Marc Tyler Nobleman's Blog, page 134
March 20, 2012
Great ideas for schools #14: Photos of teachers in action
I came across this school online and instantly took notice of something lovely they did that I have not seen elsewhere: their faculty photos are not formal portraits but rather shots of teachers in action.
This is not yet a school I've spoken at (though I would love to!).
This is not yet a school I've spoken at (though I would love to!).
March 19, 2012
"Boys of Steel: The Movie"
No, I have no big announcement. But this 1/18/12 USA Today article boosted my hope that, before long, I might be able to say "They are (finally) making a movie about Jerry Siegel and Joe Shuster, the co-creators of Superman":
The article points out the recent flood of period pieces from Hollywood. Since 2008, I have pitched Boys of Steel: The Creators of Superman (which, incidentally, also made it into USA Today) to select movie producers. Some were intrigued but none made offers. The two most recurring reasons:
It would be difficult to obtain the needed permissions from DC Comics.Period films are expensive to make and are not likely to be mainstream hits.
I understand the first concern (though certain Hollywood heavyweights have the clout to get it done), but this article deflates the second. Period films based on true stories nominated for 2012 Oscars included The Iron Lady, My Week with Marilyn, War Horse, J. Edgar, and A Dangerous Method, not to mention fictional period films including The Artist, The Help, Hugo, and Alfred Nobbs.
So why not My Week with Jerry and Joe? Red Capes? The Geek's Speech?
[image error]Realistically speaking, potential complications involve more than DC Comics. In March 2012, a friend who works in Los Angeles reported the following:
Still, nothing seems insurmountable considering people have already overcome challenges to make biopics of other innovative and/or literary types; to name but a few: Flash of Genius, Finding Neverland, Miss Potter, Shadowlands, Confessions of a Dangerous Mind.
I remain convinced that we will one day see Siegel and Shuster on the big screen. Their story is at once inspirational and heartbreaking and resonates even with people who have never read a comic book. I've seen it time and again at presentations I've given about them nationwide.
Plus Jerry and Joe changed the game for Hollywood so the least Hollywood could do in return is give them their time in the spotlight.
Calling Ron Howard...
The article points out the recent flood of period pieces from Hollywood. Since 2008, I have pitched Boys of Steel: The Creators of Superman (which, incidentally, also made it into USA Today) to select movie producers. Some were intrigued but none made offers. The two most recurring reasons:It would be difficult to obtain the needed permissions from DC Comics.Period films are expensive to make and are not likely to be mainstream hits.
I understand the first concern (though certain Hollywood heavyweights have the clout to get it done), but this article deflates the second. Period films based on true stories nominated for 2012 Oscars included The Iron Lady, My Week with Marilyn, War Horse, J. Edgar, and A Dangerous Method, not to mention fictional period films including The Artist, The Help, Hugo, and Alfred Nobbs.
So why not My Week with Jerry and Joe? Red Capes? The Geek's Speech?
[image error]Realistically speaking, potential complications involve more than DC Comics. In March 2012, a friend who works in Los Angeles reported the following:
I recently met Ilya Salkind [a producer on the Christopher Reeve Superman movies] at a comic convention. When I asked the status of his Siegel/Shuster film, it took him a full minute to register what I was asking. He then rolled his eyes and said it's dead due to all the legal troubles with the families.
Still, nothing seems insurmountable considering people have already overcome challenges to make biopics of other innovative and/or literary types; to name but a few: Flash of Genius, Finding Neverland, Miss Potter, Shadowlands, Confessions of a Dangerous Mind.
I remain convinced that we will one day see Siegel and Shuster on the big screen. Their story is at once inspirational and heartbreaking and resonates even with people who have never read a comic book. I've seen it time and again at presentations I've given about them nationwide.
Plus Jerry and Joe changed the game for Hollywood so the least Hollywood could do in return is give them their time in the spotlight.
Calling Ron Howard...
