Neil Gaiman's Journal

A speech I once gave: On Lewis, Tolkien and Chesterton

noreply@blogger.com (Neil) — Thu, 26 Jan 2012 07:23:00 +0000

posted by Neil

I gave this speech in 2004, to the Mythopoeic Society. I thought it was already somewhere on this website, but it isn't, it's only up at the Mythopoeic Society website. I hope no-one there will mind if I put it up here (mostly for me, for ease of finding it later.)

Mythcon 35 Guest of Honour Speech

By Neil Gaiman

I thought I’d talk about authors, and about three authors in particular, and the circumstances in which I met them.

There are authors with whom one has a personal relationship and authors with whom one does not. There are the ones who change your life and the ones who don’t. That’s just the way of it.

I was six years old when I saw an episode of The Lion, The Witch and the Wardrobe in black and white on television at my grandmother’s house in Portsmouth. I remember the beavers, and the first appearance of Aslan, an actor in an unconvincing lion costume, standing on his hind legs, from which I deduce that this was probably episode two or three. I went home to Sussex and saved my meagre pocket money until I was able to buy a copy of The Lion, The Witch and the Wardrobe of my own. I read it, and The Voyage of the Dawn Treader, the other book I could find, over and over, and when my seventh birthday arrived I had dropped enough hints that my birthday present was a boxed set of the complete Narnia books. And I remember what I did on my seventh birthday — I lay on my bed and I read the books all through, from the first to the last.

For the next four or five years I continued to read them. I would read other books, of course, but in my heart I knew that I read them only because there wasn’t an infinite number of Narnia books to read.

For good or ill the religious allegory, such as it was, went entirely over my head, and it was not until I was about twelve that I found myself realising that there were Certain Parallels. Most people get it at the Stone Table; I got it when it suddenly occurred to me that the story of the events that occurred to Saint Paul on the road to Damascus was the dragoning of Eustace Scrubb all over again. I was personally offended: I felt that an author, whom I had trusted, had had a hidden agenda. I had nothing against religion, or religion in fiction — I had bought (in the school bookshop) and loved The Screwtape Letters, and was already dedicated to G.K. Chesterton. My upset was, I think, that it made less of Narnia for me, it made it less interesting a thing, less interesting a place. Still, the lessons of Narnia sank deep. Aslan telling the Tash worshippers that the prayers he had given to Tash were actually prayers to Him was something I believed then, and ultimately still believe.

The Pauline Baynes map of Narnia poster stayed up on my bedroom wall through my teenage years.

I didn’t return to Narnia until I was a parent, first in 1988, then in 1999, each time reading all the books aloud to my children. I found that the things that I loved, I still loved — sometimes loved more — while the things that I had thought odd as a child (the awkwardness of the structure of Prince Caspian, and my dislike for most of The Last Battle, for example) had intensified; there were also some new things that made me really uncomfortable — for example the role of women in the Narnia books, culminating in the disposition of Susan. But what I found more interesting was how much of the Narnia books had crept inside me: as I would write there would be moment after moment of realising that I’d borrowed phrases, rhythms, the way that words were put together; for example, that I had a hedgehog and a hare, in The Books of Magic, speaking and agreeing with each other much as the Dufflepuds do.

C.S. Lewis was the first person to make me want to be a writer. He made me aware of the writer, that there was someone standing behind the words, that there was someone telling the story. I fell in love with the way he used parentheses — the auctorial asides that were both wise and chatty, and I rejoiced in using such brackets in my own essays and compositions through the rest of my childhood.

I think, perhaps, the genius of Lewis was that he made a world that was more real to me than the one I lived in; and if authors got to write the tales of Narnia, then I wanted to be an author.

Now, if there is a wrong way to find Tolkien, I found Tolkien entirely the wrong way. Someone had left a copy of a paperback called The Tolkien Reader in my house. It contained an essay — “Tolkien’s Magic Ring” by Peter S. Beagle — some poetry, Leaf By Niggle and Farmer Giles of Ham. In retrospect, I suspect I picked it up only because it was illustrated by Pauline Baynes. I would have been eight, maybe nine years old.

What was important to me, reading that book, was the poetry, and the promise of a story.

Now, when I was nine I changed schools, and I found, in the class library, a battered and extremely elderly copy of The Hobbit. I bought it from the school in a library sale for a penny, along with an ancient copy of the Plays of W.S. Gilbert, and I still have it.

It would be another year or so before I was to discover the first two volumes of The Lord of the Rings, in the main school library. I read them. I read them over and over: I would finish The Two Towers and start again at the beginning of The Fellowship of the Ring. I never got to the end. This was not the hardship it may sound — I had already learned from the Peter S. Beagle essay in the Tolkien Reader that it would all come out more or less okay. Still, I really did want to read it for myself.

When I was thirteen I won the school English Prize, and was allowed to choose a book. I chose The Return of the King. I still own it. I only read it once, however — thrilled to find out how the story ended — because around the same time I also bought the one-volume paperback edition. It was the most expensive thing I had bought with my own money, and it was that which I now read and re-read.

I came to the conclusion that Lord of the Rings was, most probably, the best book that ever could be written, which put me in something of a quandary. I wanted to be a writer when I grew up. (That’s not true: I wanted to be a writer then.) And I wanted to write The Lord of the Rings. The problem was that it had already been written.

I gave the matter a great deal of thought, and eventually came to the conclusion that the best thing would be if, while holding a copy of The Lord of the Rings, I slipped into a parallel universe in which Professor Tolkien had not existed. And then I would get someone to retype the book — I knew that if I sent a publisher a book that had already been published, even in a parallel universe, they’d get suspicious, just as I knew my own thirteen-year old typing skills were not going to be up to the job of typing it. And once the book was published I would, in this parallel universe, be the author of Lord of the Rings, than which there can be no better thing. And I read Lord of the Rings until I no longer needed to read it any longer, because it was inside me. Years later, I dropped Christopher Tolkien a letter, explaining something that he found himself unable to footnote, and was profoundly gratified to find myself thanked in the Tolkien book The War of the Ring (for something I had learned from reading James Branch Cabell, no less).

It was in the same school library that had the two volumes of Lord of the Rings that I discovered Chesterton. The library was next door to the school matron’s office, and I learned that, when faced with lessons that I disliked from teachers who terrified me, I could always go up to the matron’s office and plead a headache. A bitter-tasting aspirin would be dissolved in a glass of water, I would drink it down, trying not to make a face, and then be sent to sit in the library while I waited for it to work. The library was also where I went on wet afternoons, and whenever else I could.

The first Chesterton book I found there was The Complete Father Brown Stories. There were hundreds of other authors I encountered in that library for the first time — Edgar Wallace and Baroness Orczy and Dennis Wheatley and the rest of them. But Chesterton was important — as important to me in his way as C.S. Lewis had been.

You see, while I loved Tolkien and while I wished to have written his book, I had no desire at all to write like him. Tolkien’s words and sentences seemed like natural things, like rock formations or waterfalls, and wanting to write like Tolkien would have been, for me, like wanting to blossom like a cherry tree or climb a tree like a squirrel or rain like a thunderstorm. Chesterton was the complete opposite. I was always aware, reading Chesterton, that there was someone writing this who rejoiced in words, who deployed them on the page as an artist deploys his paints upon his palette. Behind every Chesterton sentence there was someone painting with words, and it seemed to me that at the end of any particularly good sentence or any perfectly-put paradox, you could hear the author, somewhere behind the scenes, giggling with delight.

Father Brown, that prince of humanity and empathy, was a gateway drug into the harder stuff, this being a one-volume collection of three novels: The Napoleon of Notting Hill (my favourite piece of predictive 1984 fiction, and one that hugely informed my own novel Neverwhere), The Man Who Was Thursday (the prototype of all Twentieth Century spy stories, as well as being a Nightmare, and a theological delight), and lastly The Flying Inn (which had some excellent poetry in it, but which struck me, as an eleven-year old, as being oddly small-minded. I suspected that Father Brown would have found it so as well.) Then there were the poems and the essays and the art.

Chesterton and Tolkien and Lewis were, as I’ve said, not the only writers I read between the ages of six and thirteen, but they were the authors I read over and over again; each of them played a part in building me. Without them, I cannot imagine that I would have become a writer, and certainly not a writer of fantastic fiction. I would not have understood that the best way to show people true things is from a direction that they had not imagined the truth coming, nor that the majesty and the magic of belief and dreams could be a vital part of life and of writing.

And without those three writers, I would not be here today. And nor, of course, would any of you. I thank you.

Labels: Mythopoeic Society, G K Chesterton, C S Lewis, Tolkien

An Edgar and an Ill Wind

noreply@blogger.com (Neil) — Mon, 23 Jan 2012 01:18:00 +0000

posted by Neil

It's been a bugger of a week: I left my Macbook Air on a plane on Sunday night, and have spent most of the rest of the week doing things like being on the phone to the backup service, learning that the tracking software I'd thought was on there was on there, but hadn't been activated, buying a new computer, etc. I didn't get the thing I was meant to be writing written. I was grumpy.

But, I spent the wasted week getting healthy and in shape and juicing things. And I now have an iPad, with which I am starting to fall in love. (Weirdly, I much prefer my Nexus Android to the iPhone. But never liked the Xoom, and still don't - I have one, but mostly use it as an Audible player, and attempts to use it to write on, with a bluetooth keyboard, early this week were just painful. But I started falling for Amanda's iPad in Edinburgh in August, bought one for myself on impulse, and started writing on it, and discovering that writing on it was easy and pleasant.)

And this morning I got an email telling me that the thing that I would have been working on all week, that I'd already lost 15 pages of...

...was now going to change so radically I would have wasted a week's work if I'd been working on it. So I am happy.

And the thing I've been holding fire on for a week just sorted itself out, too. So I got a week off I would never have had in real life, even if it was a grumpy one, and all has worked out for the best.

And I learned on Monday morning I was nominated for an Edgar Award, by the Mystery Writers of America, for my story "The Case of Death and Honey". I don't write many mysteries, and I've never been nominated for an Edgar Award before. So I was thrilled. (The story, from A Study in Sherlock, isn't online, but you can read about it here.)

My friend Dr Dan just wandered by with a CD. "I see all these photos of you," he said, "that do not look like you at all. Here's a photo I took of you this summer that I like. It looks like you."

I liked it too, partly because you can actually see some of the grey on the side. There's stuff about getting older that I don't like - mostly having to do with eyesight - but I'm enjoying most of it. I like feeling that I have a face that looks like something; when I was young I was convinced I didn't look like anything, and wore dark glasses and big leather jackets so people would have something to remember. But these days I have a face that feels like mine, even if, sometimes, I catch myself in the mirror looking disconcertingly like my father.

It's been really wintry here, but today it warmed up to not-actually-evil, and I was able to pull out my phone and, more importantly, take off my gloves to take shots of the dogs. Who are too often invisible against the snow.

Cabal.

Lola, hoping a squirrel who ran up a tree will run down again, so that she can catch him and turn him into a squirrelly chew toy...

Lola visiting a frozen river...

And some of the beehives, all wrapped up for the winter. The bees are inside, in football-sized clumps, vibrating and generating heat.

...

It's the Chinese Year of the Dragon, so I just drew a wobbly dragon for my Chinese friends. He's based on a picture I saw of an ancient dragon who had three toes but was still Chinese...

I don't know if anyone's going to be able to see this photo posted here, in China. Last time I was there, this blog was cut off by the Great Firewall, but I post for it anyone who can: 恭喜发财

Labels: Edgar Awards, 恭喜发财, losing a bloody laptop, Winter, dog photograph, photo of me looking smiley

An open letter to Washington from Artists and Creators

noreply@blogger.com (Neil) — Wed, 18 Jan 2012 19:48:00 +0000

posted by Neil

We, the undersigned, are musicians, actors, directors, authors, and producers. We make our livelihoods with the artistic works we create. We are also Internet users.

We are writing to express our serious concerns regarding the PROTECT IP Act (PIPA) and the Stop Online Piracy Act (SOPA).

As creative professionals, we experience copyright infringement on a very personal level. Commercial piracy is deeply unfair and pervasive leaks of unreleased films and music regularly interfere with the integrity of our creations. We are grateful for the measures policymakers have enacted to protect our works.

We, along with the rest of society, have benefited immensely from a free and open Internet. It allows us to connect with our fans and reach new audiences. Using social media services like Facebook, Twitter and YouTube, we can communicate directly with millions of fans and interact with them in ways that would have been unimaginable just a few years ago.

We fear that the broad new enforcement powers provided under SOPA and PIPA could be easily abused against legitimate services like those upon which we depend. These bills would allow entire websites to be blocked without due process, causing collateral damage to the legitimate users of the same services - artists and creators like us who would be censored as a result.

We are deeply concerned that PIPA and SOPA's impact on piracy will be negligible compared to the potential damage that would be caused to legitimate Internet services. Online piracy is harmful and it needs to be addressed, but not at the expense of censoring creativity, stifling innovation or preventing the creation of new, lawful digital distribution methods.

