Showing posts with label events that get me out of the house. Show all posts
Showing posts with label events that get me out of the house. Show all posts

18 October 2017

“Comics and Medicine” Coming to MICE, Oct. 21

The Massachusetts Independent Comics Expo (MICE) is coming up this weekend, and on Saturday I’ll moderate a panel on “Comics and Medicine.”

This session is being organized by Matthew Noe, the Graphic Medicine Specialist for the National Network of Libraries of Medicine, New England Region. He wrote about it here on the agency’s blog.

Here’s an extract from Matthew’s posting:
In anticipation of this panel, I asked each panelist to say in a few sentences what graphic medicine is to them. Here are their responses – a bit of a teaser of the panel to come!

Cathy Leamy: Graphic medicine is anything involving comics/cartooning and health and illness. I love that it’s not rigid and nailed down; the door is open for all kinds of explorations and investigators. Health education comics, illness memoirs, analysis of comics for medical themes, art therapy, teaching self-expression and empathy through comics making – so many applications are possible, and we all benefit from the cross-pollination of being exposed to them.

Kriota Willberg: My goal as a cartoonist making GM is to normalize medicine and the body. I hope to make illness, anatomy, and science a benign and familiar trio of actors in our lives, thereby mitigating the anxiety and confusion that often effects patients and their families, and stigmatizes the ill.

Iasmin Omar Ata: [To me, graphic medicine is] using unique mediums to heal through the power of art. Particularly in comics and games, there exists such an opportunity for those with illness to speak, be heard, listen, and heal.

Matthew Noe: Graphic medicine, beyond the strict definitions and the difficult task of reigning in what exactly it means to be a comic, is about communication. Patients communicating with physicians. Physicians communicating with patients. Family communicating with family. Comics can give voice to the voiceless, clarity to the unclear, and can help us refocus medicine on the human.
I’m looking forward to hearing more! Our session is at 11:00 A.M. on Saturday in the Auditorium of University Hall, 1815 Massachusetts Avenue, Cambridge.

22 December 2015

Slice of Life

At the Hungry Tiger Talk blog, David Maxine has written about the one-of-a-kind Oz-related item that was part of our first meeting, when we were teenagers. This is my side of the story.

Back in 1979, at the age of thirteen, I attended my first International Wizard of Oz Club convention. This was the Munchkin Convention, meaning it drew Oz fans from the eastern part of the United States. In the books, you see, the Munchkins live in the eastern part of Oz. (In most of the books. It’s a long story, which David summarized here.)

That year the Munchkin Convention was in Cherry Hill, New Jersey, a reasonably short car ride from my grandparents’ home in suburban Philadelphia. I’d already done some air travel by myself, so I felt confident flying down to visit Grandpa and Grandma.

I wasn’t so confident about meeting the Munchkin conventioneers. I was a shy kid, and I’d never been at that sort of gathering before, much less on my own. It turned out to be a milestone event because it was the first time adult strangers treated me as a peer. For that, I’ll always be grateful to the Oz Club.

There were other teenagers there as well, or at least one: Judy Bieber. But she intimidated me. I was thirteen, and she was (and remains) a couple of years older, which felt like an incredibly significant gap. She was also smart, pretty, and seemingly very much at home in Munchkinland. She created the quiz about the Oz books for that year. She and her father Herm were selling older Oz editions. She appeared to have everything.

To the surprise of the room, and the astonishment of myself, I won Judy’s quiz. The Oz books were the first field of knowledge I really tried to master, and my brain is good at retaining trivial information. And, though I didn’t know it at the time, previous winners were probably sitting out that event. The prize that Judy supplied was an abridged “Junior” edition of Rinkitink in Oz with some John R. Neill color plates. I’m sure that was the first time I’d ever seen one of those abridgments. It may have been the first time I ever knew about them.

By the end of that day, while I was waiting for my grandmother to pick me up, I was already worrying about my responsibilities for the following year. The winner of each year’s quiz had to write the next year’s quiz and supply the prize. I remember another attendee congratulating me on winning and asking if I was already thinking about new questions, and me replying that I was already thinking about the prize.

Making the quiz was fun. I decided to base it on Neill’s pictures and books, and I had fun laying it out. But for a prize? I didn’t have much money to spend, I didn’t know the range of possibilities, and I wasn’t linked into collectors’ networks. I also wasn’t good at asking for help (I’m still not). I wanted to solve this problem on my own—since I was acting as an adult, and all that.

