what you can't help doing

Sorry about the font-mess of yesterday's post. I did it using Safari on a PC, and the result was hellish. Obviously these are not two things that work well together when playing with Blogger. And each attempt to clean it up on my part made it worse. (Thanks to the Web Goblin for fixing it.)

I did a second draft of the Waterstones "What's Your Story?" story (only a few words I wanted to change, but it meant handwriting the whole thing out again), and FedExed it off today.

My thanks to the Eagle Award voters -- I was thrilled that Absolute Sandman volume 2 won an Eagle Award for Best Reprint. (Last year it was Absolute Sandman volume 1. Next year the vote will probably be split between Absolute Sandman volumes 3 and 4, and something else entirely will win.)

(I was looking to see if there were covers for Absolute Sandmans 3 and 4 up yet at Amazon, and noticed that volumes 1, 2, 3 and 4 are all on sale for $62.37 [and that they are going to weigh a grand total of 29 lb altogether] and the last two have 5% preorders discounts up as well. Which I mention mostly for those people who write to me and grumble about the Absolutes being $100 books.)

Not sure if the cover for Absolute 4 is a mock-up or the real thing. I suspect it's not the final, mostly because I'm pretty sure that face is from Sandman #1, and for Absolute 4 we'll be taking a cover portrait from somewhere in the last 20 issues.

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Regarding the Julie Schwartz Memorial Talk at MIT on the 23rd of May: To reiterate from the other day -- over at http://cms.mit.edu/juliusschwartz/tickets.html we learn that Tickets to the event are $8.00 and will be available at the door, pending availability. There won't be any available on the door, because they have almost all sold out. The website has a list of places selling the tickets -- yesterday there were about 60 tickets still out there. So this is a sort of a last call -- you can try phoning the places at the website to see if they still have tickets...


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An ebay auction with a story... I've been rereading some old Batman comics recently, although I don't think I'd want these. But the story that comes with them is wonderful...

I'm worried and upset about the earthquake in China. From Nancy Kress's blog I learned that at least some of the friends we made in Chengdu last summer are okay -- and so are the pandas.

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Rice pudding re-prompt! Once you get home to proper milk, of course. "Your general guidelines for a batch of rice pudding please, Mr. Gaiman!"Thank you!! ^_^b

I'm working on it, honest. Decided to figure out the proportions I'd used by a) finding a very similar recipe on the web and starting from there and then b) fiddling with it.

Two night's ago's rice pudding (the web recipe) was much too salty and wrong. I fiddled with the proportions and last night's was a lot better but now too sweet. Tonight's rice pudding would have been perfect I have no doubt but I forgot to buy more milk, so I didn't actually make one.

Dear Neil,

The press down here in Brazil have enthusiastically announced you'll be here for the Paraty International Book Fair, first week in July. But since you're also scheduled to lecture at Clarion, I'd like to ask if this is true. Or maybe you have a doppelganger. Or maybe the organizers here had a dream. Or maybe you're taking a weekend of from Clarion down here in Rio (if so, it'll be winter here, and rainy, not the best time to come...) Best regards,Eric

That sounds right, yes. (I teach Clarion the 3rd week in July.)

Hello hello hello,

To quote one of your other fans, “I have a question for you about writing”. I find that my own writing will echo the style of which ever author I am currently reading. Any idea how I might get around constantly mimicking others?

You write more.

I don't think there's anything wrong with copying other people's styles -- it's a skill you'll need, after all. Many actors begin as mimics. You don't worry about it, and keep writing, and after a while you'll have written enough that you can't help sounding like yourself, whether you want to or not.

Style is what you get wrong, that makes what you do sound like you. Style is what you can't help doing. Style is what you're left with.

(I just googled "style is what you can't help doing" because it sounded half-familiar, and I wondered who said it originally, and discovered that it may actually have been me, as I found myself looking at an extract from a speech I gave to an audience of comics artists and writers in 1997 at ProCon in Oakland:

We are creators. When we begin, separately or together, there’s a blank piece of paper. When we are done, we are giving people dreams and magic and journeys into minds and lives that they have never lived. And we must not forget that.

I don’t want to sound like an inspirational speaker here. "Be you." "Be the best you that you can be." But this is really important. It’s something that we mostly lose track of when we start, because when we start in comics we’re kids and we have no idea who we are or what our voices are, as artists or as writers.

