Leaving Downunder

Dinner last night with Margo Lanagan arranged by Allen and Unwin, where she reassured me about Clarion and told me about her new novel (I am excited) and we talked about words and about Australia and about a story I mean to write this year. Then back to the hotel and had a three hour phone call to Bloomsbury in London, calling in the copy-edits on The Graveyard Book. My copy editor was very patient with me, despite the oddness of The Graveyard Book meaning that sometimes things would be a bit counter-intuitive: I had to explain to her how a ten year old (dead) boy could have a twenty year old (dead) grandmother. But most of her queries were wise and smart and (this is important) will make me look good.

A flood of letters from Australians who inform me that I was having my leg pulled over the hamburger thing -- and if you read what I posted and imagine the chef as a dry-humoured assie bloke, that's just how it reads. For example:

> (Unconvinced Five Star Hotel Night Chef.) "If you say so, sir. It's just people here complain if their hamburgers aren't made of ham.


Major possibilities:

a) chef was sadistic or insane

b) chef had quirky sense of humour

c) balance of your mind disturbed by excessive book signing

d) you were unwitting participant in 'candid camera' equivalent

e) you had accidentally wandered into a neighbouring universe

f) other
In Australia, hamburger means ground up cow. Always.

Saw your talk at the State Library in Melbourne btw - very enjoyable, and The Graveyard Book sounds like it's going to be a good one.

cheers,

Steve

I'd go for f). Honestly, she sounded very young, very defensive and, I'm afraid, a bit upset, like someone who had actually been told off a few weeks ago by a hotel guest for the lack of ham in his hamburger and had been determined not to make that mistake again, and now here was a smartarse pom late at night telling her she'd been right all along. And I felt a bit sorry for her.

(This was at the Four Seasons Sydney in George Street -- a nice enough hotel, although the rooms are tiny, but also the first Four Seasons I've stayed in that felt more or less like a Mariott - as if they'd bought someone else's hotel and put a Four Seasons logo on, but not really changed anything else.)

I'm off to the US today, via Narita airport. A few people kindly wrote and offered to show me around during my 9 hour layover, and I was going to take at least one person up on it, but I now strongly suspect that instead of doing anything at all I'll get a local hotel room and try and sleep -- horizontally, rather than sitting down -- between two ten hour flights.

Let me point you at this Boing Boing Entry and this Locus Article, in which Cory Doctorow talks about dandelion and mammalian reproductive strategies and how these things relate to selling things or giving them away on the web -- some of this came out of a wonderful conversation last Christmas between Cory and Rob Brydon and me, which Cory and I carried on the next time we saw each other, at Eastercon. (The ideas are all Cory's. All I did was say, "What exactly do you mean by that?" and "But for Heaven's sake, Cory, what about...?" a lot.)

...

Hi Neil,

Quick question about The Graveyard Book - do you have plans to release signed copies in cardboard dumps as you did with American Gods and Anansi Boys?

I offered, but that's no longer possible for some logistical reason I never quite understood.

Neil,

I'd just like to thank you for your appearance at Books Kinokuniya in Sydney on the 6th. It was a great night, and truly inspiring to see that despite the 500-odd people eagerly queued, you still had time for each one of us.


Thank you also for posing for a photo with a sign expressly prohibiting personal photos (which can be quite shamelessly found at my blog; http://chasinggeese.blogspot.com/2008/05/please-note-awesome.html). It made my night.

Now that's all taken care of I'd like to ask if your short story 'Orange' is in print anywhere, as I've only seen it as a video of a live reading (or memorably first hand, when you were in Sydney in 2006).
Kind Regards,

Luke


Why thank you. "Orange" is in The Starry Rift. You can learn more about it at http://thestarryrift.com/

...

Michael Zulli sent me http://englishrussia.com/?p=1808#more-1808 -- beautiful pictures of fairy tale abandoned Russian wooden houses.

...

Despite following instructions on stripping this computer with Windows Vista down to its work and memory undies, it's still like working with a computer in 1986, in terms of slowness and pauses and delay. Dynamism.com helpfully sent me Windows XP to do a downgrade on it, which I'll do when I get home... I still love the computer, though: it weighs about half of a Mac airbook, and has a DVD drive to boot. But I can't simply type and keep typing - it suddenly stops to inspect itself for fleas or something and loses anything I typed while it was thinking, or squashes words together, or I find myself randomly typing somewhere else in the paragraph... argh.

...