We urge Congress to exercise extreme caution and ensure that the free and open Internet, upon which so many artists rely to promote and distribute their work, does not become collateral damage in the process.

Respectfully,

Aziz Ansari
Kevin Devine, Musician
Barry Eisler, Author
Neil Gaiman, Author
Lloyd Kaufman, Filmmaker
Zoë Keating, Musician
The Lonely Island
Daniel Lorca, Musician (Nada Surf)
Erin McKeown, Musician
MGMT
Samantha Murphy, Musician
OK Go
Amanda Palmer, Musician (The Dresden Dolls)
Quiet Company
Trent Reznor
Adam Savage, Special Effects Artist (MythBusters)
Hank Shocklee, Music Producer (Public Enemy, The Bomb Squad)
Johnny Stimson, Musician

From http://stopthewall.us/artists/

Labels: SOPA

Of Introductions and Viriconium

noreply@blogger.com (Neil) — Mon, 09 Jan 2012 23:24:00 +0000

posted by Neil

Another day of record high temperatures. I am mostly happy because it's astonishingly pleasant walking the dogs without protective clothing and facemasks and such. Also, it means I have a better chance of bringing all the beehives through this winter.

Which reminds me,

Hi, Neil,

I thought you might enjoy this article on bee keeping:

http://www.elephantjournal.com/2012/01/beekeeping-and-the-ethical-vegan--will-curley/

Best,
Helana

...and I really did. (For the record, I think it's absolutely right for ethical vegans to stop eating almonds, cucumbers, cranberries and other nuts/fruits/vegetables that are pollinated by bees being trucked around the country, bees that are being, from my perspective, exploited and mistreated -- although I don't know of any vegans that have stopped eating such fruits etc. -- but cannot see why such vegans would stop eating honey from small local beekeepers.)

The mail on Friday brought many wonderful things, including a box of copies of a new edition of Rudyard Kipling's The Jungle Book, to which I had written an introduction.

One reason I love writing introductions (or rather, I love having written introductions, because I don't love writing them. They feel like schoolwork, and they always take me so much longer to do than I ever think they will) is that I get to point to a work that I like, usually like a lot, and explain why I like it. You can't explain or point out everything in an introduction, nor should you. If it's done well, an introduction is a bit like sending a friend to a city she's never visited before. You tell her about the restaurants she shouldn't miss, and the places and sights that made you happy the last time you were there, and a few things that perhaps only the locals know.

I love M. John Harrison's prose and I love his books, and I find the Viriconium sequence fascinating and delightful, which was why I asked for it to be in my ACX audiobook line at Neil Gaiman Presents.

A few years ago, I wrote an introduction to the US edition of the book (the UK edition was introduced by Iain M. Banks, so even if you own the books, you might not have read it).

I said this:

On Viriconium: some Notes Toward an Introduction.

People are always pupating their own disillusion, decay, age. How is it they never suspect what they are going to become, when their faces already contain the faces they will have twenty years from now?

A Young Man's Journey Towards Viriconium

And I look at the Viriconium cycle of M. John Harrison and wonder whether The Pastel City knew it was pupating In Viriconium or the heartbreak of “A Young Man’s Journey Towards Viriconium” inside its pages, whether it knew what it was going to become.

Some weeks ago and half-way around the world, I found myself in the centre of Bologna, that sunset-coloured medieval towered city which waits in the centre of a modern Italian city of the same name, in a small used bookshop, where I was given a copy of the the Codex Seraphinianus to inspect. The book, created by the artist Luigi Serafini, is, in all probability, an art object: there is text, but the alphabet resembles an alien code, and the illustrations (which cover such aspects of life as gardening, anatomy, mathematics, and geometry, card games, flying contraptions, and labyrinths) bear only a passing resemblance to those we know in this world at this time: in one picture a couple making love becomes a crocodile, which crawls away; while the animals, plants and ideas are strange enough that one can fancy the book something that has come to us from a long time from now, or from an extremely long way away. It is, lacking another explanation, art. And leaving that small shop, walking out into the colonnaded shaded streets of Bologna, holding my book of impossibilities, I fancied myself in Viriconium. And this was odd, only because until then I had explicitly equated Viriconium with England.

Viriconium, M. John Harrison’s creation, the Pastel City in the Afternoon of the world; two cities in one, in which nothing is consistent, tale to tale, save a scattering of place-names, although I am never certain that the names describe the same place from story to story. Is the Bistro Californium a constant? Is Henrietta Street?

M. John Harrison, who is Mike to his friends, is a puckish person of medium height, given to enthusiasms and intensity. He is, at first glance, slightly built, although a second glance suggests he has been constructed from whips and springs and good, tough leather, and it comes as no surprise to find that Mike is a rock climber, for one can without difficulty imagine him clinging to a rock face on a cold, wet day, finding purchase in almost invisible nooks and pulling himself continually up, man against stone. I have known Mike for over twenty years: in the time I have known him his hair has lightened to a magisterial silver, and he seems to have grown somehow continually younger. I have always liked him, just as I have always been more than just a little intimidated by his writing. When he talks about writing he moves from puckish to possessed: I remember Mike in conversation at the Institute for Contemporary Art trying to explain the nature of fantastic fiction to an audience: he described someone standing in a windy lane, looking at the reflection of the world in the window of a shop, and seeing, sudden and unexplained, a shower of sparks in the glass. It is an image that raised the hairs on the back of my neck, that has remained with me, and which I would find impossible to explain. It would be like trying to explain Harrison's fiction, something I am attempting to do in this introduction, and, in all probability, failing.

There are writers’ writers, of course, and M. John Harrison is one of those. He moves elegantly, passionately, from genre to genre, his prose lucent and wise, his stories published as sf or as fantasy, as horror or as mainstream fiction. In each playing field, he wins awards, and makes it look so easy. His prose is deceptively simple, each word considered and placed where it can sink deepest and do the most damage.

The Viriconium stories, which inherit a set of names and a sense of unease from a long-forgotten English Roman City – English antiquaries have preferred Uriconium, foreign scholars Viroconium or Viriconium, and Vriconium has also been suggested. The evidence of our ancient sources is somewhat confused, a historical website informs us – are fantasies, three novels and a handful of stories which examine the nature of art and magic, language and power.

There is, as I have already mentioned, and as you will discover, no consistency to Viriconium. Each time we return to it, it has changed, or we have. The nature of reality shifts and changes. The Viriconium stories are palimpsests, and other stories and other cities can be seen beneath the surface. Stories adumbrate other stories. Themes and characters reappear, like Tarot cards being shuffled and redealt.

The Pastel City states Harrison’s themes simply, in comparison to the tales that follow, like a complex musical theme first heard played by a marching brass band: it’s far future SF at the point where SF transmutes into fantasy, and the tale reads like the script of a magnificent movie, complete with betrayals and battles, all the pulp ingredients carefully deployed. (It reminds me on rereading a little of Michael Moorcock and, in its end of time ambience and weariness, of Jack Vance and Cordwainer Smith.) Lord tegeus-Cromis (who fancied himself a better poet than swordsman) reassembles what remains of the legendary Methven to protect Viriconium and its girl-queen from invaders to the North. Here we have a dwarf and a hero, a princess, an inventor and a city under threat. Still, there is a bitter-sweetness to the story that one would not normally expect from such a novel.

A Storm of Wings takes a phrase from the first book as its title and is both a sequel to the first novel and a bridge to the stories and novel that follow and surround it: the voice of this book is, I suspect, less accessible than the first book, the prose rich and baroque. It reminds me at times of Mervyn Peake, but it also feels like it is the novel of someone who is stretching and testing what he can do with words, with sentences, with story.

And then, no longer baroque, M. John Harrison’s prose became transparent, but it was a treacherous transparency. Like its predecessors, In Viriconium is a novel about a hero attempting to rescue his princess, a tale of a dwarf, an inventor and a threatened city, but now the huge canvas of the first book has become a small and personal tale of heartbreak and of secrets and of memory. The gods of the novel are loutish and unknowable, our hero barely understands the nature of the story he finds himself in. It feels like it has come closer to home than the previous stories – the disillusion and decay that was pupating in the earlier stories has now emerged in full, like a butterfly, or a metal bird, freed from its chrysalis.

The short stories which weave around the three novels are stories about escapes, normally failed escapes. They are about power and politics, about language and the underlying structure of reality, and they are about art. They are as hard to hold as water, as evanescent as a shower of sparks, as permanent and as natural as rock formations.

The Viriconium stories and novels cover such aspects of life as gardening, anatomy, mathematics, and geometry, card games, flying contraptions, and labyrinths. Also, they talk about art.

Harrison has gone on to create several masterpieces since leaving Viriconium, in and out of genre: Climbers, his amazing novel of rock climbers and escapism takes the themes of “A Young Man’s Journey to Viriconium” into mainstream fiction; The Course of the Heart takes them into fantasy, perhaps even horror; Light, his transcendent twining SF novel, is another novel about failed escapes – from ourselves, from our worlds, from our limitations.

For me, the first experience of reading Viriconium Nights and In Viriconium was a revelation. I was a young man when I first encountered them, half a lifetime ago, and I remember the first experience of Harrison’s prose, as clear as mountain-water and as cold. The stories tangle in my head with the time that I first read them – the Thatcher Years in England seem already to be retreating into myth. They were larger-than-life times when we were living them, and there's more than a tang of the London I remember informing the city in these tales, and something of the decaying brassiness of Thatcher herself in the rotting malevolence of Mammy Vooley (indeed, when Harrison retold the story of “The Luck in the Head” in graphic novel form, illustrated by Ian Miller, Mammy Vooley was explicitly drawn as an avatar of Margaret Thatcher).

Now, on rereading, I find the clarity of Harrison’s prose just as admirable, but find myself appreciating his people more than ever I did before – flawed and hurt and always searching for ways to connect with each other, continually betrayed by language and tradition and themselves. And it seems to me that each city I visit now is an aspect of Viriconium, that there is an upper and a lower city in Tokyo and in Melbourne, in Manila and in Singapore, in Glasgow and in London, and that the Bistro Californium is where you find it, or where you need it, or simply what you need.

M. John Harrison, in his writing, clings to sheer rock faces, and finds invisible handholds and purchases that should not be there; he pulls you up with him through the story, pulls you through to the other side of the mirror, where the world looks almost the same, except for the shower of sparks...

Neil Gaiman

Narita Airport, July 25, 2005

....

There.

That's why I like it.

Those are some of the sights to see in Viriconium if you visit.

You can buy Viriconium from your local Indie Bookstore, or online: http://www.indiebound.org/book/9780553383157

You can listen to the audiobook, the one of which I am so proud, at http://www.audible.com/pd?asin=B006L88VMY&source_code=NGAOR0002WS101911

Oh, and adumbrate means to sketch, outline or prefigure.

Labels: bees, m. john harrison, the Jungle Book, vegans, the absence of Viriconium

Too Much Coming Home.

noreply@blogger.com (Neil) — Mon, 09 Jan 2012 06:14:00 +0000

posted by Neil

I'm home, and it's... well, nowhere near as cold as it should be. It was (in case you are interested) the warmest January 5th on record in this part of the world. And I'm really enjoying the warm weather more than I feel I should.

So, I last posted on New Year's Eve, in Melbourne.

January the First was quiet and extremely hot. Amanda completed her blog about our wedding, which she'd started writing almost a year earlier. (You can read it at http://blog.amandapalmer.net/post/15120706154/the-wedding-blog. When I finished reading it for the first time I got extremely sniffly. You have been warned.)

For the curious, my own Wedding blog is here: http://journal.neilgaiman.com/2011/01/yes.html. It's much shorter than Amanda's, but was written closer to the event. It ends with a paraphrase of a line from Oscar Wilde's The Importance of Being Earnest.

By perfect coincidence, we celebrated our first wedding anniversary on January the Second in Melbourne watching The Importance of Being Earnest, starring Geoffrey Rush as Lady Bracknell, seats thanks to actor Toby Schmitz, who played Jack Worthing, and had noticed me on Twitter asking for suggestions about what to do that night in Melbourne. Great cast, great production, beautifully designed and put on. It made me think a lot about surfaces and about Oscar Wilde, and what art means and what it does, and the tension between those things. Then, somewhat subdued, as if it had become real that I was flying away and Amanda wasn't, we had dinner and went to the posh hotel we were overnighting in, and, in the morning, I went to the airport. I won't see her now for about three months. Expect occasional wistful posts in the next three months.

I stopped off in Los Angeles on my way home. I saw Scott and Ivy McCloud and their daughters, my fairy goddaughters, Sky and Winter. I don't see any of them enough. The best thing about being my age is knowing people for a Long Time. Long enough that they've had children. Long enough that the children are now adults, or young adults.

I saw Harlan Ellison, and kvelled at his book of essential short stories and essays Encountering Ellison: Harlan 101, for which I'd written the introduction.

(You can get your own copy of it at http://www.cafepress.com/harlanellison).

I had a meeting at HBO about American Gods. Then I flew home. And it was unseasonably warm for January.

