heard something about this a few months back: NASA is making plans to establish a permanent manned (peopled?) lunar base, probably at the Moon's south pole, somewhen around 2020. There's a nice summary of the plan and links to other resources here.

What impresses me most about this video is its coolness. NASA ought to be about inspiring new generations of up-and-coming taxpayers to explore the final frontier, yet all too often their public face is as dry and uninspiring as an actuarial convention (no offense to actuaries).** C'mon, people! These are real scientists, engineers, pilots and explorers seeing and doing things that no one has ever seen or done before! Making it exciting should be the easy part. This little film might be criticized for looking too much like a video game or movie trailer, but its the first sign of life I've seen out of NASA in a long time so I like it.

My personal position on building a Moon base: Hell yes, where do I volunteer? Although I hit the tail end of the Baby Boom, I consider myself a Space Age kid more than a Boomer. But I also grew up, and I think if NASA and the United States commit to returning to the Moon we need to have an honest, grown-up discussion about why we're doing it. And the fact is, there is almost no scientific justification for sending people to live on the Moon, and even less economic justification. Anything humans could study or mine from the lunar surface could be accomplished cheaper and safer in near-Earth orbit or by robots. We built a space station on the promises of the scientific breakthroughs and amazing commercial opportunities it would deliver, but it hasn't yielded a single paper in the scientific literature or an industrial process or product anyone wants to buy. We won't fall for the same argument again. As far as I'm concerned, the only real reason for returning to the Moon is to live there: colonization. Expand our one-planet species to two.

Is that reason enough? It is for me: I think humanity's growth into the galaxy is inevitable and I'd like to live to see it. In fact, give me a fast Internet uplink and I could do about 98% of my job on the Moon as well as I do it here (though I'm sure the 1.3-second time delay due to the pesky limit imposed by the speed of light would be frustrating--almost like being back on dial-up). The ultimate telecommute.

Is it reason enough for everyone else? I dunno ... but I'm pretty sure that's where the debate should be: not about advancing science or exploiting new resources, arguments the pro-returners would lose on their merits. The question is, are we ready to grow up, move out of the spacious and comfortable family home, and set ourselves up in a grungy little studio apartment across town? I say we are, but I think I'm in a small minority.
.
.
**Speaking of interesting lines of work, a couple of weeks ago my wife and I stayed at a hotel hosting the International Canned Fruit Conference. The lobby and elevators were full of business-suited conferees wearing badges from nations around the world, all of them evidently deadly serious about their canned fruit. I could only wonder what recent amazing advances have been made in the science of fruit canning to justify the time and expense of gathering people from Peru, Greece and Russia to learn about them. You'd think that'd be something you could handle with a brief newsletter, plus maybe a phone call for the really big breakthroughs. But apparently not. Who knew?

Sunday, April 22, 2007

Jim Borgman

Yesterday my wife and I attended a talk and book signing by Jim Borgman, Pulitzer Prize-winning editorial cartoonist and "Zits" comic strip artist. "Zits" writer Jerry Scott was also supposed to be there, but canceled because of emergency surgery he needed to treat diverticulitis.

For an hour, Mr. Borgman entertained an audience of about 200 with stories about how he and Mr. Scott created "Zits" almost accidentally during a mutual visit to Sedona, Arizona. He talked about cartooning, family, and the creative process, and was a terrific speaker. He also struck me as being more sensitive and even sentimental than I'd expected a hard-bitten award-winning editorial cartoonist to be. He choked up talking about letters he gets from readers describing how much "Zits" has helped them understand and communicate across generations, or even from parents whose children have died and who read "Zits" as a way to keep up with the lives their kids might have had. Unexpectedly moving, and a good reminder of the subtle power of this medium.

Although the audience seemed most impressed by the stories he told or the sketches he drew, what I took away from his talk was awe for his tremendous work ethic. As Mr. Borgman described it, he works on "Zits" about three days a week, does editorial cartoons three more days a week, and saves the seventh day for whatever he didn't get done the other six. In other words, he works constantly and hard to maintain a high-octane level of quality and professionalism--which made me more acutely aware than ever of my own wasted time. Hard Work = Success: who knew? I resolved to do better.