So I decided to use my time in woodworking class to make a prize. A pair of O and Z bookends didn’t work out, but I grabbed a piece of mahogany and figured out a design for a cheese board that incorporated Neill’s OZ symbol in its handle. I didn’t do a great job with the carving, but it was a one-of-a-kind Oz-related trophy. And its real value was symbolic, right?

As David guessed, during the 1980 Munchkin Convention I decided to augment that cheese board with an edition of The Wizard of Oz autographed by Margaret Hamilton, who was there. So now I can also say that I had a brief conversation with her. Very brief.

The person who won my quiz was David Maxine, who had come from out west all the way to Cherry Hill. He was also a teenager. But, like Judy, he was (and is) a couple of years older than me. The difference is minuscule now—we’re all part of what I called the “white cover generation” of Oz fans. But back then David was also daunting.

Looking back, I realize that my thinking at thirteen was skewed by the universal adolescent assumption that every other teen is having more fun than you. To me David seemed like an old hand at Oz conventions and collecting and life. I should have perceived that this was his first time at the Munchkins, and he had no idea I was at just my second gathering. We had more in common than I realized.

If I’d known the winner of my quiz was going to be another teen, I probably wouldn’t have made a kitchen implement. If I’d had the boldness to befriend Judy the year before, I could probably have asked her and Herm to snatch up one of those abridged editions for the 1980 prize. But I couldn’t see any of those possibilities at the time.

I also couldn’t see that David and I would reconnect in something called “online” almost twenty years later. During some Ozzy conversation he mentioned that he still had the cheese board, which was both astonishing and gratifying. (As he’s pointed out, it’s compact and almost impossible to break.) And now that we’re both adults and have had online exchanges about such things as Swiss chard, a kitchen implement turns out to have been more appropriate than we knew. It’s come to symbolize a real-world friendship rooted in Oz.

02 November 2015

“What’s New” with Wondermore, 7 Nov.

On Saturday, 7 November, I’m going to moderate a panel of new children’s-book authors at Wondermore’s “What’s New in Children’s Books” conference at Lesley University in Cambridge.

The panelists are:
We’re going to talk about their paths of publication, favorite childhood reading, and advice for young creators.

This conference is designed for teachers, librarians, and other professionals who help kids learn to read and enjoy books. Other speakers include author-editor Anita Silvey, author-illustrator Rebecca Bond, bookseller Terri Schmitz, and school librarian Christian Porter. The presentations start at 9:00, and are scheduled to finish in early afternoon.

(Wondermore used to be known as the Foundation for Children’s Books. It’s now focused on bringing books and book creators to urban schools.)

04 October 2014

Colonial Comics Arrives at MICE This Weekend

This morning at 11:30, I’m moderating a panel on “History in Comics” at the Massachusetts Independent Comics Expo in Porter Square, Cambridge.

This year’s special guests are Raina Telgemeier, James Kolchaka, Dave Roman, Box Brown, Emily Carroll, and Paul Hornscheimer. And there will be scores of other comics creators showing their latest creations.

Among the debuts of the show is Colonial Comics: New England, 1620-1750, a collection of history comics edited by Jason Rodriguez, A. Dave Lewis, and me. I’m also in that book as a contributor, having created a story about the start of slavery in Massachusetts with Joel Christian Gill.

MICE is free, though it’s hard to walk through the exhibit space without seeing something you might want to buy. The show runs 10:00 to 6:00 on Saturday and 11:00 to 4:00 on Sunday, which also has special workshops for kids. Concurrent with MICE on Sunday is a “Comics in the Classroom” symposium starting at 10:00.

02 September 2014

Did The Economist Solve a Winkie Con Mystery?

The Prospero blog on The Economist’s website filed a report on this month’s Winkie Convention last month, taking note of the extensive schedule of panel discussions that I helped to put together and other activities.
This year, propelled by the publicity for the anniversary of the MGM film, Winkie Con moved from the mid-California Monterey peninsula down to San Diego. The relocation was due in part to San Diego’s proximity to neighbouring resort town, Coronado, where [L. Frank] Baum wintered and wrote several novels. It was also the first year the usually humble Winkie Con expanded to offer a broad conference-style schedule, with concurrent panels discussing subjects such as the strong feminist characters in Baum's books and the rise of fantasy and sci-fi fan culture. Attendance spiked to over 350; many attendees were newer fans, who had found their way down the yellow brick road via the musical "Wicked" or "Oz the Great and Powerful", the new Oz film released in 2013.

Prospero, a first-time festivalgoer, was shown plenty of “ozpitality” and welcomed into many exclusive but never exclusionary events. On the opening day, Aljean Harmetz, a journalist and historian whose mother worked in the MGM costume department for 20 years, screened "The Wizardry of Oz", a 1979 documentary follow-up to her exhaustively detailed book, "The Making of the Wizard of Oz". On the second afternoon, a tightly packed audience strained to hear a Q&A with Priscilla Montgomery Clark, one of the munchkins in the MGM film, who is now in her 80s. A family reunion-style slideshow gave regular Winkie Con organisers and participants a chance to reminisce about the years of lighter programming and more intimate festivities. “There’s Dan again,” someone murmured as the slides shuttered past. “He was a marvellous Dorothy.”

Nearly two-dozen of Baum’s The Wizard of Oz books are in the public domain in America, as is the 1925 film. This makes for a rich ecosystem of Oz-related fan culture that continues to snatch up new graphic novels and support reinterpretations of the original characters. At the swap table, a Winkie Con tradition, one could pick up or drop off gently used books and artwork, or borrow stapled short stories from a stack of unpublished fan-fiction.
Oh ho! In fact, one was not supposed to borrow those short stories but to read them in that room. My story “Post-Transformative Stress” disappeared for several hours during the convention, prompting some anxious “no questions asked” announcements. Eventually it reappeared on the table with no questions answered. Had Prospero mistakenly taken it for a closer read?

No harm done. This year’s contest judges had already done their work and chosen which essays, stories, and artwork should win prizes. “Post-Transformative Stress” came away with one. It throws together Dr. Pipt from Baum’s Patchwork Girl of Oz (shown above) and Iva the kitchen boy from Ruth Plumly Thompson’s The Wishing Horse of Oz. No wonder it might have been so compelling.

14 August 2014

Wrapping Up the Winkie Convention, part 3

Here’s the final schedule for the final day of the 2014 Winkie Convention in San Diego—Sunday, 10 August.

Sunday, 8:30 am
Ozzy Tai Chi led by grandmaster Parker Linekin
Brunch at the Hotel Del Coronado, where L. Frank Baum wrote several books

Sunday, 10:00 am
“The Making of ‘The Wizard of Oz’” Documentary with movie historian Aljean Harmetz (reprise)
Baum’s Boys with authors Paul Dana, Jared Davis, J. L. Bell, and Michael Gessell

Sunday, 11:00 am
75 Years of the MGM Wizard of Oz with movie experts Aljean Harmetz, Priscilla Montgomery, Robert A. Welch, Steve Cox, and Anthony Tringali
A New Oz Series: A Look Back with The Emerald Wand of Oz and Trouble Under Oz author Sherwood Smith and illustrator William Stout, interviewed by J. L. Bell—the first time Smith and Stout had met
Walking Tour of Coronado with the Coronado Historical Association (reprise)

Sunday, 12:30 pm
The Adventures of Queen Ann in Oz with authors Eric Gjovaag and Karyl Carlson and illustrators Bill Campbell and Irwin Terry—the first time this creative team had met, on the occasion of their book’s republication

Sunday, 1:30 pm
The Tik-Tok Man of Oz Audience Talk-Back with producer Eric Shanower, lighting designer Christopher Boltz, set and costume co-designer David Maxine, and performers Eduard Cao, Taylor Hamilton, Taylor Schwartz, and Laura Bueno

Sunday, 2:30 pm
Upcoming Oz Events and Closing Ceremonies with convention organizers David Maxine, Freddy Fogarty, Eric Gjovaag, and Karyl Carlson

That programming could not have happened without the audiovisual equipment loaned by SanSFiS (more on that group later), the tireless work of SanSFiS volunteer Barney Evans, and the half-dozen presenters who made their laptops available for other sessions.

13 August 2014

Wrapping Up the Winkie Convention, part 2

The final, actual Winkie Con 2014 schedule continues with the official events of Saturday, 9 August. This was the biggest day of the convention with the highest attendance and the most events going on at once.