It is unseasonably warm, think the dogs. Not that we're complaining. Hunting season has stopped and Cabal's neckerchief is now only for show.

I've been keeping a tumblr blog for a few months now, at http://neil-gaiman.tumblr.com/ and rather enjoying it, posting links to small things or odd things that caught my eye or made me smile.

Yesterday was Charles Addams' Hundredth Birthday, so I posted this on Tumblr, the Addams Family cartoon I bought myself when I won the Newbery Medal. It was originally done as a British Telecom ad, and I saw it in the tube, in London in the late 80s. (Addams had lost the rights to the characters at the time, so only drew them when other people got the rights then hired him to draw).

The captions read: “I do hope it’s who you think it is, Fester.” And then, “It’s all been wonderful, Grandma – and Fester has at last established his ancestry!” It was to tell people - Americans, mostly -that it was cheaper to phone America than they thought.

...

And all that was just by way of prelude to posting about Viriconium by M. John Harrison, a book I introduced in 2005 and helped to bring out an audiobook of in 2011. But I think I'll put that off one more night. Viriconium deserves its own blog entry.

(Also, in Neil Gaiman Presents: Anita has her first review, while Swordspoint just garnered its first award, an AudioFile "Earphones" Award, with a review that says:

Richard St. Vier, swordsman extraordinaire, often fights duels to protect the honor of a noble—or just the highest bidder. But to fight for his own and his friends’ honor is a more complicated matter. There are so many rules for every kind of engagement—battle, politics, and, of course, love. Author Ellen Kushner delivers her utterly unique blend of modern fantasy and nineteenth-century novel of manners with absolute conviction, affectionate humor, and perfect phrasing. “Neil Gaiman Presents” has provided original music, lively soundscapes, and the voices of some of the audio world’s most distinguished performers. Hearing Katherine Kellgren, Dion Graham, and others sharpen the cutting, insightful dialogue is pure pleasure. B.P. Winner of AudioFile Earphones Award

Congratulations to Ellen Kushner, author and narrator, and to the cast, and to Sue Zizza, who is not namechecked here, and who directed and conceived the production.)

Incidentally, while I was in Australia I read Lift, by Rebecca K. O'Connor. I'd been curious about it ever since I saw that Rebecca saw me tweeting about ACX, decided to do an audiobook of her book using it, and Kickstartered the money to get into the studio and record it. It seemed a very creative way of using the world to make things happen. I hoped the book was good. It was, and now I'm really looking forward to the audiobook.

...

I should go and write some more.

Labels: Scott McCloud, Charles Addams, why I am a Fairy Godfather, Harlan Ellison, Unseasonable warmth not that I'm complaining, bloody labels, Winter, Ellen Kushner, dog photograph, the absence of Viriconium

My New Year Wish

noreply@blogger.com (Neil) — Sat, 31 Dec 2011 14:58:00 +0000

posted by Neil

A decade ago, I wrote:

May your coming year befilled with magic and dreams and good madness. I hope you read somefine books and kiss someone who thinks you're wonderful, and don'tforget to makesome art -- write or draw or build or sing or live as only you can.And I hope, somewhere in the next year, you surprise yourself.

And almost half a decade ago I said,

...I hope you will havea wonderful year, that you'll dream dangerously and outrageously,that you'll make something that didn't exist before you made it, thatyou will be loved and that you will be liked, and that you will havepeople to love and to like in return. And, most importantly (becauseI think there should be more kindness and more wisdom in the worldright now), that you will, when you need to be, be wise, and that youwill always be kind.

And for this year, mywish for each of us is small and very simple.

And it's this.

I hope that in this yearto come, you make mistakes.

Because if you are makingmistakes, then you are making new things, trying new things,learning, living, pushing yourself, changing yourself, changing yourworld. You're doing things you've never done before, and moreimportantly, you're Doing Something.

So that's my wish for you,and all of us, and my wish for myself. Make New Mistakes. Makeglorious, amazing mistakes. Make mistakes nobody's ever made before. Don't freeze, don't stop, don't worrythat it isn't good enough, or it isn't perfect, whatever it is: art,or love, or work or family or life.

Whatever it is you'rescared of doing, Do it.

Make your mistakes, nextyear and forever.

Labels: Happy New Year

On New Year's Eve Where I Am.

noreply@blogger.com (Neil) — Sat, 31 Dec 2011 05:00:00 +0000

posted by Neil

How on earth did that happen? I promised a blog tomorrow, and that was over a week ago. I wrote an essay, and I wrote a short story, and I went to Sydney and did a reading with a string quartet, but I didn't blog. And now I'm sitting backstage at Revolt in Melbourne preparing for a New Year's Eve Party- Masquerade-thing and I missed my blog. So while there is wireless, there is hope, and I am writing this.

Many exciting and wonderful things have happened in the time that I have been not-blogging. For example, I was quoted by Tom Stoppard.

My story "A Case of Death and Honey" from A Study in Sherlock and the upcoming Jonathan Strahan edited anthology Best SF and Fantasy of the Year Volume 6 was written about on the Tor.com website in a way that made me happy. Short story writing is a lot like Don Marquis's description of poetry writing as flinging rose petals into the Grand Canyon and listening for the boom. Normally there is silence, so even a little response to a short story is a good thing for an author. You can read the Tor.com piece, by Niall Alexander, at http://www.tor.com/blogs/2011/12/the-adventure-of-the-devils-foot-neil-gaiman-and-the-great-detective.

The first volume of Les Klinger's remarkable four volume Annotated Sandman comes out in a couple of weeks: reserve your copies from your local comic store or bookshop now.

Here's a great article about Allegra Rosenberg, who makes Time Lord Rock in Chicago. She's sixteen, although I said she was fifteen when I introduced her from the stage when I was doing the Not My Job quiz on "Wait Wait Don't Tell Me".

And you can listen to the Wait Wait interview at http://www.npr.org/2011/12/24/144146842/author-neil-gaiman-plays-not-my-job. (You can read it there, too. But listen to it, don't read it.) I can't embed it.

However, the recent Symphony Space SELECTED SHORTS is embeddable, and I have embedded it. It has me reading "Troll Bridge" along with one of my favourite Jorge Luis Borges stories, "The Circular Ruins".

...

I was about to tell you about M. John Harrison's Viriconium sequence being available on Neil Gaiman Presents as a beautiful audiobook. I want to do a whole post about that in the next couple of days, though. So for now, go and investigate if you wish to get ahead: www.audible.com/pd?asin=B006L88VMY&source_code=NGAOR0002WS101911
...

I had a marvellous time with the FourPlay String Quartet in Sydney a few days ago. Flew home and went straight to the Melbourne City Library where Amanda and I read (me) and sang (her). We'd announced that we'd be there on Twitter just before my plane took off, and about four hundred people showed up.

Melbourne City Library is amazing. It has a piano, and librarians so nice and creative I wanted to take them on the road with me. We'd be Neil Gaiman and his posse of travelling librarians.

I love this photo of me, eyes closed, listening to Amanda play:

...

Talking about good photographs...

It's from photographer Rasmus Rasmussen's website at http://rasmusrasmussen.com/2011/12/29/webley-palmer-and-gaiman-aka-favorite-photo-of-2011/

He says,

Throughout any given year I shoot thousands of photos, so when I was recently asked which one was my personal favorite of 2011, I had a difficult time answering. However, when thinking about it over a couple of days, the one above kept jumping out at me.
On 11-11-11 I documented Jason Webley‘s concert at The Moore in Seattle. That was where I caught this moment in time. Webley is talking about the virtues of love, while Neil Gaiman and Amanda Palmer sit together behind him, listening.

There is a love story there, and it starts with a look of genuine happiness on Jason Webley’s face, as he looks up into the light, sharing his joy with (and for) the audience. Amanda Palmer represents that audience to me, relaxed, attentive and having a good time, and Neil Gaiman ties the story together, looking down at his wife with complete adoration and a smile that says simply: “I Love You.”

There is enough intimacy in this photo, that I felt a little like a peeping tom as I put it through post processing, like I was crashing a private party. I actually had to remind myself that it was taken at a public event. That is why this is my favorite photo of 2011. It makes me feel like giving my wife a kiss, putting on some good music and take pleasure in the little things in life.

...

And for New Year's Messages... I have to write one for tonight in Melbourne as soon as I finish this.

It has to be as good as the ones I've written for this blog, over the years. Normally I don't stop and think. I just write what I'd want in the coming year, and hope that other people would want that too.

Someone just turned one of them into a poster:

And here's a mash-up of a couple of them, delivered from the stage in Boston, two years ago today...

Labels: In Australia they run out of 2011 early, Wait Wait, fourplay, Tom Stoppard, Sherlock Holmesery, Selected Shorts, Jason Webley, I want a posse of Travelling Librarians, annotations

Good evening Melbourne (and everywhere else)

noreply@blogger.com (Neil) — Tue, 20 Dec 2011 05:41:00 +0000

posted by Neil

In case you were wondering where I am - and I would not blame you if you were, for I frequently am unsure, and I keep tabs on me, -- I am in Melbourne, the one in Australia not the one in Florida. I am staying with my friends Peter Nicholls and Clare Coney, and am here with my wife, who is going to be doing all sorts of rock and roll things in Australia for the next few months.

I got here last week and promptly did an event for the Wheeler Centre, at the Atheneum Theatre, which was, despite the jet-lag, enormous fun, and even more fun because I got to spend time with Tom Stoppard, who I met back in 2007 in Brazil, and like enormously.

(Here's a photo taken in the Green Room beneath the stage, by Alison Croggan, who interviewed Tom.)

And with that done, my work here (the bits that consist of turning up on a stage, anyway) was 1/3 over. On the 28th I'll be at the Factory Theatre in Sydney for a Sold Out show, and on New Year's Eve I'll be part of Amanda's rather astonishing-looking Party. It goes from 8 pm until 2 am, features Amanda and me and Meow Meow and the Jane Austen Argument and all sorts of amazing people, and I'm planning to write something new and New Year's Evey for it. It's a small venue and is, Amanda assures me, her way of making sure that she goes to a New Year's Eve party that she loves. There are a few tickets left at http://www.revoltproductions.com/melbourneevents/byevent/NYE1

The episode of Selected Shorts in which I read TROLL BRIDGE has gone up at http://www.selectedshorts.org/onair/, with a direct link to the audio here. It's lots of fun, and there's a Jorge Luis Borges story as well.

Cat Mihos is doing something really nice over at Neverwear.net. She's giving something from the store away each day, to the person who has done something cool to deserve it. Some people are nominating themselves, some are nominating friends. You can read about it at http://kittysneverwear.blogspot.com/

In addition, she's giving $5 off each item in the store, with the code nice-kitty.

...

It's the time of year when I like to link to this Independent article I did a few years ago.
http://www.independent.co.uk/arts-entertainment/books/features/neil-gaiman-hanukkah-with-bells-on-1203307.html

It begins,

I do not recall lobbying for anything, as a boy, as hard as I lobbied, with my sisters, for a Christmas tree.

My parents objected. "We're Jewish," they said. "We don't do Christmas. We do Hanukkah instead."

This did nothing to stop the lobbying. Anyway, Hanukkah was no substitute for Christmas. My parents, unlike my grandparents, didn't always remember to keep Hanukkah, and even when my mother remembered the festival, we children could see that a menorah and candles were not a Christmas tree. My parents kept kosher, went to shul on high holy days but that was the extent of things in our house. My grandparents were properly observant Jews. My parents were not particularly observant Jews, while we children were, quite simply, bad Jews. We knew we were bad Jews because we wanted a Christmas tree...

...

The "Wait Wait Don't Tell Me" special goes out on the 23rd of December, on NPR and on TV. I'm told that there's a lot more of me on the radio than there will be on the telly. "I think once everybody got a look at it, they realized the throne thing we put you in was a terrible mistake," explained Peter Sagal.

...

There are two new books up at Neil Gaiman presents, and I'm thrilled about both of them.

ANITA was a book I remembered from my teenage years. It's a book about a young witch in the 1960s. It has the best grandmother in fiction in it, better even than the one in the Addams Family. It's funny and sweet and creepy and moving. There's a sample of it at http://www.audible.com/pd?asin=B006L7BA6O&source_code=NGAOR0002WS101911 - Nicola Barber reads it, and I think her reading is excellent.

Spot the mysterious typo on the cover...

If you loved the audiobook we did of Keith Roberts' Pavane... I'm afraid this is nothing like that at all.

..

Oops. Out of time. You will have to wait to find out about the other book. (We are going to see The Terminativity tonight. More tomorrow.)

Labels: Tom Stoppard, Anita, melbourne

Good MOORNING Sydney!

noreply@blogger.com (Neil) — Tue, 06 Dec 2011 09:14:00 +0000

posted by Neil

IF YOU ARE IN SYDNEY, AUSTRALIA:

Tickets went on-sale for the EVENING WITH NEIL GAIMAN on December 28th about an hour ago. They are $35 each for the first 150 people to buy them, and then $45 thereafter. I'm appearing at the Factory Theatre.