I had a chance to tell him that after waiting in a looooong line for him to sign a book for us. My wife and I were nearly literally the end of the line; the venue had sold out of his books before we could buy one, so after his talk we actually drove to a nearby bookstore, bought a "Zits" collection, and drove back to the signing. I've done a few talks and signings myself--though nothing remotely so large--and was incredibly impressed with the fortitude Mr. Borgman displayed in chatting charmingly and drawing sketches, staying more than a hour past his scheduled time to make sure everyone was served. Meanwhile, his wife worked the line with her own conversational charms and made sure everyone signed a card for Jerry Scott that Borgman had drawn. They made a good team.

We reached his table, chatted for a moment, and he asked if we had a favorite character we wanted him to draw in our book. I in turn asked if there was a character he wanted to draw--maybe one that no one ever asks for and he wasn't yet sick of. He replied that no one ever asks for Connie and Walt, the Mom and Dad in "Zits." We said that would be perfect, since we pretty much are the Mom and Dad in "Zits." So he autographed our book and drew this:


That there's Grade-A cartooning by a man who earned every success he's enjoying today. It was a pleasure to see and meet him.

Thursday, April 19, 2007

2007 Eisner Award Nonimations

The official press release has been posted, so I'm free to report that Mom's Cancer has been nominated for two 2007 Will Eisner Awards in the categories "Best Reality-Based Work" and "Best Graphic Album--Reprint." The Eisners are the comic industry's Oscars, voted on by professionals and presented at Comic-Con International in San Diego in July. The other nominees in my categories are:

Best Reality-Based Work
Fun Home by Alison Bechdel
I Love Led Zeppelin by Ellen Forney
Project X Challengers: Cup Noodle by Tadashi Katoh
Stagger Lee by Derek McCulloch and Shepherd Hendrix

Best Graphic Album—Reprint
Absolute DC: The New Frontier by Darwyn Cooke
Castle Waiting by Linda Medley
Shadowland by Kim Deitch
Truth Serum by Jon Adams

Surprising? Exciting? Intimidating? Yeah. I had to double-check it a few times myself, and even now I'm not sure I trust my own lying eyes. Two Eisner nominations is a tremendous honor.

Maybe after the voting ends I'll have some comments about who I think should win and who will win (hint: not necessarily me). Until then, I think it's fairest to let the works speak for themselves. However, if any Eisner voters happen to read this, I'm an amoral man with cash to spend. I'm just sayin'.

Mom's Cancer began on the Web and won the Eisner for "Best Digital Comic" in 2005. The nominations announced today are for the subsequent book, which I'll defend as its own unique thing. Although most of the words and pictures are the same, reading the story collected in print rather than serialized over several months online is a very different experience. In addition, a book is much more collaborative. While the online version was all me, the book reflects tremendous creative contributions by people at Abrams, including my book's editor, art director, designer, and production manager. They added ideas I wouldn't have conceived myself and went to unusual expense and effort to publish a quality book. This one's for the team.

And since I'm cheerleading for the team, I'll add that Abrams got two other Eisner nominations this year, which is terrific for a relatively small publishing house that wasn't even in the comics/graphic novel game a few years ago. They are Art Out of Time: Unknown Comics Visionaries, 1900-1969 by Dan Nadel (nominated for "Best Archival Collection"), and Cartoon America: Comic Art in the Library of Congress edited by Harry Katz (nominated for "Best Comics-Related Book"). I have both books and think they're great.

More soon, I'm sure. And "Woohoo!"
.

Tuesday, April 17, 2007

Mentors

A while ago I mentioned that the physics department of my alma mater had invited me to speak as part of an alumni seminar series. A young professor in the department thought it'd do his students good to see how past graduates applied their college educations, and he created a weekly seminar to bring us in. I volunteered because I thought it'd do them good to hear from someone who was far from a shining academic star and still managed to turn out all right.

I gave that talk yesterday. My wife came along as did my two girls who, as I also mentioned before, are now students at my former university. As we rounded a corner toward the classroom, I saw awaiting me in the hall approximately 20 physics students, my host, and a man I hardly dared hope would be there: Dr. E. (Since I didn't ask his permission to write about him, I'll keep him anonymous.)