Saturday, 7:30 am
Army of Oogaboo Bootcamp led by the well-traveled Colin Ayres

Saturday, 9:00 am
Costume Contest hosted by Kurt Raymond and Lee Speth

Saturday, 10:00 am
The Winkie Con Quizzes administered by last year’s winners Jared Davis, Miriam Esther Goldman, and Susan Hall
Conversation with Movie Historian Aljean Harmetz with interviewer Anthony Tringali
Oz Collectibles with collectors Freddy Fogarty, Bill Campbell, and Kurt Raymond
Auction Preview
Dealers’ Room Reopens
Oz Research Table, Art Show, and Swap Table Reopen
Display of Judy Garland Movie Costumes Reopens with Michael Siewert

Saturday, 11:00 am
Friends of Dorothy: The LGBT Side of Oz with authors and artists Michael Cart, Dee Michel, Joe Phillips, Rachael Anderson, and Anthony Trujillo
The Oz Books for Beginners: Reading and Collecting with experts Eric Gjovaag and Paul Bienvenue
Mechanical Men and Dinosaurs in Oz with science-fiction fans William R. Lund, Susan Hall, Lee Speth, and Tim Tucker
Walking Tour of Coronado with the Coronado Historical Association (reprise)
Auction Session 1 with auctioneer Bill Thompson

Saturday, 12:00 noon
A. Arnold Gillespie: The Wizard of Special Effects with biographer Robert A. Welch (reprise)
Fictional Worlds and Fandoms: From Oz to Star Trek and Beyond with fandom veterans Bjo and John Trimble, Margaret Koontz, Michael Cart, and Tim Tucker
Soon As I Get Home: An Oz Lunch Concert with singer-songwriter Anthony Whitaker

Saturday, 1:00 pm
Oz and Tarot with publishers Anna Warren Cebrian and Mark Anthony Masterson and reader Gita Morena
Oz and the American Musical with musicologist Ryan Bunch
From Humbug to Hero: Getting to Know the Wizard of Oz with fans Stan Sieler, Atticus Gannaway, Carrie Hedges, John W. Kennedy, and J. L. Bell
Storytelling Workshop: From Character to Comic led by Anthony Nuñez
Auction Session 2 with auctioneer Bill Thompson

Saturday, 2:00 pm
Oz Tabletop Roleplaying Game led by Stephen Koontz
Toto of Oz, a Great and Powerful Film Career with Patricia Watson
Today’s Publishing Options with authors Henry Herz, Paul Dana, Edward Einhorn, and Kevin Gerard
Tarot Readings by Gita Morena

Saturday, 3:00 pm
Conversation with Bjo and John Trimble with interviewer Jack Plummer
Storytelling in Someone Else’s Sandbox with authors Melissa Wiley, Caroline Spector, Edward Einhorn, and Gina Wickwar

Saturday, 4:00 pm
Conversation with Priscilla Montgomery, an MGM Munchkin, with interviewer Anthony Tringali
Crafting Oz with artists Dave Kelleher, Karyl Carlson, and Bill Campbell
The Baum Bugle: Meet the Editors! with Craig Noble and Jared Davis

Saturday, 6:00 pm
The Grand Winkie Banquet and awards ceremony

Saturday, 8:00 pm
The Tik-Tok Man of Oz Musical Play directed by Chrissy Burns

Saturday, 11:00 pm
Tik-Tok’s Robotic Ragtime Revelry after-party with the Heliotrope Ragtime Ensemble

The image above is sheet music from The Tik-Tok Man of Oz, produced in 1913. That musical extravaganza was L. Frank Baum’s attempt to recreate the huge success he’d enjoyed with the 1902 stage version of The Wizard of Oz. What we saw on Saturday night was a game attempt to produce a coherent drama from the fragmentary surviving scripts and songs. Always lively, full of delights, and produced for just the right audience.

12 August 2014

Wrapping Up the Winkie Convention, part 1

I’ve rarely updated this blog over the past several weeks, though not because I didn’t find topics I wanted to write about. Rather, I didn’t have the time to gather and express my thoughts because I was helping to organize the daytime programming at this year’s Winkie Convention in San Diego. “Winkie” as in the western part of the land of Oz—this convention was originally organized for Oz fans in the western USA.

The 2014 Winkie Convention was the 50th annual, as well as falling during the 75th anniversary of MGM’s Wizard of Oz. Retiring chairman David Maxine was determined to make it one of the busiest Oz events ever. He also wanted to serve the local children’s-writing community with some publishing workshops and panels. And that’s how I first got drawn in from afar.

