Marc Tyler Nobleman's Blog, page 126
June 24, 2012
Jewish Book Council Network 2012
On 6/5/12, I auditioned for American Idol…of the Jewish book world.
It’s called the Jewish Book Council Network, or Jewish Book Network.
Every year this organization chooses a roster of authors whose latest book has a Jewish connection in some way and markets these authors as speakers to synagogues, JCCs, book fairs, and other Jewish institutions nationwide. The council’s goal is to support books with Jewish content and the authors who write them. They organize the engagements and cover travel expenses. The roster includes authors of books of all kinds, from cookbooks to political thrillers.
And each of those authors must indeed audition…in a way. Authors must be nominated by their publishers, which must send 100 copies of the book for JBC members to review. Some of those authors are then asked to come to New York to deliver a two-minute pitch for their book to a sanctuary full of program directors from across the country. The JBC emphasizes the two minutes. They do cut you off if you go over. And this, of course, pumps up the stress for some. Most.
What I and some of my fellow authors didn’t realize is that once you show up to give your pitch, the JBC has actually already accepted you. The audition is not to make the roster but rather to sell yourself to the audience—the people who book speakers.
There were 54 authors at the audition…and ours was the sixth (and last) in three days. So the roster comprises at least 300 authors. By chance I knew two others in my session—I graduated from college with one and had done an author panel with another.
Here’s the first minute and change of my pitch:
Unlikely as it might seem, it turned out that someone in the audience had a connection to Bill Finger. A woman came up to me at the cocktail dinner afterward to tell me that in middle school, she was best friends with the daughter of Bill’s second wife. In 2008, I blogged about both mother and daughter. In fact, it was thanks to daughter (let’s call her ES Jr.) that I found mother. Here’s the crazy story how.
This woman who was a friend of ES Jr. was astonished to learn that I had talked with ES Jr. But I think I was more astonished about the whole thing.
Institutions can request authors at any time but we were told most bookings are for the fall. Soon we find out which—if any—institutions wants more than two minutes from us.
It’s called the Jewish Book Council Network, or Jewish Book Network.
Every year this organization chooses a roster of authors whose latest book has a Jewish connection in some way and markets these authors as speakers to synagogues, JCCs, book fairs, and other Jewish institutions nationwide. The council’s goal is to support books with Jewish content and the authors who write them. They organize the engagements and cover travel expenses. The roster includes authors of books of all kinds, from cookbooks to political thrillers.And each of those authors must indeed audition…in a way. Authors must be nominated by their publishers, which must send 100 copies of the book for JBC members to review. Some of those authors are then asked to come to New York to deliver a two-minute pitch for their book to a sanctuary full of program directors from across the country. The JBC emphasizes the two minutes. They do cut you off if you go over. And this, of course, pumps up the stress for some. Most.
What I and some of my fellow authors didn’t realize is that once you show up to give your pitch, the JBC has actually already accepted you. The audition is not to make the roster but rather to sell yourself to the audience—the people who book speakers.
There were 54 authors at the audition…and ours was the sixth (and last) in three days. So the roster comprises at least 300 authors. By chance I knew two others in my session—I graduated from college with one and had done an author panel with another.
Here’s the first minute and change of my pitch:
Ask anyone on the street to say the first thing that comes to mind about Batman and chances are she’ll name a concept that came from Bill Finger. Robin the Boy Wonder? Bill’s idea. Gotham City? Bill named it. Pointy ears? Bill even designed the costume.
Yet check any Batman story and the only person credited as his creator is cartoonist Bob Kane. That’s the way it’s been since Batman’s 1939 debut even though Bill wrote the first and many of the best Batman stories of the first 25 years. When Bill publicly revealed that it wasn’t just Bob at Batman’s beginning, Bob accused his onetime partner of lying.
It wasn’t until 1989 when Bob finally acknowledged Bill’s massive contribution to the Dark Knight. But Bill didn’t hear it. He’d died in 1974, alone and poor. No obit. No funeral. No grave.
No kidding.
Bill Finger forged one of our greatest champions for justice. It’s high time for justice for Bill himself. That’s why I wrote Bill the Boy Wonder: The Secret Co-Creator of Batman, the first book in any format on the real mind behind the Bat.
Unlikely as it might seem, it turned out that someone in the audience had a connection to Bill Finger. A woman came up to me at the cocktail dinner afterward to tell me that in middle school, she was best friends with the daughter of Bill’s second wife. In 2008, I blogged about both mother and daughter. In fact, it was thanks to daughter (let’s call her ES Jr.) that I found mother. Here’s the crazy story how.