I've been lucky to have two people in my life I considered mentors, one in high school and Dr. E. in college. Both took an interest in young me and who I was, what I was doing, what my plans were, how I was developing. Both went to some effort--how much I only appreciated in retrospect--to try to make good things happen for me. I met Dr. E. my freshman year when, as I recall, he solicited my astronomy class for anyone interested in doing a one-unit independent study project at the small campus observatory with him. I tackled him after class and spent the next four years dogging his heels.

I graduated in 1983. I'd only touched base with Dr. E. two or three times since and would've been pleased if, out of the thousands of students who've passed through his tutelage, he remembered me at all. But of course he did, and when he saw my name on the seminar schedule he made a point to come. He's a professor emeritus now, long retired, still maintaining a campus office he visits a few times a week but gradually pulling away from academia in favor of travel, political activism, and family. I re-introduced him to my wife, whom he'd met many times when she and I were not-yet-betrothed students, as well as to my children he'd never met, and I felt like Kevin Costner presenting his family to his father at the end of "Field of Dreams." I would hardly have been more dumbstruck if Dr. E. had walked out of a magic cornfield and asked if I wanted to play catch. Not only did he remember me, but he brought along a caricature of himself I drew and posted on the astronomy club bulletin board 25 years ago and never knew what became of until it showed up framed in his hands yesterday.

Here's the thing with me and physics: I wasn't a natural at it. I was smart, but I wasn't one of those students for whom it came easily, whose brains seem to have little vacancies exactly the right size and shape for a wave equation or uncertainty principle to slip into. I knew those students and they're scary. As I said at the seminar, I stuck with physics because once a quarter I could count on having a single "A-ha!" moment when the clouds parted, trumpets sounded, angels sang, and for an hour I felt like I'd glimpsed something fundamental and beautiful and true about the universe. The other thousand hours a year were a tough slog I endured so I could experience those rare highs I never got anywhere else.

So I managed to graduate but always regretted not working a bit harder, not grasping or remembering a bit more than I did. I didn't master physics, I survived it. Nevertheless, I think it has informed everything I've since done in journalism, environmental chemistry, writing--even cartooning. In some ways, physics was the best philosophy course I ever took, and I tried to tell the physics students yesterday that even if you don't work in science, it can enrich whatever you do. Conversely, if you do end up working in science, bringing your non-scientific interests and passions to the job will enrich it as well.

Talking with Dr. E. afterward, he allowed that he'd had many students brighter than me. He would've been disingenuous to say otherwise and I would've been foolish to argue. But he added that I'd always struck him as someone more interested in studying than testing--more into process than result--in a way he found refreshingly rare in an overly goal-centered environment. He may have used the word "special," to which my wife may have replied, "Uh huh." I didn't go on to research or grad school, never became a real physicist, but I managed to integrate my education into my interests and life in a way a lot of graduates didn't. I made my own path--almost entirely accidentally, to be sure, but with interesting and rewarding results. I built a great family and a career I enjoy. More than academic postings and papers published, those were the kinds of outcomes Dr. E. wished for his students.

He told me I was a success.

On the remote chance Dr. E. finds this post, I won't embarrass him by trying to capture what that meant to me. But holy moley! A lot.

Today's lesson: if you've ever had a mentor in your life and you have an opportunity to tell them how much you appreciate what they did for you, take it. I've had that chance with both my mentors now, and it'll do you both a world of good. Second, if you ever have a chance to be a mentor, do it. I don't think it really takes much to give a kid some encouragement that could change his or her life--in fact, when I talked to my other mentor years later, he seemed a little puzzled that he'd had such an impact on me. I think it's a matter of simple physics; a little push at one end of a long, long lever can be magnified into a mighty force at the other end.

Oh, and yesterday was my birthday. It was a great day.
.

Wednesday, April 11, 2007

Jugendliteraturpreis


Continuing what has apparently become United Nations Week around here, I've learned that the German version of my book, Mutter Hat Krebs, has been nominated for the Deutsche Jugendliteraturpreis 2007. That is, the 2007 German Youth Literature Award, which I'm told is the most prestigious award for children's and young adult literature in Germany. Here are the 30 nominees. I'm one of six in the non-fiction ("Sachbuch") category and the very last one on the list--no reflection on my chances, I'm sure. More information about the award, in English, is available here.

The awards are presented in October at the Frankfurt Book Fair, which is the largest, most important gathering of publishers, writers, booksellers, journalists, and other literary creators, deal-makers, and parasites in the world. Recognition like this in a venue like that could be a very big deal. I know my publisher, Abrams, always sends a contingent to Frankfurt, and I'm sure they'll be looking for opportunities to sell Mom's Cancer to other countries in other languages. I'm guessing that award nominations don't hurt.

This news made my week, and I appreciate the award administrator Arbeitskreis fur Jugendliteratur e.V. and my German publisher Knesebeck for making it happen. I can only wonder what I might have achieved if I'd set out to write a young adult book on purpose. Probably a lot less.
.

Tuesday, April 10, 2007

Guerre aux Maux

Editor Serge from my French publisher Editions çà et là wrote to tell me about a new review of Mom's Cancer (Le Cancer de Maman) published recently in Le Monde, France's leading daily national newspaper. The reviewer also commented on Miriam Engelberg's Cancer Made Me a Shallower Person (which, as I noted earlier, was translated into French as "Cancer Made Me Love TV and Crosswords," entirely appropriately I thought) and a book I don't know by Paco Roca titled Rides in French (Arrugas in its original Spanish or Wrinkles in English) about Alzheimer's disease.

Serge and AltaVista's BabelFish translator both assure me the review is a good one. Serge said Le Monde doesn't usually review graphic novels at all and he seemed happy to be noticed. I am, too. So extra thanks to Le Monde, as well as to Serge for letting me know about it.
.
.

Monday, April 09, 2007

Interview: Consumer Health Interactive

A couple of months ago, I mentioned that I'd been interviewed for an online article about cancer comics, a small cluster of which coincidentally came out around the same time last year (and of which mine was the first, I'm irrationally proud to say). That story, by former L.A. Times writer Psyche Pascual, is now available at Your Health Connection.

The story features Mom's Cancer, my friend Miriam Engelberg's Cancer Made Me a Shallower Person, and Marisa Acocella Marchetto's Cancer Vixen. It also provides a nice survey of what I'd call the adult graphic novel arena, touching on Art Spiegelman, Marjane Satrapi, Dan Clowes, and Harvey Pekar. Psyche interviewed academics and business people well versed in graphic novels and did more research than anyone who's ever written about me and/or my book, I think. I really enjoyed our interview and just wish more of our discussion could've been included. My only insignificantly tiny complaint is the subtitle (which Psyche probably didn't write anyway) that reads, "Whap! Pow! Bam! They're no caped crusaders...." The "Holy Moley! Comics Aren't Just for Kids!" headline exceeded its freshness date several years ago.

One paragraph I liked:

Graphic novels about health issues won't replace medical books and hospital brochures. They won't help readers decide on a course of cancer treatment or whether to seek psychotherapy. But they may offer invaluable support and solace for readers who want a breather from the grueling ordeal of treatment.

That sounds about right to me. I'd add that, in addition to support and solace, books like mine can provide useful, first-hand, honest information that readers won't find anywhere else. I don't explain carcinogenesis or oncogenes, but I did try to depict the everyday impact they have on real life--stuff you don't find in the textbooks and brochures. One of the main reasons I wrote Mom's Cancer was because I didn't find anything like it when it would've done me some good.

My thanks to Psyche and Yourhealthconnection.com, which is a division of prescription plan provider Caremark.

Wednesday, April 04, 2007

A Walt Kelly Appreciation

The International Animated Film Society: ASIFA-Hollywood has posted a terrific tribute to "Pogo" cartoonist Walt Kelly written by Mike Fontanelli that includes several examples of Kelly's early work I'd never seen before.

A pre-Pogo piece that was new to me

Coincidentally picking up where my last post left off, Kelly started his career as a Disney animator. He worked on "Snow White," "Fantasia," "Dumbo," and "The Reluctant Dragon" before striking off into book illustration. "Pogo" began in 1948 and, until Kelly's death in 1973 and a while afterward (carried on by his wife Selby and assistants), was one of the all-time great comic strips. In my private roster of Top Ten Best Cartoonists Ever, Walt Kelly is at least two of 'em.

In my opinion, Kelly could do it all. Humor, absurdity, satire, political commentary, romance, pathos, even action-adventure--anything a reader could want from a comic strip, "Pogo" delivered. He could make you laugh, make you think, and rip your heart out. His graceful brushed ink work was second to none. In addition, Kelly good-naturedly subverted the comic strip form, frequently breaking the fourth wall and playing with lettering to give characters unique voices. He was very, very smart.

In Mom's Cancer, I explained that my Dad was actually my step-father. He entered my family's life when I was 8 or 9 and, while Mom had her own reasons for falling in love with him, he seduced me with his collection of "Pogo" books from the 1950s. I'd never seen the strip before and, even though I didn't get all the references, I absorbed it osmotically. It did things I didn't know comics could do and influenced me tremendously. Plus, every Christmas to this day, Dad and I are nearly guaranteed to regale each other with a rousing round of Kelly's fractured carol, "Deck Us All With Boston Charlie."
.
To be fair, not everyone took to "Pogo," and I think it remained something of a cult favorite for most of its existence. College kids loved it. I've seen cartoonists criticize Kelly for being a little too slick and polished, a little too clever and cute for his own good. Some people simply didn't like it, and there's certainly no answer for that; however, those who did like it loved it. I'm one of those guys.

If I've piqued your interest, go read the ASIFA tribute. If that's not enough Walt Kelly for you, I also recommend the official Pogo website, maintained by his family. If that's still not enough, find a used book store or comics shop that carries his out-of-print collections and get a shot of the straight stuff. If you can hunt up a copy of Ten Ever-Lovin' Blue-Eyed Years with Pogo, my copy of which I stole from Dad decades ago, I think you'll have a good time.
.

Monday, April 02, 2007

Animation

I enjoyed the YouTube newsreel mini-doc below about the making of Disney's "Snow White and the Seven Dwarfs" (8:32). It's a good look at not just the creation of an animation classic but a glimpse at Old Hollywood as well. It's impossible not to notice the strict division of labor: artists and animators were men, while women (or "pretty girls") did ink and paint, which was the more mechanical (though still creative and demanding) process of tracing and coloring the animators' pencil drawings.




The transparent plastic sheets that the crews work with in the film are called cels (for "celluloid"). Like so much else in the history of both animation and comics, the materials actually used to produce the finished products got very little respect. To the creators, they were a means to an end, often considered disposable. Some animation studios scraped the paint off of cels to reuse them; others piled them in big heaps and burned them. In addition, the paints weren't intended to last and often flaked off over time, adding to the scarcity of cels that managed to survive.
.
For a while, the Disney Studios sold cels to tourists at Disneyland for a few bucks each. When I finally figure out how a flux capacitor works and build my time machine, that's one of the first place-times I intend to visit. In the last 20 or 30 years, of course, the value of original animation art has been recognized and, in some cases, inflated beyond reason. Today an early Disney cel in decent condition with a famous character could sell for several tens of thousands of dollars or more.
.
As I wrote about original comic art a while back, original animation art is something I could easily become obsessed with. Too easily. Fortunately I have some self-control, and have so far limited myself to three pieces, ranging from ridiculously modern to almost as ancient as you can get.


This is three-cel set-up from the PowerPuff Girls cartoon. The two girls on the sides (Buttercup and Bubbles) are on one cel, the center girl (Blossom) is on another, and Blossom's mouth is on a third, all stacked atop one another. The mouth gets its own cel so the animators can draw Blossom talking without redrawing the entire figure each time. My girls and I were fans of the PowerPuff Girls, which I thought was occasionally one of the smartest, funniest cartoons around. I bought this as kind of a gift for us all.