As the San Diego Union-Tribune reported, the convention took place this past weekend. And it feels like a rousing success: nearly 400 people attending, a delightfully sung performance of The Tik-Tok Man of Oz presented in the city for the first time in a century, and the first-ever meetings of the authors and illustrators of three Oz books. Most people were pleased, and some pleasantly surprised, by how lively the panel discussions were.

We were adjusting the convention schedule up to the last minutes, so for the historical record I decided to compile what actually happened and who was involved, starting with the convention events for Friday, 8 August.

Friday, 7:30 am
Trot & Cap’n Bill’s La Jolla Kayak Tour at La Jolla Kayak

Friday, 10:00 am
So This Is Your First Winkie Convention with volunteers Eric Shanower, J. L. Bell, and Lee Speth
What to See in Coronado with local arts officials Heidi Wilson and Kelly Purvis

Friday, 11:00 am
Golden Age of Hollywood Costumes with researchers and collectors Christian Esquevin, Michael Siewert, and Aljean Harmetz
Creating Oz Comics with creators and publishers Anna Warren Cebrian, Mark Anthony Masterson, and Eric Shanower
Walking Tour of Coronado with the Coronado Historical Association
Oz Research Table, Art Show, and Swap Table Opens

Friday, 12:00 noon
Oz Show-and-Tell moderated by collector Freddy Fogarty
A Career in Fantasy Illustration with artist William Stout
Display of Judy Garland’s Movie Costumes with Michael Siewert
Dealers’ Room Opens

Friday, 1:00 pm
A. Arnold Gillespie: The Wizard of Special Effects with biographer Robert A. Welch
Fashioning Nonfiction that Fascinates Kids with authors Kathleen Krull, Paul Brewer, Edward Einhorn, and Angelica Carpenter
The Wizard’s Workshop: Arts and Crafts Activities led by Margaret Koontz

Friday, 2:00 pm
Fifty Years of the Winkie Con with longtime attendees Peter Hanff, Edith Hollister, Nathan Hollister, Lee Speth, and Susan Hall
“The Making of ‘The Wizard of Oz’” Documentary with movie historian Aljean Harmetz—shown publicly for the first time since the early 1980s
Conversation with Author Sherwood Smith with interviewer J. L. Bell

Friday, 3:00 pm
Emerald City, Suffragette City with writers Caroline Spector, Angelica Carpenter, Rachael Anderson, Miriam Esther Goldman, and Gita Morena
Meet the Wicked Witch! with performer Kurt Raymond

Friday, 4:00 pm
Speedy’s Adventures in Masculinity with blogger J. L. Bell
Conversation with Author Edward Einhorn with interviewer Michael Cart

Friday, 5:00 pm
Professor Marvel’s Hot Dog & Burger Cook-out with dancing by Moreton Bay Fig Morris

Friday, 7:30 pm
Welcome from convention chairman David Maxine
Video Welcome from MGM Munchkin Jerry Maren
Conversation with the Wicked Witch of the West with performer Kurt Raymond and interviewer Batton Lash
The Making of The Making of “The Wizard of Oz” with movie historian Aljean Harmetz
L. Frank Baum and the San Diego Connections with scholar Atticus Gannaway

And then came the big day.

21 April 2014

The Marathon Tradition Endures

I live about three blocks from the route of the Boston Marathon as the race winds through Boston’s suburbs toward the Back Bay. For many years every Marathon Day looked much like the photo above, with families lining both sides of Commonwealth Avenue to watch, cheer, and pass out cups of water or other replenishment.

Naturally, the kids clapping and holding out water would edge into the road, and every half hour or so a motorcycle cop would roll slowly along the gutter, herding everyone back. Early in the race people would wait for a break in the runners and then dash across to visit friends on the other side, sometimes getting stranded until the field thinned out again. Some parties brought multiple lawn chairs, campers, and spreads of food, either to eat or to sell to other spectators.

But that was before last year’s bombs.

Three days ago, we found that the whole of the race route through town had been marked off with orange plastic delineators, or “candlesticks” as a cousin told me the professionals call them. On the side of the street away from driveways, a cord had already been threaded through those plastic stakes. Clearly the public-safety officials were planning to keep everyone off the road.