FourPlay are the support act, and will also be playing on stage during at least one of my readings, as they did when I was at the Sydney Opera House. They are wonderful.

Use this link for information and to get tickets. It's a mirror to the Factory Theatre website, to avoid crushing it with too many people at once.

If you are not in Sydney, Australia,

here is a photo of my dog Lola, down by the gravestone by the gazebo, to make it up to you:

Labels: sydney, zombie arm in the snow, Whatever Lola Wants

It's beginning to look a lot like a Christmas Card out there

noreply@blogger.com (Neil) — Sun, 04 Dec 2011 18:36:00 +0000

posted by Neil

I went to Chicago on Friday and took part in the recording of the "Wait Wait Don't Tell Me... Royal Pain In The Year" 2011 Special. It airs on BBC America (TV) and on Public Radio on December the 23rd. I was the "Not my job" guest, and answered three questions. Whether or not I got any of them right, you will have to wait until the 23rd to find out.

There's a conversation between Shaun Tan and me in the Guardian right now, and it's fun. We talk about art and suchlike. In the photo above we were standing behind the Edinburgh Book Festival authors' yurt taking it in turns to point at imaginary interesting things.

http://www.guardian.co.uk/books/2011/dec/02/neil-gaiman-shaun-tan-interview

ST: I don't know about you but when someone first mentions an adaptation, I have, probably a little bit inappropriately, a feeling of weariness at revisiting that work after I'd struggled with it for so many months or years. But then the second thought is "Wow, what a great opportunity to fix up all those dodgy bits."
NG: It's so nice to hear you say that. Somebody asked me recently if I plot ahead of time. I said yes I do, but there is always so much room for surprise and definitely points where I don't know what's going to happen. They quoted somebody who had said: "All writers who say that they do not know what's going to happen are liars, would you believe someone who started an anecdote without knowing where it was going?" I thought, but I don't start an anecdote to find out what I think about something, I start an anecdote to say this interesting thing happened to me. Whereas I'll start any piece of art to find out what I think about something.
ST: Exactly.
NG: I'm going to learn something I didn't know when I began. I'm going to discover how I feel and what I think about it during the process. I will break off little bits of my head and they will become characters and things will happen and they will talk to each other.
ST: Exactly, creating a character is like impersonating another being, so that you can find out what you think about something. You really find out what your style is when you diversify – setting something in a fictional landscape, the far future or distant past. A lot of people think of style or personality in terms of things you do often, but it's not really. It's what you do under duress, or outside of yourself. I don't feel I know myself really well because – again it's that emotional thing – sometimes I feel a little embarrassed by the amount of emotion that comes out in a story. I don't realise that there's so much of it locked up or in denial and then it comes out in the process of doing this conscious dreaming exercise.

Big thumbs up on that.

Baffled, however, by this article on Kurt Vonnegut at Guardian Books, which seems as wrongheaded as an article can be.

In it we learn that a new biography of Kurt Vonnegut "undermines his warm, grandfatherly image".

"A new biography of acclaimed American author Kurt Vonnegut, beloved by fans worldwide for his work's warm humour and homespun Midwestern wisdom, has shocked many with a portrayal of a bitter, angry man prone to depression and fits of temper.

The book on Vonnegut, who died in 2007, lifts the lid on the writer's private life, revealing a man far removed from the grandfather-like public figure his millions of devotees adored."

I read this and thought, I'm going mad. Who on Earth could read a Vonnegut book and think that he was a grandfatherly bundle of warm fuzzy happiness? I mean, I read Vonnegut first as a ten year old, and it was shocking because he could joke in the face of such blackness and bleakness, and I'd never seen an author do that before. Everything was pointless, except, possibly, a few moments of love snatched from the darkness, a few moments in which we connect, or fail to.

"Warm humour and homespun Midwestern wisdom"? Bizarre. I bet it was either written from a press release, or by someone who'd never read any Vonnegut.

Signed, the man who wrote the Introduction to Vonnegut's "God Bless You Dr Kevorkian"

...

It snowed yesterday night, and today the world looks like it only looks here once a year. Fresh snow, for the first time, makes the world look like a Christmas Card.

And I thought, Oh bugger. Holidays. Gifts. I should do a useful blog about that. So...

Tomorrow is the cut off-deadline for the CBLDF's "Spirit of Giving" campaign. If you want a signed book from any one of 25 creators, order quickly: http://cbldf.org/homepage/cbldf-cyber-monday-25-amazing-graphic-novelists-personalize-your-gifts-in-the-spirit-of-giving/

It's also the last day for Amanda Palmer signed Xmas card for orders from http://postwartrade.com/ over $100, which I mention as they now have a page of stuff from the Evening With Neil and Amanda tour - a limited amount, as it's the leftover merchandise, and when it's gone it will be very gone.

It's at http://www.postwartrade.com/neil.html and consists of a T shirt, a poster, a beautiful huge arty high-end photograph, and a tote bag. All of them except the photo are the beautiful Cynthia von Buehler image above. If you buy over $100 worth Amanda will write a thank you card to you, but today is the last day of Cards. (If you missed the Xmas cards deadline, you can still buy the stuff.)

...

Over at Kitty's Neverwear site, the cool NEW thing she has for the holidays is this:

It's my Rhysling Award-nominated poem "Conjunctions", here illustrated by wonderful Finnish artist Jouni Koponen, who did the amazing "Day The Saucers Came" poster, and it is for sale at this page. (There's an article by Kitty there about the poem too.)

Lots of other amazing treasures, posters, t-shirts, prints, and suchlike, at Neverwear: http://neverwear.net/store/index.php?main_page=index&cPath=4 will show you the prints that are currently available.

...

You can give Audiobooks as a gift. Honest, go and visit Neil Gaiman Presents. because you might know someone who wants to listen to Swordspoint, or Land of Laughs, or Pavane... It's the green "Give as a gift" button over on the right. And of course, they're also available in iTunes.

...

And, for person who has everything, I'm not sure that I've mentioned on this blog that Absolute Sandman Volume 5 is now out.

It contains Endless Nights, The Dream Hunters, the P. Craig Russell Dream Hunters, and strange small uncollected things that we'd forgotten about when we did the first four Absolutes that people then wrote here to remind me about.

...

On December 28th, I'll be doing An Evening With Neil Gaiman in Sydney, NSW. Special Guests, the FourPlay string quartet.

Date and venue and all information will be in the next blog. Keep the date free.

...

And finally, on Dec 31st in Melbourne, Amanda Palmer is having a mammoth musical New Year's Party and Masquerade. I'm hosting it with her, and I will be reading things, and there will be music and guests -- including The Danger Ensemble, Marieke Hardy, The Jane Austen Argument, The Bedroom Philosopher, Mikelangelo and Saint Clare, Lyndon 'Flaming Violin' Chester, Lance Horne "and another special guest so special we can't even announce her yet."

It's a limited ticket, one-off event, with regular tickets, VIP tickets (VIPs get STUFF) and all sorts of strangeness.

Tickets are at http://revoltproductions.com/melbourneevents/byevent/NYE1 If you're in Melbourne and over 18, I hope I'll see you there. It should be unlike anything else.

Labels: absolute Sandman, shaun tan, Wait Wait, Melbourne New Year's Eve, Conjunctions, amanda palmer, Kurt Vonnegut

Audiobooks: A Cautionary Tale

noreply@blogger.com (Neil) — Thu, 01 Dec 2011 17:57:00 +0000

posted by Neil

I was talking to an author last night. Actually, we were sending text messages to each other, something I don't do a lot of, but it was sort of fun, texting. I'm not going to identify her, or the book.

She had a novel published recently by a major publisher. I read it. I really loved it.

I thought, Why not see if I can do it as a Neil Gaiman Presents Audiobook, through ACX?

I asked if there was an audiobook. She said, "No, no audiobook."

I asked who had the rights, and whether I could do it in ACX. She was thrilled and said of course, and she'd find out if she had the rights or if her publisher did. We talked about what kind of voice narrator she'd want, and whether a male or a female narrator would suit the book best.

And then I got a message from her saying "Oh. Bizarre. I just looked online and see there is an audiobook of (the novel) which no-one ever told me about. It apparently came out in November."

I went online and looked. There was indeed an audiobook, and it had a terrible cover. And this morning brought an email from the author saying, sadly "Don't listen to the (novel) audiobook. It might be the worst thing I have ever heard."

I felt so sorry for her.

It was the same stuff that I'd been talking about in the interview that Laura Miller did for me with Salon.com
(http://www.salon.com/2011/11/23/neil_gaimans_audiobook_record_label/)

Why is there so much hesitation?

For me, the tragedy of audiobooks is that the physical limitations and impossibilities of putting out complete novels as audiobooks in the days of LPs and then pretty much in the days of cassettes, meant that the costs and the odds were always against you. Most books aren’t out as audiobooks. If you like a book, it’s probably not been done as an audiobook.

Publishers would take audio rights but then never do anything with them. ... That process is that you persuade your publisher to do an audiobook and then you have no control over who gets cast, or who reads it. You have no quality control over pronunciation or goofs or anything like that. And then your publisher brings it out and then your publisher remainders it.

That is the problem that ACX was created to solve — and for me it’s also the problem that it’s highlighting. I’m hitting it more and more. All I know is that there could be lots and lots of audiobooks out there that aren’t. For years it didn’t matter that the rights were held by people because nobody could do anything anyway. But we’re not in that world anymore.

Can you talk a bit about the importance of the right narrator, and how much that person can add to or subtract from the audiobook experience?

I remember once talking to a best selling author about audiobooks. He’d written a book that was narrated by a 20-something black male and the audiobook was read by a 50-something white female. He had no say in this and after listening to it for five minutes he stopped, feeling physically sick.

In some cases, when the author is alive and available, I cede that choice to the author. I become the production entity and I’ll cast a deciding vote if the author says it’s between three narrators he or she likes equally. If the author’s alive, I want the author happy. That’s the most important bit.

And I felt really extra sorry for my anonymous sad author, because I was SO happy about the release two days ago of Swordspoint -- mostly happy because of how amazingly happy author Ellen Kushner is. (See http://ellen-kushner.livejournal.com/tag/audiobook for proof and background.) Swordspoint's an audiobook narrated by the author, with additional soundscape and acting from such luminaries as Simon "Arthur Dent" Jones, and it's a thing of joy. She's happy, I'm happy, the people listening to it seem amazingly happy, the people at Audible.com are ridiculously happy because people are downloading it and the reviews are already coming in and they are happy reviews.

(Go and listen to the Swordspoint extract, or listen to me introducing it, or read more about it at http://www.audible.com/pd?asin=B006FJJDBW&source_code=NGAR0002WS101911)

And I don't want to turn this into a big plug for Swordspoint, or a rant against publishers wasting or not using audio rights. I think what I want to say mostly is, if you are an author, Get Involved in Your Audiobooks Early. Get your agent involved and interested. Talk about them at contract stage. Find out if you're selling the rights, and if you are selling them then find out what control you have or whether you are going to be consulted or not about who the narrator is and how the audiobook is done.

Also, make sure that your publisher has worked out a way to give you free copies (obvious if it's out on CD, much less so if you're on download-only platform).

If you're an agent, notice that we are not living a decade ago, when audiobooks were expensive bells and whistles that meant very little, that normally wouldn't be done for anything outside of major bestsellers, when abridgments were often the order of the day: we're entering a golden age, in which there is no reason that any book shouldn't be available in professionally produced audio. Unless you know that the audio rights are going to be used and used well, keep them for your author. And if they are being sold with the book, then guard your author, and make sure that she or he gets rights of approval.

I love, am thrilled with, and am getting a huge kick out of the ACX way of doing it, where authors (or rightsholders), producers and voice talent sign up and get together and make audiobooks that Audible put up. It's there for you if you're an author, an agent, a publisher with lots of rights you don't know how to exploit, a director/producer/studio engineer, or an actor, and interested. (Right now, it's US only, but they are working on that.) (Find out more at http://www.acx.com/) (End of plug.)

But this isn't an ad for ACX, either. Honestly, you can do it on your own, if you want: Find a narrator or a studio; you can release it through the web; you can give it away as a promotional item, or because you can. Or you can make sure that if your publisher is putting out an audiobook that you have a say in it, and it's the book you want it to be.

Because otherwise it might be you writing to friends telling them not to listen to the audiobook of your book. And that would be a terrible thing indeed.

Labels: audio books, swordspoint, Ellen Kushner, the mysterious way the labels for this post keep vanishing and I have to keep writing them again, ACX

The Simpsons and the Other Mother

noreply@blogger.com (Neil) — Mon, 28 Nov 2011 22:56:00 +0000

posted by Neil

Here's the SIMPSONS episode that I'm in. It's called THE BOOK JOB. I'm not sure how long it'll be up for.

If you're not in the US and you want to watch it, I recommend Tunnelbear (downloadable from http://www.tunnelbear.com/). It's what I use to tell the internet I'm either in the US or the UK, depending on where it would like me to be. They have a free service, but I eventually signed up for the paid one.