Above is a two-cel set-up of Piglet from the 1968 movie "Winnie the Pooh and the Blustery Day," which won an Academy Award for "Best Cartoon Short Subject." Piglet is on one cel and his chair is on another. Since they came without a background, I painted a watercolor landscape to go behind them and printed the lyrics on the painting. I was drawn to this piece for perhaps the most common reason people collect stuff like this: I remembered loving this movie from my childhood and wanted a piece of it. It was Disney. And it was Piglet, who's been a favorite character around our house. I lied and told my family I got it for them; it was really for me.

One of the fun parts of getting an animation cel is watching the movie and freeze-framing it to find exactly where your cel was used. My Piglet actually has little dimples in the pink paint on his arm and foot that I assumed were age-related damage until I saw the exact same dimples on-screen. The flaws are impossible to see blazing past at 24 frames per second, but they were there in the original. I thought that was pretty cool.


I've written about this piece--not really a cel because it was drawn on rice paper before animators began using transparent celluloid--and what it means to me before. This is a frame from "Gertie the Dinosaur" by Winsor McCay done in 1914, many years before Disney made "Steamboat Willie." McCay was a giant in both cartooning and animation, and buying a piece of his work was a long-time ambition of mine and the first thing I did with the "cartooning money" I earned as an advance on Mom's Cancer. When my house catches fire, this is the one thing I plan to grab on my way out the door. After the people and animals are safe. Of course.

That's my entire animation collection. As long as my will is strong and my kids remain in school, that'll be it for a while. I can see how people could go crazy with this hobby, though. Collecting favorite films, themes, artists, owning a unique piece of movie or television history. It's probably just as well I don't have all the money in the world.

Thursday, March 29, 2007

Olaf Lipro's Polo Flair

What do the Swiss spaghetti harvest, the tiny Indian Ocean nation of San Serriffe, Alaska's volcanic Mount Edgecumbe, a subatomic particle called the bigon, the tomb of Socrates, and a 168-mph fastball hurler named Sidd Finch have in common? All are among the Top 100 April Fool's Day Hoaxes as compiled by the online Museum of Hoaxes. Among my favorites are numbers 7, 14, 20, 36, 46, 59, 71 and 78.

Also from the same site, the Top 10 Worst April Fool's Day Hoaxes. Just in time to inspire you for Sunday.

Today's topic stolen from Mark Evanier.

Wednesday, March 28, 2007

Empathy and Characterization

Sometimes I think bringing characters to life so that readers empathize with them is the hardest feat in literature. Other times I think it's deceptively easy. It seems to me that readers want to be drawn into stories, want to identify with characters, want to fill gaps left by storytellers. I think our brains are hard-wired for it. All a writer has to do is meet us half way.

I got an inkling of that in Mom's Cancer when I received e-mails from readers saying that although they'd gone through completely different events with entirely different people, it was as if I'd been spying on their lives. None of the details were the same, yet somehow the overall story was true. They reconciled the differences ("Gee, except for the mother, the son, the daughters and the disease, this is just like us!") and, in a very real sense, became participants in the story.

(Incidentally, that's one reason my editor and I decided not to put a family photo on the back cover of Mom's Cancer. As cartoon characters, we were abstract representations--mother, son, daughters--that readers could map to their own lives. We thought showing our real selves might break that spell.)

Any time a book, song, poem, movie, television program makes me feel something, I try to go back and dissect how it did it. With respect to cartooning, I'm especially interested and impressed when I'm moved economically, with a minimum of words and pictures. I think this is a skill at which Charles Schulz, for example, excelled: within a few panels we not only knew a character but cared about him. I'm still trying to figure out how that magic trick works. Some examples from different media:

Example 1: Here's the very first Calvin & Hobbes comic strip by Bill Watterson:

Those four panels deliver a lot. Not only do you immediately get to know and like Calvin, his father, and Hobbes, but you're also dumped into Calvin's first pith-helmeted adventure. You want to find out what happens next. And it's funny! One of the great things that Watterson did very well was design his strip and premise so that a new reader could walk into it almost anywhere and very quickly understand the characters and their relationships.

Example 2: I recently heard the Gordon Lightfoot song "Wreck of the Edmund Fitzgerald," in which a lyric goes:

When suppertime came the old cook came on deck
Saying "Fellas it's too rough to feed you."
At seven p.m. a main hatchway caved in,
He said, "Fellas it's been good to know you."

Lightfoot doesn't tell us the old cook's name or what he looks like. But can't you just see him? Don't you care about what happens to him? In less than three dozen words, Lightfoot painted a portrait of a steadfast seaman who worked below decks all his life, did his job through a lot of close scrapes, and now faces his perhaps not unexpected fate with calm courage and wit (and see how that's the content I bring to the song as the listener?). I love the old cook, and I don't think the song would be half as effective or haunting without him.

Example 3: Luxo Jr. is a character in one of Pixar's earliest movies, a 1986 short film that marked John Lasseter's directorial debut. Meant partly to show off the capabilities of that new-fangled computer animation, the film has no dialogue yet still conveys a charming story about young desk lamp Luxo Jr. and his patient father (Luxo Sr., I suppose). Through their movement, interaction, and body language, they tell a touching tale with no words at all. The picture below is of literally nothing but two desk lamps shining on each other, but even without animation it very effectively conveys emotion and personality. We, the viewers, give it meaning.



Example 4: There's a possibly apocryphal story of Ernest Hemingway boasting in a bar that he could write a novel in six words. The challenge accepted, Hemingway penned:

Baby shoes for sale, never used.

Now, I won't quibble over whether that constitutes a novel. But as a lesson in immediately and economically drawing readers into a story and inviting them to fill in the blanks with details from their own lives, I don't know of better.

The trick is figuring out how to do it at will instead of maybe accidentally tripping over it once in a while.

.

Monday, March 26, 2007

Style Over Substance

I enjoy writing. Maybe even more than drawing, writing provides the satisfaction of creative problem solving. It's very gratifying to "get it right" in both writing and art, and both offer endless opportunities for improvement. But writing feels like a deeper challenge to me. When it comes to cartooning, I draw well enough to illustrate pretty much any story I can think of; the hard part is the thinking--which is to say, the writing.

I very much believe that good, clear writing equals good, clear thinking. Conversely, I believe that someone who can't clearly communicate an idea probably hasn't thought it through very well. If I were a freshman English teacher, I think the first thing I'd do is strip my students' prose of all the baroque ornamentation and sparkly tricks that smart kids think make for good writing (and successfully bamboozle teachers). I'd force them to explain themselves in short, simple, declarative sentences. Then I'd slowly introduce complexity, and finally--when they demonstrated they could form a coherent thought and express it so anyone could understand it--I'd allow them to fold in some quirks that might constitute an individual "style." Break the horse before hitching up the cart.

One of the fun parts of knowing and working with people who write for a living is talking about style. In a journalistic setting, editors and publishers often impose a house style so their publication speaks with a characteristic voice pitched for their readers. "Scientific American" doesn't read like "Readers Digest." They sound different in your head. Digging deeper into the weeds, publications often have stylebooks that set rules for using words, abbreviations, punctuation, acronyms, titles and honorifics, etc. Most newspapers use the Associated Press Stylebook as their Bible, while larger publications often have their own guidelines. Smaller publications sometimes draft lists of supplemental rules that apply to local issues, landmarks, businesses, and people. Then comes the best part: arguing about them.

What inspired this post was my discovery that a monthly newsletter titled "Style & Substance," intended for the internal use of Wall Street Journal editors and reporters, is available online. This is where people who make their living with words hash out how to use them, debating the difference between "try to" and "try and," the origin and usage of "trans fat" (it shouldn't be one word but is of course hyphenated when a compound modifier, e.g., "trans-fat oils"), and whether you should capitalize "iPod" or "eBay" if they happen to fall at the start of a sentence (yes). The newsletter also points out misdirected pronouns, disjointed appositives, and embarrassing blunders that appeared in the Wall Street Journal's own pages, which speaks well for its dedication to self improvement and helps writers who wouldn't make the same stupid mistakes as those fancy-pants WSJ reporters feel better about themselves.