This woman who was a friend of ES Jr. was astonished to learn that I had talked with ES Jr. But I think I was more astonished about the whole thing.
Institutions can request authors at any time but we were told most bookings are for the fall. Soon we find out which—if any—institutions wants more than two minutes from us.
June 23, 2012
"Don't Ask! Just Buy It!"
Comics Alliance included Bill the Boy Wonder: The Secret Co-Creator of Batman in a column called "Don’t Ask! Just Buy It!"
This edition: "From a Finger to a Glove."
This edition: "From a Finger to a Glove."
June 22, 2012
The Dark Knight displays rise
At the Barnes & Noble in Ellicott City, MD, Bill the Boy Wonder: The Secret Co-Creator of Batman has a dual identity.
Identity #1: member of endcap with Boys of Steel: The Creators of Superman.
Identity #2: member of The Dark Knight Rises table.
Special thanks to Julie and George (whom I met last weekend at Bookapalooza) for being so supportive of the book.
Identity #1: member of endcap with Boys of Steel: The Creators of Superman.
Identity #2: member of The Dark Knight Rises table.
Special thanks to Julie and George (whom I met last weekend at Bookapalooza) for being so supportive of the book.
June 21, 2012
"The History of Invulnerability": a play about Jerry Siegel
If ten years ago you’d have told me that there would one day be a stage play about Jerry Siegel, I wouldn’t have believed you. But then again, if you’d told me there’d be a picture book biography of him (and Joe Shuster), I wouldn’t have believed that either.
On 6/13/12, my generous synagogue, Washington Hebrew Congregation, invited me to attend the play The History of Invulnerability in Washington DC. Apparently I'm the only Jerry Siegel historian in the congregation.
The story focused on Jerry’s “relationship” with his creation, Superman, as well as his struggles on four levels: dealing with the loss of his father who died during a robbery, dealing with selling all rights to Superman for $130, dealing with abandoning his firstborn child Michael after divorcing his first wife, and grappling (as everyone of the period did) with the unthinkable atrocities of the Holocaust.
Any one of those issues would be provocative and complex, but the playwright, David Bar Katz, wove all four into the story. At times this led to jarring transitions but at other times it generated great pathos. I was impressed with the level of real-life detail Katz included. He clearly did extensive research.
Almost immediately, I bought into the actor (David Deblinger) playing Jerry. I began researching Siegel and Shuster in 1994, while Jerry was still alive, but I was not able to reach him. Seeing this accomplished actor portray him made me mourn a friend I never had even more. He convinced me that I was seeing Jerry as he really was.
I was surprised and tickled that my friend and Jerry Siegel champion Phil Yeh was a character in the play. I told Phil and he was surprised, too.
The set was spare but effective. The comic book influence was evident in the paneled backdrop and the stage was plastered with images of comic book covers, though this was noticeable only when close up. An elevated portion of the stage was shaped like Superman’s S emblem, though this, too, could be missed.
A few minor goofs jumped out at me. In the name of accuracy:
stating that Jerry’s father died in 1925 (it was 1932)stating that Superman: The Movie opened in 1977 (it was 1978)stating that Marlon Brando would make $1 million for one day of shooting (it was $3.7 million for 12 days)
A couple were (thematically) more significant:
stating that Jerry’s father died by gunshot when four reports (police, coroner’s, death certificate, newspaper article) said it was heart failurestating that Michael was not mentioned in Jerry’s obit in the New York Times (he was)
Any, of course, could have been creative license.
One moment contradicted what I knew. In the play, Jerry and Joe (at first) don’t produce stories with Superman stopping Hitler because the publisher asked them not to. But I remembered reading that Jerry and Joe did not want to do such a story during the war because they felt it would have been disrespectful to the real heroes who were fighting. I would think that the comic book publisher would want Superman clocking Hitler—that would boost sales!
After the play, I had the honor of taking part in an on-stage discussion with one of the well-spoken rabbis of Washington Hebrew, Joui Hessel. It was part interview, part impromptu review, part audience Q&A, and all fun. (Others I have long wanted to meet—author Tom De Haven, collectible comics guru Mark S. Zaid, the playwright himself—did or will do other post-play talks.)
A memorable, meaningful night all around. Thank you again to all who made it possible.
On 6/13/12, my generous synagogue, Washington Hebrew Congregation, invited me to attend the play The History of Invulnerability in Washington DC. Apparently I'm the only Jerry Siegel historian in the congregation.