And, because it is good that you heard it here first, in the UK Bloomsbury are doing a special Tenth Anniversary edition of Coraline next year, illustrated by Chris Riddell. They just sent me his illustrations...

...

Also http://cbldf.org/homepage/cbldf-cyber-monday-25-amazing-graphic-novelists-personalize-your-gifts-in-the-spirit-of-giving/

Fight censorship this Cyber Monday by getting your holiday gifts from the Comic Book Legal Defense Fund! 25 of today’s most popular graphic novelists will personalize their books to the fans on your list in exchange for donations to the Fund! Best of all, every item supports the Fund’s First Amendment legal work, and a portion of each contribution is tax-deductible.

As part of the CBLDF’s Spirit of Giving holiday gift drive, donations you make on Cyber Monday will be acknowledged by The Will & Ann Eisner Family Foundation who will make a contribution of $1 for every donation and gift order placed on the CBLDF’s website. In addition, they will contribute $5 for each new, renewing or gift membership made from now until December 31!
25 legendary graphic novelists are personalizing books for the CBLDF, including some of the season’s best new gift books.

Make your holiday comics giving a cinch by choosing from books by bestselling masters including Neil Gaiman, art spiegelman, Frank Miller, Dave Gibbons, and Scott McCloud; Lit comics lions Chester Brown, Dan Clowes, Los Bros. Hernandez, Seth, and Adrian Tomine; Indy comics icons Jeff Smith, Evan Dorkin, Larry Marder, Carla Speed McNeil and Terry Moore; Superhero visionaries Ed Brubaker, Jonathan Hickman, and Paul Levitz; or Hard boiled thrill makers Robert Kirkman, Jason Aaron, Brian Azzarello, Garth Ennis, Brian K. Vaughan, and Brian Wood!

Labels: The Simpsons episode with me in it, chris Riddell, Coraline, CBLDF

On Doughnuts, Posters, and remembering Anne McCaffrey

noreply@blogger.com (Neil) — Wed, 23 Nov 2011 10:48:00 +0000

posted by Neil

The Simpsons episode aired in the US. I watched it with my daughter Maddy, her friends, and some of my friends. We had doughnuts (all kinds, but mostly the kind with sprinkles on them) and snacks and made it a proper TV watching party (I've always wanted to have one of those, but somehow never had before). I hadn't told the girls anything about the episode so the final twists and turns of the plot (which I am not telling here, because many of you haven't seen it yet) took them by surprise.

When the episode was done, the girls went into the kitchen and giggled a lot, while Bill Stiteler and I watched the episode again, this time with the freeze frame on, to catch the many book title jokes hidden in the episode.

The reviews for it have been wonderful, which is a testament to Exec Producer Matt Selman, writer Dan Vebber, and the crew of staff writers. And in some alternate universe where all the pink people are yellow, I like to think there's a version of me still sipping his drink on the beach at Shelbyville.

...

Rachel Abrams at Harper Childrens emailed me last week to let me know the results of the All Hallow's Read poster competition. And I am a Very Bad Person and didn't blog it (because people were writing on Twitter to let us know that not all the posters were showing on Flickr, and I wanted to wait until they were all visible. And then I got caught up in Simpsons Madness, and didn't get to it. Apologies to all of you artists waiting on tenterhooks.)

The contest is to design posters promoting All Hallow's Read. The winning poster design will become a limited-edition poster to be printed and distributed to participating booksellers for All Hallow’s Read in 2012 (printing and distribution sponsored by HarperCollinsPublishers).

And Rachel says...

We’ve put the posters to a vote and the Grand Prize Winner is…

Sksletonkey for her bewitching depiction of All Hallows Read! http://www.flickr.com/photos/69222671@N02/6311248494/

Tied at First Place are sfdavered

and Sara Koncilja

In addition to her poster being printed and distributed to book stores in 2012, the Grand Prize Winner will receive a signed copy of the limited edition poster and a “Neil Gaiman Prize Pack.” The prize pack will include a signed first edition of THE GRAVEYARD BOOK, a copy of CORALINE, and a copy of the CORALINE graphic novel.

First place winners will both receive the prize pack.

My congratulations to all the winners, and, more than that, my congratulations to everyone who took part. The posters submitted (you can see them up at http://www.flickr.com/photos/webgoblin/favorites/?view=lg -- go and look) are pretty much all wonderful. I was glad I wasn't judging the competition.

I hope that people will use (link to, spread around) all of the posters people did next October -- they really are fantastic.

Thank you SO much to everyone who took part.

...

I learned last night that Anne McCaffrey had passed away.

I met Anne for the first time as a teenager, in bed with glandular fever. A friend came over with a pile of books, because I could do nothing but read, and in the pile were books by Anne McCaffrey. I read the Dragonflight books, and The Ship Who Sang, and loved them.

I met her as a person in the late 80s, when I was a young writer, at a convention, where she was the Guest of Honour. It was a small convention, and she decided that I needed to be taken under her wing and given advice I would need in later life, which she proceeded to do. It was all good advice: how to survive American signing tours was the bit that stuck the most (she wanted me to move to Ireland, and I came close). I already liked her as a writer, and by the end of that convention I adored her as a person. Over the years I'd get occasional emails or messages from her, and they were always things where she was looking out for me -- letting me know about a foreign publisher who had money for me but no address to send it to, that kind of thing.

The last time I saw her was in 2005, when I was toastmaster at the Nebula Awards. I was as happy to see her as she was to see me.

I was heartbroken to hear that she had passed away, but then, as I was writing this, it made me foolishly happy to realise that there are actually some photos of us together. So many times, it's not until my friends are gone I realise that there weren't ever any photos...

Labels: All Hallow's Read, not being crushed by The Simpsons, Anne McCaffrey

Hey Hey We're, er, on the Simpsons.

noreply@blogger.com (Neil) — Sun, 20 Nov 2011 06:40:00 +0000

posted by Neil

In January, I was here:

I was given a copy of this.

And I recorded my part here, with Producer Matt Selman directing me as hard as he could.

And now, eleven months later, here we come... walkin' down the street... we get the funniest looks from... No, that's something else. Anyway, I like this shot because I am wearing a suit and tie.

If you're in the US, then the episode of The Simpsons with me in it, "The Book Job", goes out tomorrow. 8 pm or 7 Central.

If you're not in the US, then you may have a while to wait until it's on.

No, I haven't seen it yet either. I am hoping to watch it tomorrow with a daughter, her friends, and probably doughnuts.

...

I learned from Mark Evanier's blog that Les Daniels had passed away. Here's the New York Times obituary. I had Les's book "COMIX. A HISTORY OF COMIC BOOKS IN AMERICA" as a boy, and loved it and learned from it. I didn't meet Les until I was a guest at NeCon, in Providence, Rhode Island.

I really liked him, I got to thank him for COMIX, and it's good to say thank you. My obsession with Jack Benny really started when Les and I were talking about radio, and I was saying that the best radio comedies were all British, pointing to Hancock's Half Hour and the Goons and Round the Horne and The Hitchhiker's Guide to the Galaxy and Les agreed that they mostly were... but then there was the Jack Benny Show. And a few weeks later, he sent me some cassettes, so I could hear for myself. And I was both convinced and hooked. Thank you, Les.

Labels: Jack Benny and his Show, not being crushed by The Simpsons, Topiary, Les Daniels, Why is there no label about topiary already?

Home Again, Home Again, Coughetty Cough

noreply@blogger.com (Neil) — Tue, 15 Nov 2011 06:12:00 +0000

posted by Neil

I'm home from the tour. I'm tired and a bit sick (some sort of cold thing) but happy to be back with my dogs in my house. Already the tour is feeling a bit dreamlike and unreal. (Did Amanda really sing me a surprise Lou Reed/ Velvet Underground song in each new location? Did Amanda and John Cameron Mitchell also sing me "I'm Sticking With You" in Portland?)

\

I'm glad that I got to be with Jason Webley on the Eleventiest Night of All. This blog has brought me many good things over the years, but I'm most glad of the friendships I've made through it I wouldn't have made otherwise, and I would never have known Jason if I hadn't mentioned, here in this blog, back in the dawn of time, how much I liked a video of a song of his called "Eleven Saints".

Neil Gaiman on WhoSay

My best friend and I went to your "An Evening With Neil Gaiman and Amanda Palmer" show in Portland on November 8th and it was incredible. The two of you inspired both of us to grow as artists and people. For that, thank you. That said, I was wondering if you could tell me the name of that incredibly creepy song you sang at the end - the one where the disturbed man tells his mother about his killing spree. And how did you find it to begin with? Was it a popular song or something obscure you stumbled onto?

It's a song called "Psycho" written by a blind American songwriter named Leon Payne about fifty years ago. I ran across it as one of the extra bonus live tracks on Elvis Costello's Almost Blue album, where he covered the version done by a man named Jack Kittel (which I eventually heard on a collection of songs that Elvis Costello had covered). When I first started going out with Amanda I would teach myself to play songs, which I would play her over the phone, and that was one of them - I think because I liked a version of it that was more lonely and plaintive and crazy and slow than the versions I'd heard.

During our drive from LA to San Francisco Jack Kittel's version came on (I'd plugged my phone with much random music on it into the car stereo), and Amanda asked if I'd like to sing "Psycho" to an audience larger than her. And, nervously, I said "maybe..."

(Which reminds me: this article on Amanda is the best thing I've read about her so far, in that it reads like an accurate portrait of the woman I married and the person I know. I missed it when it first came out. http://www.popmatters.com/pm/tools/full/150167)

I've not seen Tom Stoppard for years (July 2008 in Brazil), so was delighted to learn I'll be sharing a stage with him in Melbourne Australia on December the 16th. Not actually sharing it -- he'll be on it from 7 until 8, and I'll be on it from 9 until 10. But nearly. And if you want to see both of us talk that evening it gets cheaper.

Details at http://wheelercentre.com/calendar/event/tom-stoppard-neil-gaiman-package/

Talking of stage-sharing: I mentioned here how much I loved the panel I did with Connie Willis at World Fantasy Con in San Diego.

That panel has now been uploaded to YouTube. You can watch it in its entirely. It is Connie and me talking about craft and Where DO We Get Our Ideas and all that for an hour.

...

Let's see. What else? Absolute Sandman Volume 5 came out. And that is most definitely the last Absolute volume of Sandman unless and until I actually write some more.

Dear Neil,

First of all, thanks to you and Amanda for a wonderful concert last week. It was really, really marvelous to be there with you. I'm wondering if the recordings of the tour will be available for those of us who didn't get in on the Kickstarter eventually?
Second is this: I'm a recently declared English literature major taking an introductory course to British - or, since we also read Beowulf, Anglo-Saxon literature. Although I see you as a very modern writer, and also the type of writer many people who absolutely couldn't ever stand to be an English lit major would read books by, reading the first book of The Faerie Queen I was repeatedly reminded of Stardust, and I know you also did the screenplay for Beowulf. How do you see this type of English tradition in relation to your own writing? Is it a conscious, deliberate, or completely unintended influence? And do you have any advice for me for surviving the rest of the term (Milton, Pope, Blake)?
Carolyn

I'm glad you enjoyed it. I'm not sure if the physical CDs will be available beyond the Kickstarter supporters (it'll be a 3 CD pack), but the audio downloads will be available for everyone.

How do I see that tradition in relation to my own writing? I don't really think about it much: I love the poets you refer to, mostly (I never liked Alexander Pope's writing as much as I like Pope himself, or at any rate the version of Pope that I read as a boy in the James Branch Cabell Story "A Brown Woman" -- you can read it here, if you're curious). I read it all for pleasure, whether in school libraries or on my own, trying to understand how it all fitted in to the stuff that I already knew that I liked, discovering poets I liked and poets I didn't care for.

Advice for surviving it? Lord, I hate to think of good writers as people you should survive. It's why I worry when I'm told I'm being taught in schools and colleges. I'm sure that Thomas Hardy wrote good books, and wish I'd come across them on my own, and all I know is that enforced reading of Thomas Hardy at school left me with a dislike of his books that's visceral, real and undoubtedly unfair.

Will you in the near- or slightly-more-distant-future teach a writing workshop?

Perhaps. I loved teaching at Clarion, but I also walked away from Clarion with 18 people whose lives and careers I now felt part of in a way that surprised me. I might do it again one day, probably should do, but am in no hurry.

Neil,

Your post - http://journal.neilgaiman.com/2003/06/tommy-leprechaun-dies-organs-are-built.asp

That link that 'goes' (went) to the Missoulian is dead.... do you have a copy of that Tommy the Leprechaun story?...it was most excellent - yes, that short little man touched many lives....
I am, Phantasmagorical - Tommy gave me many pieces of 'magic'.....

Thanks,John

Oh, I met the man who murdered the man who stole his clothes - at MSP - I worked at the prison....

It's sad. So many of the old links from the blog are dead. (And many of the images have vanished as well.) But we're in luck here: I checked archive.org and it still had a link to the original story. You can read it here.