Meanwhile, race organizers issued several strict warnings about this year’s event. No unauthorized runners. No running in costume. No march along the route by service people. No backpacks, coolers, or thick blanket rolls. All understandable regulations, but I feared the Marathon I enjoyed would disappear.

I’m pleased to say that even with cords strung on both sides of the road and signs warning that all coolers, backpacks, and other bags were subject to search, the atmosphere is much the same. Kids were still edging out into the road, just not as far. People still dashed from one side to the other, just not as often. There were plenty of lawn chairs, coolers, and unrolled blankets, as well as plenty of security officers. And at least one runner in a tutu.

03 April 2014

“Book on the Charles” in Belmont through 17 May

The Belmont Galley of Art is featuring an exhibit of work by local children’s-book illustrator for the local children’s-book publisher Charlesbridge.

The Boston Globe reports:
“Books on the Charles – 25 years of Charlesbridge Picture Book Illustrators,” which [Rebecca] Richards cocurated along with Watertown artist Leslie Evans, celebrates 15 New England-based picture book artists who have created art for Charlesbridge Books, a children’s book publisher located in Watertown.

“I’ve always wanted to showcase original works from children’s books in a gallery setting, so people could admire the work for the fine art that it is,” Richards said. “I think this exhibit brings back that sense of fun and wonder we had as children visiting a world of imagination created by picture book illustrators.”
Among the artists featured are Alan Witschonke of Natick and Wayne Geehan of Acton. There will be an artists’ reception and book-signing on the afternoon of 13 April, and the exhibit will be up through 17 May.

19 March 2014

Kick-star-ter for Tik-Tok

This week I pledged in a Kickstarter campaign for a production of The Tik-Tok Man of Oz, first shown in 1913-14, at this summer’s Winkie Convention in San Diego.

I’m attending that convention (in fact, I’m helping with the daytime programming), so I’m already going to reap the benefit of this production. But I admired producer Eric Shanower’s theatricality in a bare-bones ballet adaptation of The Road to Oz a few years back, so I thought this show would be worth a real ticket price.

As a celebrated artist, Eric had the ability to offer a very rare incentive for a large pledge: a “20"x24" original painting by Eric Shanower of 30 major Oz characters.” Having just one person sign up for that reward would have brought the campaign two-thirds of the way to its goal. I assumed that was the sort of pie-in-the-sky level that Kickstarter campaigns offer people in order to make the next level down seem less expensive.

Instead, two people have signed up for that grand reward, putting the campaign over the top and producing an unusual pattern in the pledges. Recent Kickstarter campaigns for a documentary film titled “Who Stole the Ruby Slippers?” (still ongoing) and a “Shadow of Oz” tarot deck (which just made its goal) seem to have a more common distribution, with most people pledging in the low and middle tiers and nobody offering four-figure sums.

The demand indicated by this pledge pattern for Tik-Tok Man would make me seriously think about doing nothing but original paintings of 30 major Oz characters.

13 January 2014

The Lion’s Panels and Mine

Back in November I shared this image of a medal-bearing lion, drawn by Denise Ortakales as a symbol of the New England conference of the Society of Children’s Book Writers and Illustrators on 2-4 May 2014.

The full image has now appeared on the web, and I was right in seeing a link to the Cowardly Lion. Look at the wall behind the award-winning feline artist, and you’ll see a comics page depicting a fight between a lion and a vested Winged Monkey.

The full SCBWI New England Conference schedule is on the same page. I’m leading a workshop on “Building Narrative Momentum” and moderating panels on “Publishing Bravely” and “Hybrid Publishing.” (I think I’m also moderating “Publishing In and Out of New York” on Sunday.)

26 November 2013

Creating Bravely with SCBWI New England in May

This proud lion adorns the announcement of SCBWI New England’s 2014 conference in Springfield, Massachusetts, on 2-4 May. A “Save the Date” postcard just went out to members in the region. Registration will open on 5 February.

That conference has the theme “Create Bravely: Make Your Mark,” hence the lion’s medal and the pencil and paint brush in his mane. I’m scheduled to make my mark there by leading one workshop and handling some other duties.

This fine feline was drawn by artist Denise Ortakales, who normally works in cut-paper sculptures. Check out her website for lots of lovely work.

02 November 2013

“Inside Story” at Odyssey Bookshop, 3 Nov.