The story focused on Jerry’s “relationship” with his creation, Superman, as well as his struggles on four levels: dealing with the loss of his father who died during a robbery, dealing with selling all rights to Superman for $130, dealing with abandoning his firstborn child Michael after divorcing his first wife, and grappling (as everyone of the period did) with the unthinkable atrocities of the Holocaust.Any one of those issues would be provocative and complex, but the playwright, David Bar Katz, wove all four into the story. At times this led to jarring transitions but at other times it generated great pathos. I was impressed with the level of real-life detail Katz included. He clearly did extensive research.
Almost immediately, I bought into the actor (David Deblinger) playing Jerry. I began researching Siegel and Shuster in 1994, while Jerry was still alive, but I was not able to reach him. Seeing this accomplished actor portray him made me mourn a friend I never had even more. He convinced me that I was seeing Jerry as he really was.
I was surprised and tickled that my friend and Jerry Siegel champion Phil Yeh was a character in the play. I told Phil and he was surprised, too.
The set was spare but effective. The comic book influence was evident in the paneled backdrop and the stage was plastered with images of comic book covers, though this was noticeable only when close up. An elevated portion of the stage was shaped like Superman’s S emblem, though this, too, could be missed.
A few minor goofs jumped out at me. In the name of accuracy:
stating that Jerry’s father died in 1925 (it was 1932)stating that Superman: The Movie opened in 1977 (it was 1978)stating that Marlon Brando would make $1 million for one day of shooting (it was $3.7 million for 12 days)
A couple were (thematically) more significant:
stating that Jerry’s father died by gunshot when four reports (police, coroner’s, death certificate, newspaper article) said it was heart failurestating that Michael was not mentioned in Jerry’s obit in the New York Times (he was)
Any, of course, could have been creative license.One moment contradicted what I knew. In the play, Jerry and Joe (at first) don’t produce stories with Superman stopping Hitler because the publisher asked them not to. But I remembered reading that Jerry and Joe did not want to do such a story during the war because they felt it would have been disrespectful to the real heroes who were fighting. I would think that the comic book publisher would want Superman clocking Hitler—that would boost sales!
After the play, I had the honor of taking part in an on-stage discussion with one of the well-spoken rabbis of Washington Hebrew, Joui Hessel. It was part interview, part impromptu review, part audience Q&A, and all fun. (Others I have long wanted to meet—author Tom De Haven, collectible comics guru Mark S. Zaid, the playwright himself—did or will do other post-play talks.)
A memorable, meaningful night all around. Thank you again to all who made it possible.
June 20, 2012
Read Kiddo Read summer reading rec: "Boys of Steel"
I’m honored that Boys of Steel: The Creators of Superman made the second annual summer reading list at James Patterson’s Read Kiddo Read.
June 19, 2012
The first page of "Bill the Boy Wonder"
Well, not quite all of it...not just yet...
June 18, 2012
Bookapalooza at Howard County (MD) Central Library
On 6/16/12, I was honored to be one of a distinguished group of authors to participate in the (first annual?) Bookapalooza in Maryland.
We gave away copies of Bill the Boy Wonder: The Secret Co-Creator of Batman at BEA, but this was the first event at which copies were sold. (It was also the first speaking engagement during which I pointed out the bronze scarab paperweight in the book...and then held up the real thing, formerly Bill Finger’s, of which I am now the lucky owner.)
High school students created one of those stick-your-face-through carnival attractions for every author; mine coolly combined my two superhero books:
One highlight was meeting Tom Angleberger (The Strange Case of Origami Yoda) in person after exchanging several tweets. He’s as nice as they come, and an energetic presenter, too. Bonus: I also got to meet his lovely wife, and she’s working on a project that I think will go far. I tried to encourage Tom to get a copy of his wildly popular books to Star Wars people such as Mark Hamill and Frank Oz. A work in progress...
First time as an author my name has been on a T-shirt:
(Alas, only volunteers got one.)
As part of my presentation, I did something I’d not done before: created and sketched a superhero with audience participation. Kids gave me suggestions for every section, from head to boot. The final step was to solicit three possible names and ask the group to vote for the winner. It was so fun and seemed to go over so well that I plan on incorporating it into future appearances.
Introducing…the Bat Tiger!
We gave away copies of Bill the Boy Wonder: The Secret Co-Creator of Batman at BEA, but this was the first event at which copies were sold. (It was also the first speaking engagement during which I pointed out the bronze scarab paperweight in the book...and then held up the real thing, formerly Bill Finger’s, of which I am now the lucky owner.)
High school students created one of those stick-your-face-through carnival attractions for every author; mine coolly combined my two superhero books:
One highlight was meeting Tom Angleberger (The Strange Case of Origami Yoda) in person after exchanging several tweets. He’s as nice as they come, and an energetic presenter, too. Bonus: I also got to meet his lovely wife, and she’s working on a project that I think will go far. I tried to encourage Tom to get a copy of his wildly popular books to Star Wars people such as Mark Hamill and Frank Oz. A work in progress...First time as an author my name has been on a T-shirt:
(Alas, only volunteers got one.)