And before I forget, a big, big thank you to everyone at Allen and Unwin, especially Sarah Tran, to all the booksellers (Ellison Hawker, Dymocks in Melbourne and Sydney, and Kinokuniya (who gave me the new edition of A Humument as a thank you for signing there, which made me unspeakably happy), and to the staff and organisers of the CBCA, the Melbourne State Library folk, to various old friends who waved or helped (you know who you are) and all the people who showed up at the signings and made it so pleasant...

And yes, in 1998, I brought the "stick" home with me.

a few final copyright thoughts before we leave the subject entirely

I ought to be proofreading The Graveyard Book. I used to love proofreading, but that was many a year ago now, especially as I have both the US and the UK versions to proof, so anything one of them picks up I have to consider for the other, and I have to read both versions back to back, not because they are different but to see what the copy editors did on different sides of the Atlantic. (Shakes head, ruefully...)

The May event at MIT isn't sold out, it's just the tickets were offered to MIT students/staff first. This according to friends of mine at Pandemonium and The Million Year Picnic, both of which are now selling tickets.

A quick Google gave me http://community.livejournal.com/millionyear/33091.html
with lots of information on the MIT event.

If you want to call to reserve tickets (617-492-6763), you must pick them up within 48 hours. No call-in reservations for tickets after May 14th. Four tickets maximum.

I've noticed you're on the speakers' list for the Children's Book Council Australia's conference in May. I was just curious if you'll have time to do a signing in between your two gigs.

If not at the CBCA, do you have plans to do one while in Melbourne this time around at all?

Thanks in advance

-S

If you click on WHERE'S NEIL it will take you to http://www.neilgaiman.com/where/ and you will learn about the three Melbourne, two Sydney and one Hobart events next week. And to answer some other frequently received questions, I do know that it's been twelve years since I was in Perth and a decade since I signed any books in New Zealand, yes. I am also aware that it is unfair on the people in Brisbane and Adelaide that I'm not signing there, and it's even harder on the people in Canberra because, having only one body and two potential locations it could be in, I picked Hobart (where I had not been for a decade) rather than Canberra (where I was in July 2005).

I am compelled, after reading your thoughts on the JK Rowling Lexicon case, to try to sort out in my head if it bears resemblance to your dealings with certain characters you created for MacFarlane's Spawn series. Obviously the cases are different, but I see vague similarities.

While it (the lexicon) existed only on his website, and no one was profiting from it, then I see no issue naturally. The minute it gets published in book form, he stands to make oodles of money from it. Let's face facts here, people would buy it in droves. In that case I feel that he either HAS her permission to do so, or does not. If he does not (which clearly he doesn't), then does it not put him in the wrong? Does he not require her permission to make money with characters and places and ideas she created? Should he not have approached her perhaps to begin with?


I just saw these vague similarities. I realize he is not taking the created characters and making new stories with then (ALA MacFarlane was doing), and taking credit.......it just seems wrong to me. If it's a poorly done book, then that reflects on, not only her, but her world as well doesn't it?


They're similar only, I suspect in that at the end of the day they aren't about the things that people (including the people who were involved in the litigation) thought they were about. I thought the McFarlane case was all about Creators' Rights, and trying to make Todd keep his promises, and his copyright filings claiming that he'd written the issues that I'd written, and all sorts of suchlike things. I think in Todd's mind it was all about proving that He Made His Rules And Was Really Tricky And Everybody had To Do What He Said, or something like that.

But really, in the end, in the appeal court, after the trial jury had delivered their verdict and I'd won all 17 counts on the case, it all came down mostly to this: does the clock start ticking on a copyright breach case when the breach is committed or when it's discovered. There's a three year statute of limitations on copyright claims. In 1996 Todd had filed his copyright claims , claiming to have written Spawn 9 and the Angela series, then three years later, in 1999, he let me know he wasn't going to honour any agreements he'd made with me for the stuff I'd created. Had my clock already run out? His lawyers were certain it had, and even some of my lawyers thought I was on shaky ground.

And the Posner legal decision at the Appeal was, essentially, nobody is expected to patrol the copyright office looking for breaches, and the clock only started ticking the moment I found out about it. (The whole Posner decision is up at http://www.ca7.uscourts.gov/tmp/CR1FGCDA.pdf and is really pretty interesting reading.)

In the Time-Warner-Rowling-Vander Ark case it's not about "is he making money from her ideas?" or "will this stop fan websites?" or any of that stuff that people are talking about on line. It doesn't matter from a legal perspective that Ms Rowling was doing or planning her own encyclopedia, or that the money is going to charity, or any of that stuff, although I'm sure Ms Rowling feels it does (because I would, if I were her).