Tomorrow afternoon I’ll be introducing the many talented authors and artists who are participating in the “Inside Story” event at the Odyssey Bookshop in South Hadley, Massachusetts.

This event is sponsored by the Society of Children’s Book Writers and Illustrators in conjunction with First Book. The authors will share the story behind their latest books, which range from picture books through early readers and middle-grade novels to YA. There will be free prizes and a drawing to win a phone call from a famous author. First Book will donate a book to a child in need for every book purchased. Here’s the lineup of talent.

Picture book creators at 1:00:

  • Diane deGroat
  • Corinne Demas
  • Deborah Freedman
  • Jannie Ho
  • Sandra Horning
  • Jane Kohuth
  • Jason Lefebvre
  • Richard Michelson
  • Hazel Mitchell
  • J.C. Phillipps
Middle-grade and YA authors at 3:00:
  • Stacy DeKeyser
  • Christine Brodien-Jones
  • Erin Dionne
  • Natasha Lowe
  • Jennifer Ann Mann
  • Rebecca Rupp
  • Chris Tebbetts
  • Kathryn Burak
There are similar events planned all over the country.

24 October 2013

Before “New Media Day” Gets Old

SCBWI New England’s “New Media Day” at the Eric Carle Museum of Picture Book Art made clear that publishing has entered a period of hybridization, combining both print and digital books published both by companies and by authors.

Despite all the stories and insights, though, my biggest takeaway was that the website Scribd.com likes to be pronounced with a short I.

Here I am with Mary Jane Begin, Gail Gauthier, and Emilie Boon, who were on a panel I moderated, and (second from left) artist Ruth Sanderson.

I can’t see why people keep asking me to moderate panels; I’m really quite shy and retiring.

14 October 2013

SCBWI New England’s New Media Day, 19 Oct.

On Saturday, 19 October, I’ll be at SCBWI New England’s New Media Day, a series of presentations and panels designed for published authors and illustrators of children’s books. This event will take place at the Eric Carle Museum of Picture Book Art from 9:30 to 3:30.

The morning sessions feature technology analyst James McQuivey on “Digital Disruption” in publishing and literary agent Rubin Pfeffer on “Books and Beyond.”

After lunch comes a panel that I’ll moderate, titled “OP to E: Bringing Books Back to Life.” The panelists are three SCBWI members who converted their out-of-print titles into digital books:
Finally, event organizer and nonfiction author Melissa Stewart will interview author-illustrator Ruth Sanderson on “Surviving and Thriving in Children’s Publishing” over thirty years.

The registration date for this event has passed, but I hope to come home with some keen insights into the new world of publishing.

09 October 2013

Parity in Publishing?

On Wednesday, 16 October, the University of Connecticut in Storrs will host a panel on “Gendered Publishing: The State of the Profession for Women Writers and Illustrators of Children’s Literature.” The discussion starts at 6:30 in the Class of 1947 Room of the Homer Babbidge Library. Participants are:

  • Barbara McClintock, author/illustrator
  • Gene Kannenberg, Jr., director of ComicsResearch.org
  • Lisa Rowe Fraustino, professor and department chair of English at Eastern Connecticut State University (ECSU)
  • Susannah Richards, associate professor of Education at ECSU and member of the 2013 Newbery Award Committee
On that recurring topic, last month The Horn Book published Martha Parravano’s essay “It’s Always Men’s Night at the Caldecott.” Since we live in the Most Overstated Era EVUH!, we can accept that Parravano’s “Always” actually referred to men winning the Caldecott Medal 63% of the time over seventy-five years. Over the last twenty years, male artists have been even more commonly rewarded: sixteen men and four women have won the Medal.

However, a commenter signing on as “Scope Notes” noted:
Total side note here, but an interesting thing I’ve found is that the Newbery has nearly identical numbers, but in reverse – 66% female to 34% male.
Over the past twenty years, fourteen women and six men have won the Newbery Medal—again, a growing disparity.

Of course, we should include a much harder factor to measure: how many men and women are writing or illustrating children’s books? Which gets us to another question: how many women and men are trying?

I started attending SCBWI conferences about twenty years ago, and immediately saw how women outnumbered men in the audience. In organizing those conferences, we always ask the host hotel to turn a men’s bathroom into a ladies’ room for the day. Yet the gender ratio of people on the podium—i.e., the authors and artists who have achieved recognition in the field—is usually closer to parity.

Adding to the complexity of the issue is how most parts of the children’s-literature chain—literary agencies, publishing departments, review journals, library staffs—are more female than male, though not as often at the top. And then there’s the question of who’s reading the most books.

30 September 2013

Always in Moderation

This photograph by Carl Tsui captures me moderating one of the panels at the Massachusetts Independent Comics Expo in Cambridge this past weekend.

This was the panel on “Reinterpretations of Classics.” The previous day I’d emceed a discussion of “Educating with Comics,” which was really about communicating science topics in comics form. (I don’t have photos of that one.)

I think discussions of comics benefit tremendously from visual content—comics are a combination of words and pictures, after all. So I prepared brief PowerPoint introductions for all eight panelists showing samples of their work and their book covers.

I’m also proud of the trick shown below: ending each slide show with the panelists’ names and a representative or recent book cover to hover over their heads. That let audience members who came in late or lost track of the intros identify the panelists, and gave their books an extra push. And of course it gave me the authority to tell the panelists where to sit.

23 September 2013

Me and the Massachusetts Independent Comics Expo, 28-29 Sept.

This weekend brings the Massachusetts Independent Comics Expo in Cambridge’s Porter Square, a free show featuring independent and small-press comics from the region’s top creators.

See new mini-comics, original art, and fine graphic novels. Special events for the kids! Hands-on workshops!

And if that’s not enough to get you interested, I’ll be moderator for two panels.

Saturday, 11am to 12 noon
Educating with Comics
A conversation with artists who create comics that entertain and inform, on topics including anthropology, primatology, astronomy and zoology. What are the approaches and techniques that cartoonists use to translate fact into fun? Featuring:
Sunday, 2:30pm to 3:30pm
Reinterpretations of Classics
Comics provides infinite opportunities to adapt, re-vamp and update classic texts, for readers of all ages, from the reverent to the ridiculous. A panel of writer-artists and editors talk about their work in this area, including adapations of Shakespeare, fairy tales, myths and the great works of literature. Featuring:
In addition, I’ll be the volunteer designated to help out at this panel, to be moderated by Brigid Alverson (which is my way of making sure I won’t miss it).

Sunday, 11:30am to 12:30pm
Why YA Comics?
The challenge of creating graphic novels for teens and tweens is finding an authentic voice—one that comes from within rather than above. How have independent creators managed to connect with teens at their own level? What sorts of stories resonate with then? And can anyone over 20 really be trusted? Featuring:
How could you plan to be anywhere else?

22 August 2013

The Visual Display of Edward Tufte

About a quarter-century ago, I was a young Editorial Assistant at a publishing company, and someone handed me a copy of Edward Tufte’s The Visual Display of Quantitative Information.

I already had a copy of that book, a holiday present from my mother. (I think I’d entered a “hard to shop for” period after years of easily identified obsessions.) I’d found The Visual Display of Quantitative Information quite interesting, both in its content and in its backstory: Tufte had self-published the book back when desktop-publishing programs were new and Amazon and print-on-demand barely conceived of. I read that he was making big money from the book and/or speeches and consulting contracts based on it.

That success evidently caught the attention of higher-ups at my employer. One of them sent a copy of the book down to the editors on my floor along with a memo to look into this and do something about it. I saw one of those editors carrying around the book and naively piped up that I was familiar with it already. That was how I came into possession of a second copy of The Visual Display of Quantitative Information.

I was too new to realize that corporate activity around the book wasn’t really driven by a wish to start publishing oversized volumes on quantitative displays. Rather, it was driven by a wish to satisfy the higher-ups’ desire to have someone handle this matter. The book was like the monkey in the old Harvard Business School analogy: passed off from one desk to another within the organization until someone figures out a way to toss it back outside.

I don’t clearly recall how the episode ended. I think I was still wrestling with how best to explain “We can’t afford him” when word arrived that our department’s higher-up had passed along the book because an even higher higher-up had given it to her, so she wasn’t really pushing for any action. Tufte went on to self-publish more volumes without being bothered by us.

All of which leads up to the news that for several years Edward Tufte has been working on large-scale sculptural installations, sometimes in collaboration with stone worker Dan Snow. Three that caught my eye are:
Tufte’s website says the next open-house viewing at Hogpen Hill Farms in Woodbury, Connecticut, will be on 5 Oct 2013.