As part of my presentation, I did something I’d not done before: created and sketched a superhero with audience participation. Kids gave me suggestions for every section, from head to boot. The final step was to solicit three possible names and ask the group to vote for the winner. It was so fun and seemed to go over so well that I plan on incorporating it into future appearances.Introducing…the Bat Tiger!
June 17, 2012
BookExpo America 2012
I’ve been attending BEA on and off since 1995, originally as a marketing assistant, then a marketing associate (huge difference, let me tell you), and now as an author/browser. This year was the first time I’ve done a signing there.
I was worried we wouldn’t get even a few people in a row, but we managed to unload every copy of Bill the Boy Wonder: The Secret Co-Creator of Batman we had.
I was worried we wouldn’t get even a few people in a row, but we managed to unload every copy of Bill the Boy Wonder: The Secret Co-Creator of Batman we had.
June 16, 2012
First joint interview with Bill Finger's granddaughter, whose name is...
On 6/16/12, I did my first joint interview with Bill Finger's granddaughter, whose name I have been withholding publicly for five years. At least I can reveal: Athena, same as the goddess of wisdom. You will hear how apt the name is:[image error]
June 15, 2012
Comics on Infinite Minds
For every kid who would eventually get into comics, the first one he remembers owning is his equivalent of Action Comics #1—a seismic shift in his personal pop culture ecosystem. I remember mine—the otherwise unremarkable Superman Family #196 (7-8/79).
Then there are other comics that, while not my first, are still lodged in the nostalgia lobe. I remember staring at the cover of Flash #269 (1/79), with Kid Flash and dinosaurs, on the magazine rack within the old-fashioned pharmacy-luncheonette my dad ran in New Haven.
I remember the first issue that came in the mail of the only comic I ever had a subscription to: Super Friends (#32, 5/80). (The comic in general was actually quite a bit more sophisticated than the Saturday morning cartoon it was based on; it featured many and sometimes obscure guest stars including TNT with Dan the Dyna-Mite and Black Orchid.)
And I remember each of the first issues I bought of what would become my three favorite series: Justice League of America (#189, 4/81), The Brave and the Bold (#178, with the Creeper; 9/81), and DC Comics Presents (#38, with the Flash; 10/81).
Soon began my ongoing hunt for back issues, which in the eBay age now seems quaint. Kids going forward won’t know quite the same thrill when finding The Brave and the Bold #139 (with Hawkman and Commissioner Gordon) among a random assortment strewn on a table in a small bookstore or stumbling upon DC Comics Presents #17, co-starring an electrifying (or, more precisely, transmogrifying) new character, Firestorm, in a back issue bin.
Yet forced to choose the title that impacted me the most, I must revisit a period of massive disruption in the time-space continuum (and not just because it was the year of my bar mitzvah). Not one but two blockbusters that came out in 1985 became my all-time favorites. One was Back to the Future, which for this purpose doesn’t count. The other was Crisis on Infinite Earths.
Given the various series I mentioned above, most of which were team-up or just plan team titles, this would seem consistent. Except there’d never been a gathering of characters like what Crisis delivered. The lineup on the first cover, a wraparound, was an invigorating jolt. Among those appearing: Geo-Force. John Stewart Green Lantern. Killer Frost. Obsidian. Solovar. Who the heck was Psimon? And where was (Earth-One) Superman? Wonder Woman? Batman? (I believe the guy in the blue cape tucked away on the back, small, and facing away from the camera is Owlman.)
The combinations of heroes and villains within was irresistible. I’d loved to see the permutations when the Justice League or even the Super Friends would split up (why didn’t Batman and Robin ever pair off with Hawkman and Hawkgirl?), and this was on a far grander scale. Leave it to me to bring up a game-changer like Crisis but focus on something as minor as grouping.
The action felt cinematic and the emotion felt real. Even at the often-indifferent age of 13, I was moved by little details in the cosmic epic—sometimes multiple details within the same scene: The way Superman screamed when Supergirl died. The way he positioned his hands when kneeling before her cape-wrapped corpse. The way a few plaintive tufts of snow flung out behind him when he launched to carry her to the stars. The heavens, rather,
I was even inspired to create my own Crisis comic book. Alas, I did not save it. However, I do remember the characters I included in the first scene: Batgirl, Eclipso, and the Wonder Twins. On second thought, perhaps it’s better that I didn’t save it…
Then came the break-up. In 1987, at the 7-Eleven in my Connecticut hometown, I noticed Justice League #1 on the lowest tier of the magazine rack.