March 18, 2012
Bat-Hombre
Within my first 24 hours in Santiago, I saw more than a couple of signs that Batman is popular here, including these two:
March 15, 2012
Whidbey Island Writers Conference
In October, I spoke on Guam. In mid-March, I will be on Easter Island.
In between, I soaked up the lushness of the Pacific Northwest on Whidbey Island, about an hour's drive (and 15-minute ferry ride) from Seattle. Whidbey Island was my sandwich island (not to be confused with the Sandwich Islands).
And it was the middle of the sandwich not only in terms of chronology but also in square miles: Guam is 209, Whidbey 169, Easter a wee 63.
I like ferries because they are windy, and wind makes it look like I have more hair than I do:
The Whidbey Island Writers Conference was perhaps the most intimate I've attended. One of the selling points for me was the "fireside chat." All the presenters were divided into groups of three by category and dispatched to private homes for a cozy talk to attendees. (This was the first time since a summer presentation in a park five years ago that I've not worn a dress shirt to a speaking engagement.) Each of the three presenters had 45 minutes. My house category was "humor." And my house had no fire; technically, it was a fireplaceside chat. And it was a refreshing experience; I've not done another presentation in such a setting.
They put out a steady supply of my books throughout the conference. One of the seven tales in Vanished: True Stories of the Missing takes place in the Pacific Northwest, which I was sure to mention to anyone who would listen.
Driving around Whidbey Island, I saw (to my disappointment) no Bigfoot but several of these free-standing doors. 
Others were adorned. 
All seemed to me to be a metaphor for an aspiring writer attending a writers' conference. There is a door—a "right" way—to enter the world of publishing, but there are no walls on either side of it. So if you want a more adventurous route to publication, by all means try.
March 14, 2012
Need by March 31: Jewish teens who like to write (and travel)!
I was thrilled to learn of an annual weeklong youth program that sounds like an irresistible cross between America's Got Talent and sleepaway camp. It's billed as "the premiere arts experience for creative Jewish teens." It's been running for years.
Then I was honored to be invited as of its ten artists-in-residence in Houston this year.
But we've just encountered a problem and we need to solve it by the end of March (yikes!): we need more teens. Do you know any who like to write?
The program:
In short, JCC Maccabi ArtsFest is one of the most enticing opportunities for creative youth I've ever seen.
Ten creative professionals in categories including Creative Writing, Acting/Improv, Dance, Musical Theater, Culinary, Visual Art, Rock, and Jazz all descend on one Jewish Community Center for one week to mentor a small group of teens from around the country; the culmination is a variety show where all ten groups of teens get to show off their stuff. It's not a competition but rather a chance for young people to learn one-on-one from experts in their field; the teens take workshops during the day and socialize at night. Click here to learn more and to read bios of the artists-in-residence (but read the rest first!).
The problem:
We need more enrollments or my category, Creative Writing, will be canceled—and the deadline is March 31. The program is open to Jewish kids from around the world ages 13-16. Cost is based on the city of origin.
How you can help:
Simply spread the word to any family you know with Jewish teens (specifically any who like to write) and any Jewish institution that might be willing to notify its membership. E-mail them the link to this very post: http://noblemania.blogspot.com/2012/0.... And please emphasize the need for immediate action!
If potentially interested, please contact one of the following right away:
Stacie Graff, JCC Maccabi Experience Program Associate, sgraff@jcca.org, 212-710-6435Brittany Horwitt, 2012 JCC Maccabi ArtsFest Director, bhorwitt@erjcchouston.org, 713-729-3200 x3327
Thank you for your help. I hope to see your teens in Houston this summer! For my part, I can guarantee an experience that will have a huge positive impact—and be loads of fun, too.
Then I was honored to be invited as of its ten artists-in-residence in Houston this year.
But we've just encountered a problem and we need to solve it by the end of March (yikes!): we need more teens. Do you know any who like to write?
The program:In short, JCC Maccabi ArtsFest is one of the most enticing opportunities for creative youth I've ever seen.