As far as I can see it's only about a couple of really grey areas of copyright law -- I suspect, and I am SO not a lawyer, that it will come down to whether or not what Mr Vander Ark had done to Ms Rowling's work in his Lexicon was sufficiently "transformative" as to render it a new work.

There's an online annotation of Sandman. If the people who did it -- or if someone else -- decided to publish it, I couldn't stop them even if I didn't want it to come out, even if Les Klinger had finally persuaded me to get DC Comics to let him do an official Annotated Sandman. (Someone asked when Les's Annotated Dracula comes out -- it'll be in October 2008.) That's because it's obviously a transformative work -- it's based on my work, but it springs off from it.

If someone did a website in which everything in Sandman is listed in alphabetical order, as a concordance or lexicon... whether or not I was going to do one doesn't matter. Whether or not someone else is making money off my work and words and ideas doesn't matter. Whether it's a good lexicon or a bad lexicon doesn't matter. Whether it quotes me extensively may or may not matter (how extensively I'm quoted is a matter of Fair Use, but paraphrase me and you are home and dry on that count). What matters is whether it sufficiently transforms what I've done into something else by taking those entries and putting them into alphabetical order. How much original work is being done? The King James Bible is in the public domain. If you made a lexicon or concordance of the King James Bible, listing every person and place mentioned in there, something that would take you a lot of time -- you could copyright it. If someone copied it -- simply took your King James Bible Lexicon book and put their name on it -- could you sue them? Should you?

And, personalities aside, and all the newspaper commentary and most of the bloggage and online opinions, that's the kind of thing that this case will come down to in the end.

Hi Neil,

Like yourself, I am a fan of Harlan Ellison. However, as a feminist, I get really sick and tired of Ellison's misogyny.

I was wondering how you reconcile the fact that Ellison is your friend and an awesome writer with the fact that he can be really sexist. I'm especially curious because you have two daughters. (And one that went to a women's college! I went to Mount Holyoke, myself.) What do you tell them when Ellison makes denigrating remarks about women? I sincerely hope that you do more than merely laugh it off and regard it as "Harlan being Harlan." Even though he's funny as Hell, his attitude is really damaging. Besides, relying on sexist humor is beneath him and I really don't understand why he does it. I dislike it when Ellison claims to use such humor in a reclaimatory way. He's a white man -- he cannot reclaim sexism on the behalf of women.

I appreciate you taking the time to answer my question.

Best,

Emily Neal


You know, in my presence over the years Harlan has made some astoundingly denigrating remarks about studio executives, the Walt Disney company, a number of restaurants we've eaten in, several eastern European publishers, food in England, the English (except -- possibly, sometimes -- for me and his wife), editors, other publishers, a (male) science fiction critic, television producers, Fantagraphics, friends of mine, movie producers... the list goes on and on. When Harlan's rude about my friends in my presence I tend to point out they're my friends and he's being a twit, and he either looks shamefaced or he tells me I'm an idiot for liking so many people. There are lots of people, and some classes of people, like studio accountants, that Harlan has been less than civil about. I don't ever remember "women" as a class being on the list. (I remember him once being extremely rude about a female studio head, but that was in her role as a studio head, not in her capacity as a woman.) Which means I read your letter and I'm as puzzled as if it were asking how I can stand Harlan's attacks on people of colour, or the left-handed, or jazz musicians.

As for "Harlan being Harlan," I'm reminded of what the producer of the documentary Dreams With Sharp Teeth, Erik Nelson, said, when I told him that I thought the film was unbalanced, and he should interview some of Harlan's enemies. He said, "That's what Harlan said. I told him, 'Harlan, you're your own worst enemy'."

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Off to Australia on Saturday...

Snowdrops

My trip home was derailed (well, deplaned, but that seems to mean "getting off the plane" rather than the plane trip home turning into a little expedition to hades) by an extreme snowfall in Minneapolis. So the trip home took 36 hours and left me a bit out of sorts. Still, this was waiting for me when I finally got home -- snowdrops in the snow. A small perfect thing.


There's a reason why I made the magical flower in Stardust a snowdrop, after all.

My First Snowdrop resolutions -- I need to get back into shape (eat sensibly; find a new trainer; go for longer, more energetic walks with dog; do some nice stretchy yoga even). This last trip left me aching all over, and I've moved up a tub in jeans sizes (long term readers of this blog may remember that there are five tubs of jeans of different sizes in my closet. If ever I have to wear the ones in the tub at the far right -- mostly bought by accident or in fits of optimism -- I'll know I've got some kind of eating disorder or wasting disease, and when I only fit into the ones at the far left I know I've been not-moving for too long. And I've moved one tub to the left). It's time to slim down a little, but mostly it's just time to get fit again after a very, very long winter.

...

I sent Newly-Stoker-Award-Winning Author Joe Hill The Graveyard Book when I finished it, because he has small sons, and I was hoping he would read to them.

(He did. They liked it. He said, "It's a great one for reading aloud. You should really hear me call for help in NightGaunt sometime," and then when I said I would like to, he e-mailed me a sound file. I was impressed.)

And he talks about the book a little on his blog -- http://joehillfiction.com/?p=163 in terms that I would use as a blurb if I hadn't said nice things about Heart Shaped Box, and would fear accusations of log-rolling.

I'm really pleased he liked it. I'm pleased anyone likes it.
...

My assistant Lorraine just passed this on from the conference organisers in Melbourne --


Hi Lorraine,

It's good to see all the details of Neil's trip up on the website -
now I can finally believe it's happening! I wonder if you could
arrange for there to be a link to the conference website
http://www.iceaustralia.com/cbca2008/ on the Sunday date when Neil's
keynote is open to the general public so that people will find it easy to book.

Thanks, Sian

So there's the link, and we'll put another up at WHERE'S NEIL. Come and see me talk. Come and see Shaun Tan, who is nominated for a Hugo for The Arrival, a book I tend to force people to read. (This is a link to pages from The Arrival and an essay about it on Shaun's site.)

If I hadn't been on the road I would have remembered to post something about pre-selling tickets at MIT to the first Julie Schwartz Memorial Lecture, but it looks like the pre-sold tickets are now sold, and it's now going to be tickets on the day for people in the Boston area.

05.23.08 | 7-10 PM | Kresge Auditorium

Julius Schwartz Memorial Lecture: Neil Gaiman

New York Times bestselling author, screenwriter and comics luminary Neil Gaiman (The Sandman, Beowulf, Stardust) is scheduled to present the first Julius Schwartz Lecture in Kresge Auditorium at 7PM on May 23rd, 2008. Doors will open at 6PM.

Pre-Ticket Sales will occur on March 31st and April 1st in Lobby 10 from 9AM until 4PM. Tickets are $8 apiece, no limit. CASH ONLY, GENERAL ADMISSION, NO RESERVATIONS. Tickets will also be available at the door the evening of the event

a quick one

Lots of questions about the Siegel copyright decision, including "don't you have to be dead to take advantage of this?" (no) and "Does this apply to you and can you get copyright on your Sandman stuff now?" (no and no)-- here's an FAQ on the Siegel decision: http://uncivilsociety.org/2008/03/a-siegel-superman-copyright-de.html

...

And here's the schedule of my trip to Australia at the end of April and beginning of May:


Wed 30th April HOBART

7.00pm PUBLIC EVENT: Author Talk & Signing

Address: Hadley s Hotel

34 Murray St, Hobart TAS

Duration: 20 min author talk & 40 min Q&A, followed by
author signing

Bookseller: Ellison Hawker Bookshop


Sun 4th May MELBOURNE
9.15am PUBLIC EVENT: CBCA Keynote Session
Address: Melbourne Convention Centre
Corner Spencer & Flinders Streets,
Melbourne VIC


MON 5th May MELBOURNE


1.00pm PUBLIC EVENT Author Talk & Signing

Address: State Library of Victoria

Centre for Youth Literature

(Village Roadshow Theatrette)

325 Swanston St, Melbourne VIC

Duration: 20 minute author talk & 40 minute Q&A/ signing

Bookseller: The Little Bookroom





MON 5th May MELBOURNE

7.00pm PUBLIC EVENT Literary Dinner

Address: Georges Restaurant

819 Burke Road, Camberwell VIC

Duration: 20 minute author talk & 40 min Q&A session
following dinner

Bookseller: Dymocks Camberwell


TUES 6th May SYDNEY

6.00pm PUBLIC EVENT Author Talk & Signing

Address: Books Kinokuniya

Level 2 The Galeries Victoria

500 George St, Sydney NSW

Duration: 20 minute author talk & 40 min Q&A session.
Followed by author signing.

Bookseller: Kinokuniya


WED 7th May SYDNEY


12.00pm PUBLIC EVENT: Author signing

Address: Dymocks George St

424 George St, Sydney NSW

Duration: approx 1 hour

Bookseller: Dymocks George St

I am sick of winter and would like some sunshine now please

Lots of really good suggestions for ways to outwit Heisenberg's Uncertain Rice Pudding Principle, and I will try them and report back, although it may have to wait until the snow melts and Spring is sprung and the farm shop around the corner start milking their cows again.

And the webgoblin says that the deceptively ordinary-looking image URL http://www.neilgaiman.com/extras/countdown.gif should, if pasted into things, allow you to have your own Graveyard Book countdown badge.

The webgoblin adds: For example,
<img src="http://www.neilgaiman.com/extras/countdown.gif" width="144" height="164" />
posted to a webpage or in a blog, will give you:

Never mind the bloody USA.

When can I get it in East Finchley?

About three weeks after it comes out in the US, at an educated guess. It says November 2008 on the Bloomsbury site (and 3 Nov 2008 in the Bloomsbury catalogue), but I would imagine that they actually would want it in the shops before Hallowe'en...

...

Normally I just smile and shake my head when people start worrying about security issues when it comes to books. They're books. It's only friends of mine who have never published anything who send me copies of their manuscripts all locked and encoded, with the password to open it in a separate email. The bestselling and award-winning authors I know just send me books as email attachments months before they come out.

But I got a call from my movie agent, Jon Levin at CAA, who mentioned that movie book scouts in New York had somehow got hold of The Graveyard Book as a computer file and had been slipping it to producers and studios, who had been calling him about it, and then I got an oddly-written anonymous grumpy message on the FAQ line from someone who had obviously read an early draft and found a bit in it confusing, and I'm now fascinated by the idea that there are people out there with my book, before it's even properly, absolutely finished, who I didn't give it to.

I really don't think I mind, but I had to stop and think about it for a while first. And I guess that the reason I don't mind is because the alternative is that people don't care. It's a problem of success, and for the most part the problems of success are good problems to have.

I'm unlikely to be more circumspect next time I write a book -- I'll still email the book to friends to get a sense of what works and what needs fixing, and I assume that the book scouts will still have their mysterious agents pervading the New York book world.

Ah well. In the meantime I'll keep writing the book and keep playing with it until the last sheet of the last galley proof is pried from my cold numb fingers.


Hi, Neil.

Regarding the Absolute Sandman, can you explain to a broke graduate student who has all of the Sandman graphic novels and a good number of the individual comics why the Absolute Sandman is still a must-purchase-or-possibly-suffer-lifelong-regret-and-trauma thing?

Thank you,

Brandi

Dear Brandi

you should use your local library as a resource. Sometimes your library will have a copy, sometimes it's only available on inter-library loan and will have to be ordered. And then you can read them without paying money and decide what you think.

(Libraries are your friend. It's one of the refrains of this blog, I think.)

I'm not entirely sure that the Absolute Sandman replaces the trade paperbacks, any more than the trade paperbacks replaced the comics (because the covers and the ads and the letter column and all that stuff gives you an experience you don't get from a trade paperback) and I don't want to start turning into Elvis Costello, who has now sold me all of his music at least four times in ever-more-upgraded formats with extra bells and whistles.

But if you want a permanent copy for your bookshelf, the Absolute Sandmans are as good as it gets. I don't think they're going to vanish from the book and comic shops immediately -- DC have overprinted healthy amounts, certainly good for a few years to come -- but they are probably too expensive per unit to go back to press in Hong Kong for smallish reprints.

Dear Neil,

For the person new to 'Sandman' and not sure they'd love it enough to justify the price for the Absolutes - I had never read 'Sandman' (hangs head in shame) and bought the first one on a whim. They are definitely worth it - I have the second as well and have already pre-ordered the third. I was wondering if 'Dream Hunters' and 'Endless Nights' would be included in the 'Absolute Sandman' collection, or should I go ahead and buy them?

Regards,

Mary

No, they won't be coming out in Absolute format.

Hi Neil,

Is it true you will be in Australia in May, 2008?

Cheers,

Yoomi

It is, it is. I'm out in early May for a conference on children's literature in Melbourne, and I'll do a couple of signings while I'm there. Details to come very soon.

...

Maddy wants me to let everyone know that the two of us are going out to Laika together in a week to see the Coraline film set, and that she plans to be Special Guest Blogger during that time. So I have.