It featured heroes who’d never been in the League before; I was especially intrigued by the inclusion of Captain Marvel, Dr. Fate, and Mr. Miracle. But I was a freshman in high school and I think I thought comics and I should start seeing other people, so I didn’t buy it. And this began a comics drought that lasted until 1993.
One last comic from my formative year that remains special is yet another team book: Batman and the Outsiders #24 (8/85).
In case you didn’t immediately recall the connection, yes, that issue contained a letter by yours truly. I don’t remember if it was the only time I’d written to a comic, but I know for sure it was the only time a comic printed my letter.
Today I call it my first DC writing credit.
Thank you to Rob Kelly of the Aquaman Shrine for granting me permission to post this.
Then there are other comics that, while not my first, are still lodged in the nostalgia lobe. I remember staring at the cover of Flash #269 (1/79), with Kid Flash and dinosaurs, on the magazine rack within the old-fashioned pharmacy-luncheonette my dad ran in New Haven. 
I remember the first issue that came in the mail of the only comic I ever had a subscription to: Super Friends (#32, 5/80). (The comic in general was actually quite a bit more sophisticated than the Saturday morning cartoon it was based on; it featured many and sometimes obscure guest stars including TNT with Dan the Dyna-Mite and Black Orchid.)
And I remember each of the first issues I bought of what would become my three favorite series: Justice League of America (#189, 4/81), The Brave and the Bold (#178, with the Creeper; 9/81), and DC Comics Presents (#38, with the Flash; 10/81). 
Soon began my ongoing hunt for back issues, which in the eBay age now seems quaint. Kids going forward won’t know quite the same thrill when finding The Brave and the Bold #139 (with Hawkman and Commissioner Gordon) among a random assortment strewn on a table in a small bookstore or stumbling upon DC Comics Presents #17, co-starring an electrifying (or, more precisely, transmogrifying) new character, Firestorm, in a back issue bin.
Yet forced to choose the title that impacted me the most, I must revisit a period of massive disruption in the time-space continuum (and not just because it was the year of my bar mitzvah). Not one but two blockbusters that came out in 1985 became my all-time favorites. One was Back to the Future, which for this purpose doesn’t count. The other was Crisis on Infinite Earths.
Given the various series I mentioned above, most of which were team-up or just plan team titles, this would seem consistent. Except there’d never been a gathering of characters like what Crisis delivered. The lineup on the first cover, a wraparound, was an invigorating jolt. Among those appearing: Geo-Force. John Stewart Green Lantern. Killer Frost. Obsidian. Solovar. Who the heck was Psimon? And where was (Earth-One) Superman? Wonder Woman? Batman? (I believe the guy in the blue cape tucked away on the back, small, and facing away from the camera is Owlman.)The combinations of heroes and villains within was irresistible. I’d loved to see the permutations when the Justice League or even the Super Friends would split up (why didn’t Batman and Robin ever pair off with Hawkman and Hawkgirl?), and this was on a far grander scale. Leave it to me to bring up a game-changer like Crisis but focus on something as minor as grouping.
The action felt cinematic and the emotion felt real. Even at the often-indifferent age of 13, I was moved by little details in the cosmic epic—sometimes multiple details within the same scene: The way Superman screamed when Supergirl died. The way he positioned his hands when kneeling before her cape-wrapped corpse. The way a few plaintive tufts of snow flung out behind him when he launched to carry her to the stars. The heavens, rather,
I was even inspired to create my own Crisis comic book. Alas, I did not save it. However, I do remember the characters I included in the first scene: Batgirl, Eclipso, and the Wonder Twins. On second thought, perhaps it’s better that I didn’t save it…
Then came the break-up. In 1987, at the 7-Eleven in my Connecticut hometown, I noticed Justice League #1 on the lowest tier of the magazine rack.
It featured heroes who’d never been in the League before; I was especially intrigued by the inclusion of Captain Marvel, Dr. Fate, and Mr. Miracle. But I was a freshman in high school and I think I thought comics and I should start seeing other people, so I didn’t buy it. And this began a comics drought that lasted until 1993. One last comic from my formative year that remains special is yet another team book: Batman and the Outsiders #24 (8/85).
In case you didn’t immediately recall the connection, yes, that issue contained a letter by yours truly. I don’t remember if it was the only time I’d written to a comic, but I know for sure it was the only time a comic printed my letter. 
Today I call it my first DC writing credit.Thank you to Rob Kelly of the Aquaman Shrine for granting me permission to post this.