Reading that old blog entry reminded me of the existence of this, from the dawn of the Internet, and I looked on YouTube, and found it once again, and I post it here for anyone who wonders what the original 1944 Warner Brothers version of Lord of the Rings, starring Humphrey Bogart as Frodo and Peter Lorre as Gollum, actually looked like*:

*Not a true statement. For purposes of humour only. Void where prohibited.

Labels: Tom Stoppard, Connie Willis, amanda palmer, Psycho, liking the stuff they don't force you to study, Tommy the Leprechaun, Jason Webley

Birthday Wishes

noreply@blogger.com (Neil) — Thu, 10 Nov 2011 21:25:00 +0000

posted by Neil

The tour is over.

It was amazing, and it got better. Vancouver was fantastic. Portland was amazing. Seattle was almost as amazing as Portland, but it was the only stop on the tour I didn't do mostly new material at because we were webcasting it.

I went looking on Flickr for a photo of me last night in Seattle - Amanda surprised me on stage with her signing "Take Back Your Mink", accompanied by a small, well-choreographed burlesque troupe, and then presented me with a birthday cake. But there were no photographs of that up yet, so here is a photo someone took of me in Vancouver.Portland and Seattle were filmed. All the shows were recorded. We'll be releasing a triple CD of the tour to Kickstarter supporters, and there will also be a digital download. I don't yet know how the film of the last two gigs will be released or what it will be once it's edited.

It's my birthday today.I'm 51. There is no way I can get my head around 51.

It sounds so terrifyingly grown up. I know that I am remarkably fortunate: there are people I love who who love me, and I make my living making art that I take pleasure in making. I don't know what else I could ever ask for.So many birthday wishes coming in.

Thank you, each and every one of you. I'm very grateful.

Labels: birthdays, seattle

If this is thursday then where on earth did the last week go?

noreply@blogger.com (Neil) — Fri, 04 Nov 2011 08:30:00 +0000

posted by Neil

A blog post written this morning, one-fingered, on Amanda's iPad, while she slept, was eaten by the iPad or the ether.

Damn.
Here's my AMAZING LA assistant Cat's blog about World Fantasy Con and what happened while I was in LA. http://kittysneverwear.blogspot.com/2011/11/world-fantasy-con-late-late-show-neil.html
I'm backstage right now at the Brava Theatre in San Francisco.

Let's see..

First of all, a thousand thanks to everyone who gave anyone else a scary book, or encouraged other people to, for All Hallow's Read. Thank you!

Craig Ferguson and the Late Late Show was fun. Amanda was meant to record her bit at 4:20, my section around 5 ish, but a newly added dance number at the opening of the show meant we didn't leave until about 6:30pm... and the rest of the evening squirmed and coped as best it could...

My friend Mark Evanier served as haggis mule for the Late Late Show, and he writes entertainingly and accurately about the experience and the view from backstage at http://www.newsfromme.com/archives/2011_10_31.html#021526

Left to right: Moby, Amanda Palmer, Stephin Merritt. Pay no attention to that toy pianist at the back.

The Haggis came from Macsweens via scottishfoodoverseas.com, ace haggis importers. My assistant Lorraine did all the hard work, at one point enlisting both Mark Evanier and Wil Wheaton in her secret haggis-importing clan, and sending around emails that said things like:

Hello all,

First of all, THANK YOU for be willing to accept our Haggis. And tend it. And keep it safe. True friends, indeed...

Sadly, Mark didn't copy me when he replied to Neil that he was a couple of blocks away, and Neil was in the cities at the time taping NPR and by the time I got Mark's note it was too late, the Haggis Shop is closed, the order set, and One Little Haggis is on its way from Scotland for Friday Delivery to Mr Wheaton.

If it is easier for all concerned, perhaps, Mark might acquire the Haggis from Wil, and deliver it Monday. If Wil would like to keep the Haggis and make the journey himself, well, that's just fine too. Mostly, whatever it easiest, I do not want our Haggis to disrupt lives and wreak havoc.

Again, my thanks to you,

Lorraine

Which I quote in full because I love the haggisy emails that were sent around. (Mark Evanier took delivery of the haggis in the end.)

Here's the song...

And here's the interview...

Right. So the Wilshire Ebell Hallowe'en gig was wonderful, but chaos. We got to the theatre late, late from the Late Late Show, and the rehearsing time never happened, the costume contest and the us chatting took up much more time than we had thought, and we had to be offstage at exactly 10:30 or the tour would turn into a pumpkin, so the set list wound up becoming a peculiarly moveable feast... and it was wonderful. Nothing quite went as planned, but it felt like everyone, including us, was having the kind of evening that only ever happens once.

The scary rabbit twins in fezzes won the costume competition, with Roborina coming in second and Hester Prynne at the far left not winning, although her glowing A was often the only thing in the audience visible from the stage, so I always knew where she was. (Margaret Cho introduced us and helped with the costume competition. She is a very good thing.)

Amanda and I drove up the coast. We spent the night at the Madonna Inn (I am still trying to decide if it's a real American Gods place or not. I think probably it is) and then the next morning drove to San Francisco.

(It's now tomorrow, after the Brava show. Time to type has been tight.)

The Brava show was much tighter than the LA show. I read different things (I plan to read different things every night). We didn't have strict on-stage curfew, which meant that things could run a little long and no-one worried. The Jane Austen Argument debuted a new single, Holes, with lyrics by me and art by Mark Buckingham. (You can listen to it here.)

Amanda played me "Walk on the Wild Side" as an early birthday present, assisted by the Jane Austen Argument and Lance Horne.

And finally, for now (only because I have to stop writing this blog and sleep, despite all the things I meant to write about here) Absolute Sandman Volume 5, containing Endless Nights and Dream Hunters and more, comes out tomorrow. You can preorder it discounted at Amazon, You can preorder it from Indiebound. (You can preorder it from Barnes and Noble, but they don't get a link until they put Sandman graphic novels back on the shelves of their shops.)

Or you can just go and buy a copy from your local comic shop.

Barnes and Noble have done something very wonderful recently, though. Last year, they recorded me reading the opening passage to James Thurber's book "The Thirteen Clocks", which is one of my favourite books. And now they've animated it. Here's a link to the Barnes and Noble blog where you can watch it.

Right. Sleep.

Labels: halloween traditions, The Thirteen Clocks, An Evening With Neil And Amanda., amanda palmer, Stephin Merritt, haggis smuggling, Craig Ferguson

"Neil Gaiman Presents" is open for business!

noreply@blogger.com (Neil) — Tue, 25 Oct 2011 19:21:00 +0000

posted by Neil

This poor website's had quite a buffeting in the last 24 hours, what with the launch of All Hallows Read (the allhallowsread.com website is run off neilgaiman.com). Sorry if you've had trouble. The Webgoblin has upgraded everything, and it should be working again by now.

I just came back from Radio K.N.O.W. in St Paul, where I recorded a segment for NPR's ALL THINGS CONSIDERED - they've started the Back Seat Book Club for kids, and picked The Graveyard Book as their lead title. Here's their article on the Book Club. More questions are still coming in, so I promised I'd answer some next week at their site.

I also recorded a couple of little things in the studio there for the introductions I've been doing to the Neil Gaiman Presents line at Audible.com.

This is something I'm really excited about. Don Katz at Audible.com knows how much I love audio books, and offered me the chance to have my own record label at Audible, getting books I loved and wanted to hear that had never been audiobooks made as audiobooks and out into the world, with the best readers I could find, using Audible's ACX platform. (The idea of ACX is that there are a lot more books out there than there are audiobooks, so ACX is a way of introducing authors and rights-holders to actor/performer/readers and producers/directors. It's very simple and sensible, and should, I hope, result in a lot more audiobooks out there in the world.)

It's been a year in the planning and now the first five books are out, with a lot more at various stages in the production process.

The first round of audiobooks consists of:

LAND OF LAUGHS by Jonathan Carroll read by Edoardo Ballerini.
YOU MUST GO AND WIN written and read by Alina Simone
PAVANE by Keith Roberts, read by Steven Crossley
LIGHT by M. John Harrison, read by Julian Elfer
THE MINOTAUR TAKES A CIGARETTE BREAK by Steven Sherrill, read by Holter Graham

Which is to say, one beautiful work of magical realism about the dangers of having a favourite book, a collection of really funny essays about travel and Russia and being a musician, a collection of stories that become a moving alternate history, a strange and glorious space opera and a work of contemporary americana with a minotaur in it.

You could say "Why aren't these books all the same kind of thing?" and I would say "Because I like lots of different things. And so might you."

Coming up in the next round we will have Ellen Kushner reading SWORDSPOINT and John Hodgman reading Robert Sheckley's hilarious pre-Hitchhiker's Guide to the Galaxy galactic travel fantasia DIMENSION OF MIRACLES. And lots, lots more...

I recorded introductions to each book, worked with Audible to acquire the rights, worked with the authors (when they were alive) to choose the readers. I'm ridiculously proud of the whole thing. (There's a lady at Audible.com named Christina Harcar who has done all the heavy lifting and I am very grateful to her, to everyone involved at Audible, and particularly to Don Katz for indulging my madness.)

If you've never tried Audible, it's amazingly easy - you can use your Amazon ID and password to log in and sign up. The full list of what "Neil Gaiman Presents" has coming out is at this link.

If you've never tried an audio book before, this might be a good time to find out if you enjoy them. They will go and live on your phone, your tablet, your computer, your iPod...

(And if you're an author or an actor or a director/producer/engineer, you can get started using ACX at http://www.acx.com/help/learn-how-neil-uses-acx/200680340.)

I don't really have a good photo of an audiobook being recorded to round this out, so here is a photo of my wife chasing a chicken.

Labels: audio books, a photo of AMANDA chasing a CHICKEN, audible.com, ACX

The Back-seat Book Club and the Egg Salad

noreply@blogger.com (Neil) — Mon, 24 Oct 2011 19:45:00 +0000

posted by Neil

National Public Radio's ALL THINGS CONSIDERED has started a book club for the young:

We are starting a special project at NPR aimed at our younger listeners. We're talking about all those young people who listen to NPR programs while riding in the car or sitting at the kitchen table. We'd like you to lend us your ears and your curiosity. Beginning this October, All Things Considered is rolling out The Back-Seat Book Club for kids ages 9 to 14.

http://www.npr.org/2011/10/21/141473961/read-graveyard-with-our-new-back-seat-book-club

Pretty obviously, I'm thrilled that they've chosen The Graveyard Book as their first book. There's a link for young readers to ask their Graveyard Book questions, and I'll answer as many as I can on the air on All Things Considered this Friday.

(Also, I was delighted to see that The Graveyard Book has made it back onto the New York Times bestseller list.)

And there's now a very pretty Adult Edition of the book out:

Photo from Cat's excellent blog at http://kittysneverwear.blogspot.com/2011/10/october-skies.html.

(People who like prints, signed or otherwise, should check out the Prints page at Cat's Neverwear.net - the Molly Crabapple Desert Wind posters go up in price on November 1st).

...

I did an interview with a reporter about The Simpsons this morning. It was fun and odd to be talking about it, and here is a picture of me and an egg salad from the upcoming episode with me in it to celebrate. Am I pleased about this egg salad? Do I look pleased? Why is the title of the Simpsons episode The Book Job? Why have I blogged three times in 12 hours after not having blogged for two weeks? Will anyone ever fix the Livejournal officialgaiman syndicated feed? Why did I say the egg salad was a tuna salad on WhoSay? Is it something to do with the colour?

Neil Gaiman on WhoSay

Labels: Egg Salad, NPR, not being crushed by The Simpsons, Book clubs, The Graveyard Book

Thoughts on joining a club that would have me as a member

noreply@blogger.com (Neil) — Mon, 24 Oct 2011 16:57:00 +0000

posted by Neil

I'm still grinning about finding myself, for the second year running, on the Astrid Lindgren Award longlist.

It's a very long list of very amazing people doing good and powerful things for children's literature and literacy around the world - writers, illustrators, oral storytellers, promoters of literacy: 184 nominees from 66 countries.

The Guardian asked how I felt about it, and I wrote a reply to them, but I wrote it on my phone, which was out of range of any signal and thus didn't send it. So it wasn't in their article.

I thought I'd put it here. Because I meant it, and I still mean it.

This is my second year on the Astrid Lindgren longlist, and I'm a strange mixture of thrilled to be picked and honoured to be in such company. Just as thrilled as I was last year, in truth.

Last year Shaun Tan won, which made me feel that the award was going to the best people. With a longlist of 184 people I feel less like I'm in competition for an award and more like I've been told I'm part of a club of people who've been doing the right thing.

Making fiction for children, making books for children, isn't something you do for money. It's something you do because what children read and learn and see and take in changes them and forms them, and they make the future. They make the world we're going to wind up in, the world that will be here when we're gone.

Which sounds preachy (and is more than you need for a quotebyte) but it's true. I want to tell kids important things, and I want them to love stories and love reading and love finding things out. I want them to be brave and wise. So I write for them.

And I'm honoured to be part of the club.

Labels: Groucho Marx, Astrid Lindgren Award, What I think

All Hallows Read News, and stuff.

noreply@blogger.com (Neil) — Fri, 21 Oct 2011 20:36:00 +0000

posted by Neil

I'm way behind in blogging. Partly because I started playing with Tumblr (http://neil-gaiman.tumblr.com/), which is fun because it's novel and shiny, and because it makes a few things that are hard to do in Blogger really easy. Partly because I was off the map for a bit, doing a number of things, including spending time with Amanda at her sister's in Santa Fe, where I got to be an Uncle to her nephew Ronan who started out calling me Uncle Neil and then switched to Neilgaiman, and when last seen was resisting all Amanda's efforts to persuade him to call me Uncle Neilgaiman.

Yesterday I went to see the Chippewa Valley Roller Girls play. (They played Harbor City, in Duluth, and were honorably beaten.) My assistant Lorraine is now skating with them as Quiche Me Deadly, although yesterday she was not skating, instead she organised... well, as far as I could tell, she seemed to be organising everything. Lojo Russo played the intermission, for example. After the game, Lorraine took me over to her teammates and introduced me to them.

Photo by Ctein.

Eventually she persuaded them to give me back.

...

Right.

I'm at home, wrapping things up, and preparing for the World Fantasy Convention in San Diego, and then the Evening With Neil and Amanda tour West Coast Tour that follows it.

On October the 31st, Amanda will be a musical guest (she will be forming a small and magical supergroup for the occasion), and I will be in the guest's chair talking with, Craig Ferguson. I had hopes of getting him a MacSween's vegetarian haggis. Zooey Deschanel will be the other guest. It will be fun.

And then we will careen from the Late Late Show studios over to the Wilshire Ebell for the Soundcheck and then the first of the "Evening With Neil Gaiman and Amanda Palmer" shows.

(There are still tickets available for the LA show as I type this - perhaps because it's on Hallowe'en, and people often have things to do on Hallowe'en. The two San Francisco shows, Portland and Vancouver sold out immediately. There are a few tickets left for Seattle on November the 9th.)

Which reminds me...

A year ago, on a plane, it occurred to me that there should be a scary book-giving part of Hallow'en, and I wrote this, here on the blog:

I was on a flight home last night, and I thought,

You know, there aren't enough traditions that involve giving books.

There's World Book Day, which grew out of Don Quixote Day/Cervantes Birthday/St George's Day in Spain, where roses and books are given, but really, we need some more instant traditions that involve the giving of books, the kind that spread all over the world.

And then I thought,

Hallowe'en's next weekend...

So:

I propose that, on Hallowe'en or during the week of Hallowe'en, we give each other scary books. Give children scary books they'll like and can handle. Give adults scary books they'll enjoy.

I propose that stories by authors like John Bellairs and Stephen King and Arthur Machen and Ramsey Campbell and M R James and Lisa Tuttle and Peter Straub and Daphne Du Maurier and Clive Barker and a hundred hundred others change hands -- new books or old or second-hand, beloved books or unknown. Give someone a scary book for Hallowe'en. Make their flesh creep...

Give a scary book.

If you don't know what kinds of books there are, or what would be appropriate for the person you're giving a book to, talk to a bookseller. They love to help, most of them. (The ones that don't tend not to be booksellers for long.) Talk to librarians. (Do not plan to give away their books though, unless they are having a library sale.)

That's it. That's my idea.

Scary book. Hallowe'en.

Who's with me?

Neil

(And for those of you who protest that, honestly, you need no excuse to give books as gifts, and you do it all the time, and it comes to you as naturally as breathing -- well, that's wonderful, and I'm glad. Think of this as your chance to spread books to people to whom you might not normally give books, or to receive books you might otherwise never read.)

And, with help from the ever-amenable Web Goblin, Dan Guy, and the former Web Elf, Olga Nunes, we made the All Hallows Read website at http://www.allhallowsread.com/. (The festival was named on Twitter.)

This year, lots of people have taken the severed head and started to run with it.

Tor.com, for example, has a great list of suggested books. Here's a great piece on the Huffington Post website, with an excellent video.

A few months ago I called Elise Howard at Harper Children's, who has been my editor there for the last decade, and spoke to her about it. She loved the idea of getting involved. She offered to print a poster, for the winning entry in an All Hallow's Read poster contest...

Artists: Enter the All Hallow’s Read poster contest, and your winning design might become the official All Hallow’s Read poster in 2012.

Your original submission should spread the word about All Hallow’s Read and encourage participation in the program. The winning poster design will be announced and featured on AllHallowsRead.com and will become a limited-edition poster to be printed and distributed to participating booksellers for All Hallow’s Read in 2012 (printing and distribution sponsored by HarperCollinsPublishers).

I thought that the poster idea was a wonderful one, and was thrilled that they were going to sponsor that when I got another message from Elise. This time with something even more fun that they were going to do for people in New York. On Tuesday...

Hi, Neil.

We’ve got everybody on board here at Harper for All Hallow’s Read and our big book drop on 10/25. In addition to encouraging readers to participate in the AHR book drop and retweeting their efforts and pictures, we’re going to drop sixty Harper titles for readers of various ages at locations around New York City. Lucky readers will find copies of The Graveyard Book and Coraline, Dark Eden by Patrick Carmen, Possess by Rachel McNeil, Scary Stories by Alvin Schwartz, and Vampire Boy’s Good Night by Lisa Brown.

We’re going to create a downloadable sticker for All Hallow’s Read book drop participants to print and use, so that book finders can take up the mission, too.

Throughout the day, we’ll call out the AHR book-drop project on our Twitter and Facebook accounts. Look for your favorite Harper staffers in the #AllHallowsRead discussion on 10/25!

Elise

In addition to this book drop project, they've made some fine scary book recommendations (you can read them at http://www.allhallowsread.com/book-recommendations/ - and I did a list myself, with the help of about 1800 suggestions from Facebook, right now as a PDF on that page.

Of course, you do not need to be a publisher to do a book drop, and we now have a page on the All Hallows Read site with a Book Drop Sticker that you can print out and put in a book, which lets people know that the book is there to be taken and read.

And All Hallows Read even has its own forum, where people can exchange ideas, tips and useful ways to give scary books.

...

It feel like the end of a decade, too. Ten years ago I was an adult author who was going to publish a book called Coraline, my first children's book from a major publisher. I had two editors, Sarah Odedina at Bloomsbury in the UK and Elise Howard at Harper Children's in the US. They were two of the smartest editors anyone could have. I felt comfortable with them, and safe with them, and they advised but never ordered, they supported me as an author, they were patient when they had every right to ask where the book I was meant to be writing was. One on each side of the Atlantic.

And in a matter of weeks, both of them have gone - each of them has her own imprint. Sarah is publishing Bonnier's children's imprint, Hot Key Books, in the UK, and Elise will be creating a children's line for Algonquin Books of Chapel Hill.

I wanted to wave them goodbye here, and to say thank you for everything they did. Their authors will be very lucky to have them, and I'll miss them.

...

Hi Neil,

This is too long to Tweet, so I was wondering, are you aware of Mark Oshiro's "Mark Reads" project and the fact he's currently doing (almost finished) American Gods?

"Mark Reads" started as "Mark Reads Twilight" and was done as a joke, but when he started blogging Harry Potter in the same vein, he realised he actually liked the series and stopped making fun of it - and he now does books that he actually hopes to enjoy and think seriously about - he does chapter by chapter reviews/reactions and tries to read completely spoiler free. The blog has had literally millions of hits and hundreds of thousands of followers.

I know you can't mention everyone who ever does a reading project of one of your books and that you must have heard everything there is to hear, but the real reason I'm writing to you about him today, though, is because of something in particular he said in today's review (chapter 18)

"that’s half the charm of American Gods. This might technically be a fantasy novel, but it rarely feels fantastic. It feels like the very best history lesson I could ask for, or perhaps a fireside story told with sincerity and heart, or maybe even a tale handed down over the centuries. It’s comforting even if it is disturbing at times, and I found myself feeling like this was all being shared with me out of respect for me as a person. It’s not often that I feel that way about a book; it’s like Gaiman is a close friend who trusts you, so he hands you this as a gesture that he thinks you’re an all right person, that he feels safe in saying that you deserve this."

I just thought that was a nice sentiment about you, and that you should be aware of it.

http://www.markreads.net

best always,

Natalie Fisher

I went over to Mark Reads and I was really impressed. It was fun, as an author, watching a reader paying attention and writing about his reactions, all the way through. There were some really smart people in the comments, too. (You can follow along as Mark reads American Gods at http://markreads.net/reviews/category/american-gods/)

...

And finally, two things: Lemony Snicket writing about money and about cake at Occupy Writers, and Elvis Costello sings one of my favourite songs from his first album, My Aim Is True, but with monsters instead of angels, and a two instead of a shoe.

Labels: All Hallow's Read, An Evening With Neil And Amanda., The Angels No Longer Want to Wear My Red Shoes, roller derby

I bet you think it's easy just to eat a banana and not say anything

noreply@blogger.com (Neil) — Mon, 10 Oct 2011 05:10:00 +0000

posted by Neil

You may remember this video. It was filmed by Amanda's assistant, Superkate, on Brighton Beach, at the beginning of September.

Well, this one is the sequel. It's our thank you. Filmed a few days ago in a mall in Cambridge MA by Claudia Gonson. The sound is a bit echoey.

...

Over at http://superpunch.blogspot.com/2011/10/art-inspired-by-neil-gaimans-american.html there's an amazing assortment of art inspired by American Gods. All sorts of styles and kinds of art. Here's one I love, of the Zorya, and Shadow and Czernobog playing checkers.

...

Here's an astonishing video of the Evelyn Evelyn song "Have you Seen my Sister Evelyn?"

I was going to write that it was because I wrote something about this song on this blog that I got a "thank you for saying nice things about our song" email from Amanda Palmer that turned into a correspondence, and then turned into me agreeing to write some stories for the Who Killed Amanda Palmer book, and then, a little over a year afterwards, developed into the start of the relationship that we now have, and then I went back and looked for the link, and discovered that actually it was Evelyn Evelyn's "Elephant Elephant" song that I was nice about. Proving that memory is a fallible sort of a thing.

But it's still an amazingly beautiful video.

...

Would you like to have lunch with me, in LA or when I'm on the road? Or would you rather have lunch with Frank Miller and his editor Bob Schreck? Or have writer and former DC Comics publisher Paul Levitz review your portfolio and tell you how to make it in comics? Or have Frank Quitely sketch a postcard for you? Or have me do a sketch on a postcard for you? (Frank's will be prettier.)

All these things, and a ridiculously long list of other things, are possible. Details and a list of things at http://cbldf.org/homepage/be-counted/ where the Comic Book Legal Defense Fund is having an NPR like membership drive, with some amazing things for people who want to pledge for them. The donations are big, but count as charitable donations, and come off your taxes.

And if you don't want (or cannot afford) one of the big ticket items, you can still - and should - become a CBLDF member at http://cbldf.org/contribute/membership/. Annual membership starts at $25, for which you get a Green Lantern membership card. But no power ring.

Labels: Evelyn Evelyn, American Gods, CBLDF, banana, the fallibility of human memory

One Ordinary Day with autumn leaves

noreply@blogger.com (Neil) — Sun, 09 Oct 2011 16:53:00 +0000

posted by Neil

I am home, after ten days of working on a Grand Guignol theatre piece with Stephin Merritt and director Steven Bogart, and some wonderful and enthusiastic young actors.

This is how enthusiastic they were: when we had a ten minute break, and they had been working all day, and I asked if anyone would mind being zombies and or murdering each other while I talked about All Hallow's Read, none of them did, and they murdered each other with enthusiasm.

Right. I am at home with a Maddy who has lost her voice. It is very sweet. She whispers everything, and I make her cups of lemon and honey. As I am typing this, I am listening to her play the violin. It's a perfect Indian Summer - a sunny, warm autumn, and the leaves are beautiful, and October is most definitely in the chair.

Lots of things going on. Cat Mihos is ebaying a lot of rarities for Trevor Valle -- friend, fan and the reason why I have the Neilgaiman.com website. Trevor's going through some horrible medical stuff right now. Kitty and Trevor explain what's going on at http://kittysneverwear.blogspot.com/2011/09/trevor-treasure-chestopening-soon.html, tells you about some of the rarities and cool things at http://kittysneverwear.blogspot.com/2011/10/trevor-chest-up-in-full-effect-yall.html and the actual auction is on eBay at http://www.ebay.com/sch/kitty9thlife/m.html?_trksid=p4340.l2562

Lots of cool, rare stuff - including three pages of Marc Hempel art from Sandman: The Kindly Ones.

Kitty also learned that, back in 2000, Trevor had bought from the CBLDF a box of the original Craig Thompson screenprint/posters for the Last Angel Tour. These have long since sold out on the CBLDF website, and aren't simply available anywhere anymore. She bought them from Trevor outright, and is going to be putting them up on Neverwear soon. (There's a picture of Trevor holding one on the front page of the website, although they aren't for sale yet.)

I found an image on the web of one of them. They look like this, were silkscreened onto heavy card stock, and have to be signed with a paint-pen.