A similar online resource I enjoy is "The Slot," a blog written by Bill Walsh, copy editor for The Washington Post. Walsh wrote two books, Lapsing into a Comma and The Elephants of Style, that are similar in content and tone (and, I believe Walsh snarkily argues, superior in content) to the surprise bestseller Eats, Shoots & Leaves. The "Sharp Points" section of Walsh's website offers short essays, while his infrequently updated blog provides briefer insights. He's a pretty thoughtful and witty guy.

The best of the rulemakers acknowledge the arbitrariness of laying down the law in a frontier as messy as language. You'd think the job would attract humorless by-the-book pedants, and it sometimes does, but more often they seem pretty good-natured and open-minded. In that respect, they remind me of scientists who realize they're using imperfect tools to craft rules that are good enough for now but may have to be changed later. They hunt a mobile prey.

I love this stuff.
.

Saturday, March 24, 2007

Librarians Like Otis and Raina

The American Library Association, which late last year briefly considered naming Mom's Cancer one of the year's Best Books for Young Adults (and then thought about it and decided, "Nah"), has released its 2007 Top Ten List of Best Graphic Novels for Young Adults. I'm delighted to see that Oddly Normal by my friend Otis Frampton and Kristy's Great Idea by Ann M. Martin and Raina Telgemeier both made the cut.

Otis is a terrific guy who takes the responsibility of writing and drawing stories aimed primarily at kids very seriously. Which is not to say that adults can't appreciate his work, too, but I think he approaches the youth market with a professionalism and respect that's increasingly rare. Same for Raina, whom I've met a few times and like tremendously. A lot of creators, particularly in the broader comics universe, seem embarrassed to write for kids. That's sad. If they knew what they were doing, they'd understand how rich, complex, challenging, rewarding, and important youth literature can be. I think Otis and Raina know what they're doing.

The other eight books on the ALA's Top 10 List of Graphic Novels for Youth are:

Bumperboy and the Loud, Loud Mountain by Debby Huey
Kampung Boy by Lat
Castle Waiting by Linda Medley (met her briefly, too, and her book is great)
Missouri Boy by Leland Myrick
The Legend of Hon Kil Dong: The Robin Hood of Korea by Anne Sibley O'Brien
To Dance: A Ballerina's Graphic Novel by Siena Cherson Siegel
Girl Stories by Lauren Weinstein
American Born Chinese by Gene Luen Yang (winner of many other honors, haven't had a chance to check it out yet but I will).

Congratulations to all the authors, but especially the ones I know.
.

Thursday, March 22, 2007

Deadlines

It's time for one of my periodic apologies for not posting as often as I'd like. My excuse is always the same--deadlines--but I think I'll have some free time soon for blogging and many other fun things.

Here's a glimpse at my day job, which I don't write about very often. The project occupying most of my time right now is a 1200-page tome called the Underground Transmission Systems Reference Book. It's got about 40 authors from five or six countries, and if you're a utility anywhere in the world planning to bury a high-voltage electric cable, this is the book for you. Trust me, you cannot imagine the science and engineering know-how that goes into laying a wire in a trench. A friend of mine has been editing the book for about a year now and it's almost ready for publication; however, he had to go to Italy for a couple of weeks and asked me to step in and finish the job for him. Athough he got 98% of it done before he left, taking over a logistically challenging project involving several authors, three teams of graphic designers, and a highly technical topic I know little about when it's hurtling full speed toward a we-really-mean-it deadline has its challenges.

It also has its rewards. In addition to money--which I'm really earning this time--I get the pleasure of being suddenly, unexpectedly, harrowingly immersed in an unfamiliar subject and quickly learning enough about it to both discuss it with experts and explain it to laymen. I got the same satisfaction as a newspaper reporter a long time ago and a freelance writer more recently. It's what I find most interesting and fun about my writing career. Unfortunately, the knowledge I gain only seems to stick around long enough for me to complete the job. Ask me about underground transmission systems in a month and I'll give you a blank stare. I may not even recall doing the job (that's nearly true; I've had the unnerving experience of looking at published magazine articles I've written and having absolutely no memory of them). But right now... I am Mister Underground Cable.

It's more exciting than it sounds.
.