Ten creative professionals in categories including Creative Writing, Acting/Improv, Dance, Musical Theater, Culinary, Visual Art, Rock, and Jazz all descend on one Jewish Community Center for one week to mentor a small group of teens from around the country; the culmination is a variety show where all ten groups of teens get to show off their stuff. It's not a competition but rather a chance for young people to learn one-on-one from experts in their field; the teens take workshops during the day and socialize at night. Click here to learn more and to read bios of the artists-in-residence (but read the rest first!).
The problem:
We need more enrollments or my category, Creative Writing, will be canceled—and the deadline is March 31. The program is open to Jewish kids from around the world ages 13-16. Cost is based on the city of origin.
How you can help:
Simply spread the word to any family you know with Jewish teens (specifically any who like to write) and any Jewish institution that might be willing to notify its membership. E-mail them the link to this very post: http://noblemania.blogspot.com/2012/0.... And please emphasize the need for immediate action!
If potentially interested, please contact one of the following right away:
Stacie Graff, JCC Maccabi Experience Program Associate, sgraff@jcca.org, 212-710-6435Brittany Horwitt, 2012 JCC Maccabi ArtsFest Director, bhorwitt@erjcchouston.org, 713-729-3200 x3327
Thank you for your help. I hope to see your teens in Houston this summer! For my part, I can guarantee an experience that will have a huge positive impact—and be loads of fun, too.
"I have known Marc and his work with children in schools for at least eight years and I can tell you with complete honesty that he is the best, the very best, in inspiring children. He is able to empathize with them (and adults, also) to an incredible degree. As a matter of fact, he becomes a role model for many of them. One wrote in his evaluations, 'Mr. Nobleman's name fits him. He is a noble man.' His books have the same kind of integrity. I cannot recommend him highly enough."
—Susie Mee, Director, Authors Read Aloud (a Learning Leaders program), New York, NY
March 13, 2012
"Citizen Conn" by Michael Chabon
The 2/13/12 issue of The New Yorker featured fiction called "Citizen Conn" by Michael Chabon.
art by Jashar Awan
The abstract: "Short story about the attempts of a female rabbi at an assisted-living facility to reconcile two estranged comic-book artists."
From the first sentence of the story, I thought it was an analogue for Bill Finger and Bob Kane. The name of the artist who was wronged is Morton Feather (sounds like Finger?) and the name of the writer who did the wronging is Artie Conn (Kane?).
In the Finger-Kane dynamic, Kane was the artist (at the beginning, anyway) and Finger was the writer (though he also designed Batman's costume). Job-reversal aside, however, Chabon's story read like an alternate history had Finger not died in 1974 at age 59 but instead lived till old age, as Kane did.
However, Chabon's camp confirmed that the story was actually influenced by the relationship between fellow comics creators Stan Lee (Conn) and Jack Kirby (Feather).
Funny—rather tragic—how such a misinterpretation was possible. In the Golden (and Silver) Age, too many four-color greats were got.
art by Jashar AwanThe abstract: "Short story about the attempts of a female rabbi at an assisted-living facility to reconcile two estranged comic-book artists."
From the first sentence of the story, I thought it was an analogue for Bill Finger and Bob Kane. The name of the artist who was wronged is Morton Feather (sounds like Finger?) and the name of the writer who did the wronging is Artie Conn (Kane?).
In the Finger-Kane dynamic, Kane was the artist (at the beginning, anyway) and Finger was the writer (though he also designed Batman's costume). Job-reversal aside, however, Chabon's story read like an alternate history had Finger not died in 1974 at age 59 but instead lived till old age, as Kane did.
However, Chabon's camp confirmed that the story was actually influenced by the relationship between fellow comics creators Stan Lee (Conn) and Jack Kirby (Feather).
Funny—rather tragic—how such a misinterpretation was possible. In the Golden (and Silver) Age, too many four-color greats were got.