...

In the UK, the Society of Authors wants to draw attention to the BBC's cutbacks to short stories.

This is what I wrote in The Guardian Blog about it;

I love short stories. I grew up on them, and the stories that had an effect on me are now encoded into my DNA. Shirley Jackson's "One Ordinary Day With Peanuts" and "The Lottery". Saki's "Sredni Vashtar". WW Jacobs's "The Monkey's Paw". Kipling's "The Gardener". There are heaps of them, and it's love all the way.

For a working writer, this is a silly sort of love. You should write novels. Short stories sell for the price of a good dinner, if you're lucky (and the magazines and anthologies that used to buy them are themselves fading away or gone completely). When they get reprinted they won't cover the taxi fare to get to the dinner. I'm lucky, and have collected my short stories into books that sell well for short-story collections, but still only a fraction of the number that my novels sell.

But short stories are the best place for young writers to learn their craft: to try out different voices and techniques, to experiment, to learn. And they're a wonderful place for old writers, when you have an idea that wouldn't make it to novel length, one simple, elegant thing that needs to be said. People like reading short stories. And they like listening to short stories.

For years, Radio 4 has supported the short story. Ten-minute stories, professionally read, give writers young and old a chance to make a professional sale. Full disclosure: I wrote a short story, "Jerusalem", for them a few years ago, and grew up listening to short stories on Radio 4 and dreaming that one day I'd have a story on there.

Now the station's support for the short story is waning. The Tweetathon we're doing to bring attention to this (each Wednesday for the next five weeks, in association with the Society of Authors, a writer will tweet the first line of a story and tweeters will add the next four sentences to create a short story in 670 characters) may or may not produce great stories: hive minds are excellent news-gatherers and commentators but tend not to produce great art.

All I'm hoping is that it reminds people how much pleasure readers, and listeners, get from short stories, and how much we learn from writing them. If we produce another "The Monkey's Paw" that'll be a bonus.

In Wednesday, at 11 in the morning UK time, and at 6 in the evening UK time, the Society of Authors will put up the first line of a short story by me on their twitter account, @Soc_of_Authors, and they want you to continue it. There will be two different stories. (I don't even know which ones they will use -- I gave them a choice of several.)

http://www.societyofauthors.org/soa-news/society-authors-launch-short-story-tweet-thon-soatale

...

You can hear my This American Life talk on Adventures at http://www.thisamericanlife.org/radio-archives/episode/448/adventure from tomorrow, or all over the US on various Public Radio stations from Friday Night. Er, the night before last.

...

When last seen, I was proofreading A LITTLE GOLD BOOK OF GHASTLY STUFF. It was proofread, and has gone off to press. Because too many people had ordered copies, more than expected, while I had only signed enough limitation sheets for the limited edition, publishers Tom and Elizabeth Monteleone asked me if they could print more books to satisfy the people who had ordered...

So I said yes.

Which means right now you can STILL order an unsigned edition of A LITTLE GOLD BOOK OF GHASTLY STUFF. It's an assemblage of stories, essays, poems, reviews, speeches and introductions by me, about 25,000 words in all, with a Gahan Wilson cover showing me being attacked by uglies.

Ordering details are at: http://www.borderlandspress.com/littlegold.html. Yes, the shipping abroad fees are either twice or four times the cost of the book. Scary. Sorry.

If you think you may want one, order fast. The books are now being printed, and they won't go back to press when they've sold out.

...

Lastly, it seems that Barnes and Nobles across the US are removing 100 DC Comics Graphic Novels from their shelves (literally removing them and sending them back to the warehouses for the next four months) in response to DC's deal with Amazon.com to make these 100 Graphic Novels available as digital exclusives to the Kindle Fire.

I mentioned this on Twitter, and wound up getting a strange deluge of hate mail. Here's a polite one:

I never thought I would have to tell you that myself, my children and several of my friends are extremely disappointed with you. I can't believe that you would let your Sandman fans down by letting DC/Warner Bros release your books on the Kindle and not all e-readers.

I was very excited when I heard that Sandman was coming out as an e-book but was heartbroken when it was announced that *I* and my kids won't have it on our readers.

Thanks.

And I wonder why on earth people assume that I, or Alan Moore, or Frank Miller, have any say at all in DC Comics's marketing decisions. Do they think that someone at DC calls us up and gets our permission before they do such deals, or that we have any ability to stop it? The first I heard about the exclusive, was hearing that Barnes and Noble staff were having to take their graphic novels off the shelves.

I think that Barnes and Noble's reasons for doing this are pretty obvious. It's to intimidate other publishers and make it clear that exclusives with Amazon will not be tolerated. But, following the death of Borders, Barnes and Noble's position as the US's sole huge bricks and mortar shop chain is something that it's very easy to abuse. I hope that this is a negotiating tactic, because otherwise it does bad things for customer choice all around, digitally and otherwise. (It's also publicised the upcoming Fire, publicised that DC's basic graphic novels are available there, and publicised that they are no longer in Barnes and Nobles, in a way that must make Amazon the happiest company on the block this morning.)

There's a beautiful leatherbound edition of American Gods and Anansi Boys that's only available from Barnes and Noble. I'd hate to see this considered justification by Amazon for removing those books from the Kindle.

On the good side, I hope that it means that local comic shops (http://comicshoplocator.com/ for your nearest) will stock and sell more copies of that basic 100 Graphic novel list.

If there's any more news on this, I'll post it. Otherwise, I'm just waiting, and remembering how long and how much effort it took to get the books into bookstores, and being sad that they aren't there, and knowing that it's not the fault of the people who work there and had to take them off the shelves (or explain to customers that they don't sell them any longer, but you can still order them from Barnes and Noble's website).

Right. Off to work.

I've been experimenting with a Tumblr recently. It's fun. http://neil-gaiman.tumblr.com/

Labels: The Last Angel Tour poster, short stories, Craig Thompson, autumn

WARNING: NOT SAFE FOR WORK UNLESS YOU WORK IN A MUSEUM AND HAVE THE SECURITY CAMERAS OFF

noreply@blogger.com (Neil) — Wed, 05 Oct 2011 14:28:00 +0000

posted by Neil

Hullo world.

I'm in Boston, right now, actually in Cambridge, working with director Steven Bogart, a wonderful crew of young actors, and Stephin Merritt, evolving a theatrical thing about the Grand Guignol, the Parisian theatre of horror, in the early years of the 20th century. We're in a church sub-basement, and I worry a little about the cries of pain, screams of fear, and sounds of human beings completely breaking down as they are tortured and destroyed making it up to the street, but if they do it doesn't seem to bother anyone.

Jessica Fox, a filmmaker, is recording our process, and a couple of days ago we headed into a nearby graveyard and recorded a promotional video for All Hallow's Read. (What is it? learn all at http://www.allhallowsread.com/) I love actors. They are people who will happily sacrifice their 10 minute breaktime to murder each other in a graveyard in the background of someone else's video.

Yesterday morning Amanda and I were invited to the Museum of Fine Arts' DEGAS AND THE NUDE exhibition. Amanda had done the audio guide to the exhibition, the one you get from an iPhone as you walk around the exhibition. This is because a) she has a beautiful talking voice and b) she can talk with authority about being nude. We were given a private showing. Amanda had brought chalks and some paper along, because she had had an idea.

"I thought I could take off my clothes in front of the Degas nudes, and then Neil could draw me," she said to the Museum people, as they began our tour.

They conferred, decided this would be just fine as long as the security cameras were turned off. Then they discovered that they couldn't turn off the security cameras, so they had a man in a forklift come in and hang coffee cups over the security camera lenses in that room. And I sketched nude Amanda in chalks for ten minutes. Then I got in a cab and went over to WBUR Boston to record a bit I'm doing for THIS AMERICAN LIFE about Adventures and how I don't have them.

Ira Glass was on the other end of the line. He introduced himself. "How was your day?" he asked. So I told him. There was a pause. "Are you lying?" he asked, sensibly, and I said no, I wasn't.

The THIS AMERICAN LIFE piece goes out this weekend. The theme is ADVENTURES.

Not just procrastinating on proofreading...

noreply@blogger.com (Neil) — Sat, 24 Sep 2011 17:07:00 +0000

posted by Neil

Good morning.

Happy Banned Books Week!

It's a grey, quiet Saturday here. Everyone's off doing stuff: it's just me and the dogs.

On Thursday, Sharon and Bill Stiteler came over and we checked the hives and started to feed them. We have six hives right now - two Italians (doing brilliantly in comparison with everyone else after a late start and a lousy year - we even had a super full of honey), two Carniolans (doing okay) and two Russian hives (one may or may not survive even a mild winter, one has a solid chance). We came back to the house.

Sharon Stiteler started making noises. Normally when Sharon makes noises, it means that something exciting has been spotted, and it's generally to do with birds.

It was.

A merlin had taken a red-bellied woodpecker from one of my birdfeeders, and was eating it in front of the house.

Here's a photo I took of the merlin. Sharon tells the whole story, with many photos and explanation of, among other things, how she knew it was a lady merlin over at her blog: http://www.birdchick.com/wp/2011/09/merlin-vs-red-bellied-woodpecker/

Yesterday I decided to get some beeswax from the buckets of slumgullion in the garage. It took three tries to figure out how to do it correctly, but I now have a pie-dish filled with clean, perfect, butter-yellow beeswax, smelling faintly of honey, and know how to get it right for next time.

No idea what to do with the wax, mind. But at least it won't get thrown out.

Today I'm proofreading. The Little Gold Book Of Ghastly Stuff for Borderlands Press comes out very soon, and they emailed me over the pdfs last night. It's a really sweet little collection, almost entirely from the last decade: two poems, four stories (including, for the first time anywhere, the complete version of my first ever published short story, "Featherquest", published in 1984, cut by half on its first appearance and never reprinted. Do not get overly excited: it isn't very good), two oddments, four articles, a couple of speeches, a few book reviews and suchlike. I signed the 500 limitation pages last week. Then Borderlands discovered that too many people had ordered the signed edition and asked me if I would give my permission for them to overrun the print-run and sell some unsigned, un-numbered copies, to make the people who ordered copies they didn't have happy, and I said yes.

The unsigned copies have not yet sold out, although they will probably go very soon after I put this up. There's only ever going to be one printing of this, so, if you want a copy, head over to http://www.borderlandspress.com/littlegold.html and order one now. Bizarrely, it costs more to mail it internationally than the book costs (four times as much if you want to internationally Fedex it).

I do not enjoy proofreading.

And I need to go back to it.

Before I do, here is a Bill Stiteler film of me shaking bees off a frame of honey or three on Thursday:

The Vanishing Bee Trick from Bill Stiteler on Vimeo.

And I need to close some tabs, so...

A link to the the Society of Authors website to explain a bit more about the short story tweet thingummy they are doing, and in which I am participating: http://www.societyofauthors.org/soa-news/society-authors-launch-short-story-tweet-thon-soatale. I wrote something that should have been a blog entry here for the Guardian and felt guilty about it, but suspected I might be reaching more Radio 4 listeners. Here is the link to me talking about why I love short stories and why:

http://www.guardian.co.uk/books/booksblog/2011/sep/16/neil-gaiman-tweetathon-society-of-authors-radio-four

The CBLDF has started this year's membership drive with some amazing donation incentives. You should still get your $25 membership, which will get you in to CBLDF events and help fund Free Speech in comics, but this year they are offering things like lunch with famous and important comics people, portfolio reviews and suchlike. (Lunch with me in New York has already gone. Two lunches to go...) Details at http://cbldf.org/homepage/be-counted/

P Craig Russell has written a blog about the creation of Sandman 50 at http://www.artofpcraigrussell.com/?p=588

My favourite photos are these from the Atlantic showing New York in the 1940s. They are in colour, which somehow changes everything. http://www.theatlantic.com/national/archive/2011/09/in-the-throes-of-creation-color-photos-of-new-york-in-the-1940s/244498/#slide1

Amanda Palmer talks to USA Today about her Evelyn Evelyn graphic novel, while Cynthia Von Buhler explains and demonstrates her art methods.

I saw Tori last week in LA for a wonderful happy-sad evening of red wine and catching up, and she gave me a copy of Night of Hunters, her new CD. It's become my favourite thing of hers in the last decade - I am playing it much too much. It's haunting, and her daughter, my fairy goddaughter Tash sings on several tracks, something that could have gone so very wrong and didn't. Here's a link to a Tori Interview, with a video for one of the songs (in which you will see the house in which I wrote much of Anansi Boys and in which I finished American Gods, and in which you will see Tash).

...

And finally, as anyone who has been on Google has noticed (have you puppetted the Google Doodle? No? Quick. Go and doodle with it) today would have been Jim Henson's Birthday.

(I've been given a lot of honours in my life, but I am not sure that there is anything I am prouder of than this one.

Honest.)

And here's a video about the Doodle in question...

Okay. Proofreading time. Wish me luck.

Labels: bees, Tori Amos, Merlin, Jim Henson, save the short story, short stories, CBLDF, bird eat bird, birdchick