Young artists want to be Rob Leifeld, or Bernie Wrightson, or Frank Miller, just as young writers want to be Alan Moore, or Chris Claremont or, well, Frank Miller. You’ve seen their portfolios. You’ve read the scripts.

We all swipe when we start. We trace, we copy, we emulate. But the most important thing is to get to the place where you’re telling your own stories, painting your own pictures, doing the stuff that no-one else could have done but you. Dave McKean, when he was much younger, as a recent art-school graduate, took his portfolio to New York, and showed it to the head of an advertising agency. The guy looked at one of Dave’s paintings—"That’s a really good Bob Peake," he said. "But why would you I want to hire you? If I have something I want done like that, I phone Bob Peake."

You may be able to draw kind of like Rob Leifeld, but the day may come, may have already come, when no-one wants a bargain basement Rob Leifeld clone any more. Learn to draw like you. And as a writer, or as a storyteller, try to tell the stories that only you can tell. Try to tell the stories that you cannot help but tell, the stories you would be telling yourself if you had no audience to listen. The ones that reveal a little too much about you to the world. It’s the point I think of in writing as walking naked down the street: it has nothing to do with style, or with genre, it has to do with honesty. Honesty to yourself and to whatever you’re doing.

Don’t worry about trying to develop a style. Style is what you can’t help doing. If you write enough, if you draw enough, you’ll have a style whether you want it or not. Don’t worry about whether you’re "commercial". Tell your own stories, draw your own pictures. Let other people follow you.

If you believe in it, do it. If there’s a comic or a project you’ve always wanted to do, go out there and give it a try. If you fail, you’ll have given it a shot. If you succeed, then you succeeded with what you wanted to do.

And it's still true. (That speech is, along with another speech about tulips and comics, and an essay on how to do successful signings, available in Gods And Tulips, illustrated by Chester Brown, price $3 from the CBLDF commercial website.)(And for those of you after instant webby gratification, the whole Procon speech is up at the Magian Line archives at http://www.woxberg.net/gaiman/magian/3-2.html. But the CBLDF Neil Gaiman store one has a pretty Mike Kaluta cover of me being dead on it. And it's cheap...)

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...

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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.

the flowers of romance

Cabal's cape did nothing to protect him against his encounter with a skunk last night... while I didn't have much of a right hand last night, for reasons you will learn at http://www.birdchick.com/2007/10/mr-neil-takes-one-for-team_22.html, so we didn't deskunk him until this morning.

There's an interview with me in The Independent in which I mention a few things I don't think I've said on the record before...


Neil --
In Ross Douthat's recent column in the Atlantic Monthly concerning the J.K. Rowling press of late (http://tinyurl.com/yq2wz2), Douthat suggests that "a writer confident in her powers wouldn't feel the need to announce details like this". It seems odd to me that ulterior motives are so quickly suspected -- she was an author answering a question with additional information not previously known. Do you find yourself withholding information during Q&A if it's not already contained in the story? Why or why not?

All that tells us is that Ross Douthat doesn't write fiction.

You always wind up knowing more about your characters than you can get onto the page. Pages are finite, and the story isn't about giving you all the information about everyone in it any more than life is. Things the author knows about characters (or at least, strongly suspects -- it's never really real until it hits the page, because the process of writing is also a process of discovery) that don't make it onto the page could include the characters' backstory, what they like to eat, the toothpaste they use, what happens to them after the story is over or before it began, and what they do in bed. That something didn't turn up in the books just means it didn't make it onto the page or wasn't relevant to the story. (Or even, it made it in and the author cut that scene out because it didn't work. One of my favourite scenes in Anansi Boys went because it made the chapter work better when it was gone.)

(I remember being astonished when I learned a few years ago, from an obituary, that two teachers I'd had as a child were a same-sex couple. Mostly astonished because at the age where they taught me, I didn't imagine that teachers had romantic lives, or were even entirely human; and learning that they were a pair reconfigured everything I knew about them, which wasn't very much.)

Neverwhere has two gay characters who are Out, as far as the book is concerned, and one major character who is gay but it isn't mentioned, simply because that character was one of many people in that book who don't have any sexual or romantic entanglements during the story. So it's irrelevant.