'Citizen Conn' by Michael Chabon
The 2/13/12 issue of The New Yorker featured fiction called "Citizen Conn" by Michael Chabon.
art by Jashar Awan
The abstract: "Short story about the attempts of a female rabbi at an assisted-living facility to reconcile two estranged comic-book artists."
From the first sentence of the story, I thought it was an analogue for Bill Finger and Bob Kane. The name of the artist who was wronged is Morton Feather (sounds like Finger?) and the name of the writer who did the wronging is Artie Conn (Kane?).
In the Finger-Kane dynamic, Kane was the artist (at the beginning, anyway) and Finger was the writer (though he also designed Batman's costume). Job-reversal aside, however, Chabon's story read like an alternate history had Finger not died in 1974 at age 59 but instead lived till old age, as Kane did.
However, Chabon's camp confirmed that the story was actually influenced by the relationship between fellow comics creators Stan Lee (Conn) and Jack Kirby (Feather).
Funny—rather tragic—how such a misinterpretation was possible. In the Golden (and Silver) Age, too many four-color greats were got.
art by Jashar AwanThe abstract: "Short story about the attempts of a female rabbi at an assisted-living facility to reconcile two estranged comic-book artists."
From the first sentence of the story, I thought it was an analogue for Bill Finger and Bob Kane. The name of the artist who was wronged is Morton Feather (sounds like Finger?) and the name of the writer who did the wronging is Artie Conn (Kane?).
In the Finger-Kane dynamic, Kane was the artist (at the beginning, anyway) and Finger was the writer (though he also designed Batman's costume). Job-reversal aside, however, Chabon's story read like an alternate history had Finger not died in 1974 at age 59 but instead lived till old age, as Kane did.
However, Chabon's camp confirmed that the story was actually influenced by the relationship between fellow comics creators Stan Lee (Conn) and Jack Kirby (Feather).
Funny—rather tragic—how such a misinterpretation was possible. In the Golden (and Silver) Age, too many four-color greats were got.
March 12, 2012
From Cheshire to Chile to Cheshire
Today was my first day (of four) speaking at the inviting International School Nido de Aguilas in Santiago, Chile. It is also my first time in South America.The campus is staggered down a rolling, grassy plot nestled at the base of olive-colored hills that look as soft as pussy willows. The students are appreciative and attentive. I was impressed with the ones for whom English is a second language. They seemed to be as engaged as anyone else.
The school exudes academic strength. Outside, I passed a group of students placing small mirrors on the ground and then doing something with a tape measure. I asked what the game was. No, one told me, it was a science experiment.
One of the highlights was an unexpected reminder of home—original home, that is. In my presentation, I mention that I grew up in Connecticut. One boy said he is also from Connecticut—and then specified the town of Cheshire. That's my town, too. In my eight years of author visits nationwide, I can't recall anyone else saying s/he was from Cheshire. I had to come all the way down to Chile to come across that.
track with mountains in background
another view of track
fantastic basketball court from same level
fantastic basketball court from above
mural designed by a former student who is now a staff member
same mural from farther away
flashback to Guam (scroll down to blue poster)
Evolution of my school visit "schlep list"
On occasion, a host at one of my school visits gets a panicked look when s/he sees what I bring for my presentation. Rather than come right out with what that is, I'll trace the evolution, for fuller effect:
2004
portable whiteboard to draw on, plus the marker and eraserslide projector (you read that right; more below)
the slidessmall drawing to tape to the bottom of one of the students' chairs before they enter the room; at the end of the presentation, I ask them to check for it to determine which student will randomly win a copy of one of my booksthe tape
the book to randomly give out
my presentation outline
handouts:
I don't know why I thought the schools wouldn't have a whiteboard, and a much bigger one at that.
Well past the ubiquity of PowerPoint, I really did buy a used slide projector on eBay. Though I expected to spend no more than $5, mine cost $68.
I carried it in one of those familiar, cavernous IKEA bags:
It was especially annoying to lug around when it was raining. Once I left it in the car overnight before a visit and it was so cold out that once inside the school it took 20 minutes for it to "thaw."
The slides were more expensive than the projector.
If the kids sat on the floor instead of chairs, I'd tape the small drawing to one of their rears. Do not believe that.
2007
I finally began using PowerPoint, reselling my slide projector on eBay (for a loss at $44) and adopting the infinitely more portable flash drive. I had been postponing making this switch because I was worried that it would be complicated to make my first PowerPoint; I ended up throwing it together during one hourlong nap of my toddler daughter.
2008
I stopped distributing forms and instead e-mailed versions of them. Soon I would stop doing this as well, hoping word of mouth would ignite even without the thrill of paperwork.
2010
I was no longer referring to my text outline while speaking; by now I referred only to a printout of the slide show, and even then only occasionally. Soon, for my standard presentation, I would stop using notes altogether.
2012
I now show up with just a flash drive in my pocket, sometimes my camera in another pocket (though I often slum it with my iPhone camera instead), and sometimes some of the last of the Boys of Steel: The Creators of Superman postcards. At times I also bring a giveaway. And at times, upon noticing upon my arrival that I have no props, my host gets that slightly alarmed (though fleeting) look I teased about at the top of this post.
I can't help but smile when I think back to my heavy loads in the early days, especially when I now jaunt into schools encumbered only by this:
2004
portable whiteboard to draw on, plus the marker and eraserslide projector (you read that right; more below)
the slidessmall drawing to tape to the bottom of one of the students' chairs before they enter the room; at the end of the presentation, I ask them to check for it to determine which student will randomly win a copy of one of my booksthe tape
the book to randomly give out
my presentation outline
handouts:
feedback form to be copied and distributed to studentsfeedback form to be copied and distributed to teachersreferral form (to fax to other schools; probably no one ever used it)list of publications that publish work by young people (to be distributed to students)notes:
I don't know why I thought the schools wouldn't have a whiteboard, and a much bigger one at that.
Well past the ubiquity of PowerPoint, I really did buy a used slide projector on eBay. Though I expected to spend no more than $5, mine cost $68.
I carried it in one of those familiar, cavernous IKEA bags:
It was especially annoying to lug around when it was raining. Once I left it in the car overnight before a visit and it was so cold out that once inside the school it took 20 minutes for it to "thaw."The slides were more expensive than the projector.
If the kids sat on the floor instead of chairs, I'd tape the small drawing to one of their rears. Do not believe that.
2007
I finally began using PowerPoint, reselling my slide projector on eBay (for a loss at $44) and adopting the infinitely more portable flash drive. I had been postponing making this switch because I was worried that it would be complicated to make my first PowerPoint; I ended up throwing it together during one hourlong nap of my toddler daughter.
2008
I stopped distributing forms and instead e-mailed versions of them. Soon I would stop doing this as well, hoping word of mouth would ignite even without the thrill of paperwork.
2010
I was no longer referring to my text outline while speaking; by now I referred only to a printout of the slide show, and even then only occasionally. Soon, for my standard presentation, I would stop using notes altogether.
2012
I now show up with just a flash drive in my pocket, sometimes my camera in another pocket (though I often slum it with my iPhone camera instead), and sometimes some of the last of the Boys of Steel: The Creators of Superman postcards. At times I also bring a giveaway. And at times, upon noticing upon my arrival that I have no props, my host gets that slightly alarmed (though fleeting) look I teased about at the top of this post.
I can't help but smile when I think back to my heavy loads in the early days, especially when I now jaunt into schools encumbered only by this:
Evolution of my school visit "shlep list"
On occasion, a host at one of my school visits gets a panicked look when s/he sees what I bring for my presentation. Rather than come right out with what that is, I'll trace the evolution, for fuller effect:
2004
portable whiteboard to draw on, plus the marker and eraserslide projector (you read that right; more below)
the slidessmall drawing to tape to the bottom of one of the students' chairs before they enter the room; at the end of the presentation, I ask them to check for it to determine which student will randomly win a copy of one of my booksthe tape
the book to randomly give out
my presentation outline
handouts:
I don't know why I thought the schools wouldn't have a whiteboard, and a much bigger one at that.
Well past the ubiquity of PowerPoint, I really did buy a used slide projector on eBay. Though I expected to spend no more than $5, mine cost $68. I carried it in one of those familiar, cavernous IKEA bags:
It was especially annoying to lug around when it was raining. Once I left it in the car overnight before a visit and it was so cold out that once inside the school it took 20 minutes for it to "thaw."
The slides were more expensive than the projector.
If the kids sat on the floor instead of chairs, I'd tape the small drawing to one of their rears. Do not believe that.
2007
I finally began using PowerPoint, reselling my slide projector on eBay (for a loss at $44) and adopting the infinitely more portable flash drive. I had been postponing making this switch because I was worried that it would be complicated to make my first PowerPoint; I ended up throwing it together during one hourlong nap of my toddler daughter.
2008
I stopped distributing forms and instead e-mailed versions of them. Soon I would stop doing this as well, hoping word of mouth would ignite even without the thrill of paperwork.
2010
I was no longer referring to my text outline while speaking; by now I referred only to a printout of the slide show, and even then only occasionally. Soon, for my standard presentation, I would stop using notes altogether.
2012
I now show up with just a flash drive in my pocket, sometimes my camera in another pocket (though I often slum it with my iPhone camera instead), and sometimes some of the last of the Boys of Steel: The Creators of Superman postcards. At times I also bring a giveaway. And at times, upon noticing upon my arrival that I have no props, my host gets that slightly alarmed (though fleeting) look I teased about at the top of this post.
I can't help but smile when I think back to my heavy loads in the early days, especially when I now jaunt into schools encumbered only by this:
2004
portable whiteboard to draw on, plus the marker and eraserslide projector (you read that right; more below)
the slidessmall drawing to tape to the bottom of one of the students' chairs before they enter the room; at the end of the presentation, I ask them to check for it to determine which student will randomly win a copy of one of my booksthe tape
the book to randomly give out
my presentation outline
handouts:
feedback form to be copied and distributed to studentsfeedback form to be copied and distributed to teachersreferral form (to fax to other schools; probably no one ever used it)list of publications that publish work by young people (to be distributed to students)notes:
I don't know why I thought the schools wouldn't have a whiteboard, and a much bigger one at that.
Well past the ubiquity of PowerPoint, I really did buy a used slide projector on eBay. Though I expected to spend no more than $5, mine cost $68. I carried it in one of those familiar, cavernous IKEA bags:
It was especially annoying to lug around when it was raining. Once I left it in the car overnight before a visit and it was so cold out that once inside the school it took 20 minutes for it to "thaw."The slides were more expensive than the projector.
If the kids sat on the floor instead of chairs, I'd tape the small drawing to one of their rears. Do not believe that.
2007
I finally began using PowerPoint, reselling my slide projector on eBay (for a loss at $44) and adopting the infinitely more portable flash drive. I had been postponing making this switch because I was worried that it would be complicated to make my first PowerPoint; I ended up throwing it together during one hourlong nap of my toddler daughter.
2008
I stopped distributing forms and instead e-mailed versions of them. Soon I would stop doing this as well, hoping word of mouth would ignite even without the thrill of paperwork.
2010
I was no longer referring to my text outline while speaking; by now I referred only to a printout of the slide show, and even then only occasionally. Soon, for my standard presentation, I would stop using notes altogether.
2012
I now show up with just a flash drive in my pocket, sometimes my camera in another pocket (though I often slum it with my iPhone camera instead), and sometimes some of the last of the Boys of Steel: The Creators of Superman postcards. At times I also bring a giveaway. And at times, upon noticing upon my arrival that I have no props, my host gets that slightly alarmed (though fleeting) look I teased about at the top of this post.
I can't help but smile when I think back to my heavy loads in the early days, especially when I now jaunt into schools encumbered only by this:
