I am thankful and honored Betsy paired this book with mention of my own but the star of the show is undoubtedly Fox. I won’t spoil the ending by saying what rating Kate and Betsy gave this book, but I will say I loved hearing how Kate described Marshall’s Fox (Kate had asked for a book where a Fox was the hero of the story):
“So, foxes are usually portrayed as the villain and I feel like we see different sides of this fox to make him a more three-dimensional character. Sure, he’s deceiving in the first story when he lied about being sick but we also see him being remorseful when he admits to lying about smoking cigars. We see him being helpful when he makes dinner for his mom and sister, we see him make mistakes—like giving away his grandma’s chocolates to a complete stranger. And finally, we see him being supportive of his friend who got braces. So, I think this is better than seeing a fox as a hero, we see the Fox as being a relatable character instead.”
So good.
To add to the discussion, here’s a link to 2014 James Marshall Fellow Sandra Horning’s blog post where she dives into the dummies for Fox All Week, taking special note of what Marshall considered a perfect funny ending.
The mystery of who Edward Marshall is is uncovered in another of Sandra’s blog posts, here. (I could tell you, but what fun would that be?)
I’m offering four hours of my time for the #KidlitForCeasefire auction. I’m calling it a mini-mentorship, but I’m happy to tailor the four hours into any type of sessions that meet your needs.
From the auction description:
Four hours of Zoom time with Jerrold Connors, creator of Donuts for Everybody, author-illustrator of the upcoming James Marshall biography, JIM! Six True Stories About One Great Artist. The Zooms can be based on Jerrold’s popular and groundbreaking “Dummies for Authors” class (a course that teaches authors how to make physical drafts of their works in progress), or they can be centered on the winner’s needs. Where ever you are on your publishing journey (from querying, to subbing, to actively debuting), Jerrold can help elevate your work with joy, creativity and intention.
I will only add that the last time I offered this, my auction earned less than Kim-Hoa Ung’s Giant Pencil, a humiliation that was immortalized in this video. Please don’t let me suffer this fate again. Bid now! Bid early! Bid often!
Back in 1990 a memorial service was held for Jim Henson. The event was broadcast on PBS, where I watched it. I was invested in the moment because I was a big Muppet fan and (separate from just Sesame Street) found a lot of comfort in PBS. So there I was, in Revelstoke, in our home’s basement rec room, standing in front of the TV watching one of my heroes being laid to rest on my favorite TV station.
I grew up Catholic and was an altar boy for many years and served at a lot of funerals so much of the ceremony was familiar to me but I think I remember feeling detached. At some point, Big Bird walks down the aisle to deliver his eulogy. As he does he turns to someone in the congregation and does that funeral nod people do in these situations. I immediately think, “Ya ruined it, Big Bird. Ya ruined Jim Henson’s funeral.”
You see, Big Bird, at the time, was six years old. And if you’ve ever seen a six-year old tasked with this kind of responsibility, you know they perform it with an intense earnestness. A six year old would have fixed their eyes on the podium and made their way there solemnly. I would have.
Big Bird’s nod was not just an adult affectation, that kind of sympathetic “I know” people give to one another at funerals, it was also a specific kind of move that, to me, draws attention to the artifice of puppeteering. I didn’t know that the puppeteer who performed Big Bird was Caroll Spinney, an indisputable master of his craft, but in that moment I believed whoever was working Big Bird made a poor choice.
When a piece of art or performance grabs me, I go all in. Few people can suspend disbelief as high as I can—there’s video evidence of me shouting myself hoarse at professional wrestling matches—but if a piece of art doesn’t grab me, then all it takes is the slightest small thing (something as small as a nod) to make me say “Ya ruined it”. And I never know what that one thing is going to be.
So, why are we talking about this? Well, I went into this blog post with the idea of asking myself how I’m going to react to criticisms of my own work. JIM! is on the cusp of being reviewed widely (as of writing this, I have already received my first review… it was forwarded to me three days ago, it went live today) and I know the prospect of bad reviews are something that can cause a lot of authors a lot of stress but I’m not sure I have anything interesting to say on the subject. Maybe it sounds phony or falsely brave, but I’m less concerned with how many stars the book gets than I am with what the reviewer takes away from it. The aforementioned review… it was good. Very good. And I’m grateful. But what moved me most (and there’s video evidence of me being moved) was that the reviewer understood exactly what my goal was with the book. I’m thankful for their review. If it’s not too corny to say it, I felt seen.
All the same, it’s entirely possible there is going to be one slightest small thing that’s going to land the first “Ya ruined it, Jerrold!” in my lap. I’m going to call it now, it will be this:
Uneven wardrobe choices among my characters (eg. pants, no shirt versus shirt, no pants, versus completely nude).
Years ago, while doing some late night channel surfing, I wound up on PBS and caught the tail end of a documentary about the Stax Volt European tour. My friend Keith, who seems to know everything about music history, said the tour came at a moment when rock was rising and soul was waning (in the US, at least) and the performers weren’t sure what to expect in Europe. They were welcomed as heroes.
The video above shows a crowd of Norwegian teenagers and young adults grooving and becoming totally absorbed by the music. So much that towards the end of the concert, when Otis Redding builds towards the climax of Try a Little Tenderness, it looks like the Norwegian National Guard is called in for crowd control. I don’t know as much about music history as Keith, but this is one of my all-time favorite music moments. It’s also a video I like to turn to when I’m thinking about the power art has to move people.
In case you were thinking about the same, I hope this video inspires you too.
I’ll share one more funny detail from Halloween… among the 1,200 trick or treaters was a special visitor, a DHL courier who we all assumed was a grown-up wearing their work uniform as a costume but who was in fact an honest-to-goodness delivery person dropping off my printer proofs, fresh from China. I was engaged with kids, so my friend Anien accepted the package. It was only at the end of the night that I realized what had landed on my doorstep. Here’s my face when I did:
Late last year I asked Betsy Bird and Travis Jonker if they would like to do a joint cover reveal on their respective blogs over on the School Library Journal website. Heroes of children’s literature that they are, they agreed. Thanksgiving came and went, as did Christmas, then New Years, and then this morning…
The cover was revealed on Fuse Eight! This is, technically, a “spotlight” as the cover was already available to be viewed online at various retail sites. The Fuse Eight spotlight comes with an interview, nine questions that I had a lot of fun answering. I hope you take time to read it, Betsy’s sharply focused question anchor this project and sets the stage for JIM! perfectly.
Travis Jonker did me the honor of featuring the case (what you find under a dust jacket) on his blog, 100 Scope Notes. In this case, the case reveal was indeed a true reveal as this illustration isn’t shown in any online retail gallery. Case covers tend to be a surprise and not everyone thinks to look for them. Travis gives attention to this sometimes hidden, often underappreciated art form in his end-of-year award celebration “The Undies“. I’ll look forward to seeing where JIM! lands in 2025’s contest.
But I need to come clean about something. I lied to you, my dear friend. Neither of these reveals, nor those at retails sites, were the true debut of the cover. That happened on Halloween of last year. You see, our house gets about 1,200 trick or treaters and I had the idea that this could be an excellent grassroots marketing opportunity. I mean, how often do you have a guaranteed 2,400 young reader aged eyeballs passing by your front door? At the last minute (almost exactly an hour before our first trick or treaters would usually arrive) I covered a sheet of plywood in paper and began painting.
You’ll see a small blank spot above the “scan to learn more” sign. I wasn’t sure what to write. I didn’t want to do the hard sell, that didn’t feel right. Then it hit me:
It was a celebration more than a sales pitch and it was centered for kids, exactly where I’m most comfortable. Speaking of comfortable… the “unicorn” in question is me, I bought a fuzzy unicorn onesie at a garage sale in the summer and decided to wear it as my Halloween costume.
So there you go. I hope you can forgive me for the trickery.
Once more, a big thank you to Betsy and Travis for featuring me on their blogs and making the cover reveal available to the broader public. I am very grateful to them and to everyone sharing their enthusiasm for the book. Exciting times ahead!
I was supposed to be writing a treatise on sasquatch urine but I started painting some color studies this afternoon and got carried away well into the evening. No regrets. Between coloring these and another half dozen pages, I think I’ve unlocked something in my usually trepidatious approach to watercolor.
A good feeling. Let’s see where these cows lead us.
One of my favorite working cartoonists is Lucie Ebrey, who I first learned of via her daily comic diary Muggy Ebes. Her linework in that comic is fantastic, bold and full of a wild appeal. I think it can be easy to make things look good online but I got to see Lucie’s work in print for the first time at the 2019 Toronto Comics Art Festival where I scored a copy of Werewolf Social Club and holy mackerel…
Lucie is a tremendously talented inker. Check out the inscription:
That’s no mere doodle. It’s a perfect drawing, packed with texture and life. I love it. Clearly I’m a fan so it should be no surprise one of the books I looked forward to most last year was Lucie’s Cowgirls & Dinosaurs: Big Trouble in Little Spittle.
I love so much about this book, the character design:
Rootbeer, the faithful dinosaur companion (and the character names in general):
The (smeck) romance!
The villain’s rollercoaster of a redemption/non-redemption arc:
There’s so much good stuff in here. If I had any wish, it might be that the book was printed in the larger European BD format but at 284 pages, the story would probably have had to have been broken up into multiple volumes. Still, the “bio “about the cartoonist” page from inside the Werewolf zine gives us a hint at how good Lucie’s art looks full scale.
Maybe worth noting: the bio on that page says “Lucie Ebrey is a cartoonist living in Bristol”. Cowgirls & Dinosaurs has a lot of old West lingo and coming from a British cartoonist, the dialogue might be expected to sound like that scene at the end of A Fish Called Wanda where John Cleese mocks Kevin Kline, but it doesn’t. The writing is joyfully raucous but not gratuitously “Y’all better git if’n you know what’s good fer ya.”
Okay, one final appreciation. If Jeff Smith’s Bone is Walt Kelly’s Pogo meets Lord of the Rings, then Lucie Ebrey’s Cowgirls & Dinosaurs is Jack Kent’s King Aroo meets Thelma and Louise.
Oh yeah, the book is colored by Boya Sun and his work is excellent.