Sometimes even the author doesn't know for sure. (I used to wonder about Lucien the Librarian in Sandman. On the one hand, I strongly suspected he was gay; on the other, he seemed to have a small unrequited thing for Nuala going on. And if it had ever mattered in a story, I would have found out for certain, but it never did, so I didn't.)

And, truth to tell, sexuality tends to be such a minor thing, if you have several hundred characters running around in your head. You know more than you've written. One of the characters in Wall in Stardust, for example, is not what he is pretending to be in a way that has nothing at all to do with sex, although the clues are all there in the book, but if I don't do another story set in Wall you'll never find out who he is, or even why he's interesting.

As for withholding information... before the Internet, I'd tell anyone anything they wanted to know. ("Who's the missing member of the Endless?" "Destruction." "Oh.") After the Internet, I would try and avoid answering some direct questions because it might spoil things for people. "Why did Delight become Delirium?" "Who's the Forgotten God?" -- they're questions I would happily have answered for anyone who asked at a signing 20 years ago, because it wouldn't have gone any further, not in any way that mattered. Not any longer, because one day I may tell those stories. (If I knew for sure I wouldn't tell them, then I'd happily answer people now.)

Neil, would you please post the best-ever rice pudding recipe you mentioned? Presuming you were able to recreate it, of course. ^_^

Many thanks!

I tried one using the same method but I accidentally used horrible non-fat half and half instead of full cream milk, and the result was sort of grey and had a sickly corn-syrupy sort of background taste. Everything else worked though. I'll try one more, paying attention to quantities, and if it works I'll post it here.

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Amazon.com lists Absolute Sandman 2 as being written by me (which it was) and designed (which it wasn't) by Dave Mckean. It doesn't mention any of the other artists involved (Shawn McManus, Kelley Jones, Mike Dringenberg, Bryan Talbot, John Watkiss, Matt Wagner, Stan Woch, Colleen Doran, Duncan Eagleson, John Bolton, Malcolm Jones III, George Pratt, Dick Giordano, P. Craig Russell and Vince Locke). So I sighed, and filled in the form that allows you to fix things on Amazon. It was always the best thing about Amazon.com -- they made goofs but they were fixable.

I just got an email from them, listing all the names I'd submitted (along with Alisa Kwitney's, who wrote the introduction). And it concluded,
Action: None. We could not verify the requested update.
Data accuracy is highly important to us. We appreciate the time you have taken to submit your updates to us. Best regards,
Catalog Department

And sure enough, it's still wrong, and just lists me and Dave.

I'm wondering how they couldn't verify it. I mean, if you google Absolute Sandman 2 it takes you straight to http://www.dccomics.com/graphic_novels/?gn=7881 which has a complete list of everyone in it and what they did.

If anyone is reading this who works for Amazon, would you mind asking them how they verify these things? And whether there's any point in sending in corrections in the future? Up until now, the fact my name was the same as the person who wrote the book, and that I'd been on Amazon since 1997, always gave my corrections some kind of weight.

It's not that they make mistakes (according to Amazon.co.uk Odd and the Frost Giants (actual price £1.00) is a £25 "sturdy board book that will help every child to learn their numbers from one to ten - with the help of the snappy selfish crocodile". ) It's whether they can fix them. (Here's the correct link to Odd.)

Teabreak over, back on my head

The ladies from LUSH in Bristol gave me a gift box (back when I signed in Bristol, a couple of weeks and a hundred years ago) filled with things that make baths more interesting, and at the point where I couldn't write any more last night I had a bath, and decided to add a crumbly bubble blackberry something from the Lush box. Wandered off as the bath ran, wandered back to find a seven-foot high tower of bubble.


It was sort of like having a bath in a fluffy blackberry-scented igloo. Or a meringue.

Also made -- accidentally -- the world's best rice pudding, last night, good enough that I now have to try and repeat it and figure out exactly what I did and if it can really be that simple.

Am not posting about the Return of Princess (hurrah), or Cabal's digestive problems (ew).

I'm still writing the argh book. I think I know what Odd's carving, too... I think it's going to be a long night.

If you sign up at http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/commercial/article2623706.ece you will apparently get a love letter from me in your email. Also one from Margaret Atwood, Leonard Cohen and Chimamanda Ngozi Adichie. Five in all, I think, over five days. It's to promote this: