Archive for Greatest Hits

Celebrating 40 Years As a Published Author, Pt. 2: The Norfin Trolls!

 

I have a nostalgic affection for all the weird, crappy little jobs I took on as a freelancer over the course of my career. I mean, maybe I should be recounting my triumphs, but an entertaining part of my story is the odd jobs I took along the way. Money in the pocket. The work that kept “the dream” alive.

Around 1993, Scholastic made a book deal with a popular toy company, The Troll Company.  They created and sold Norfin Trolls, which some people seemed, unaccountably, to like. As a freelancer with connections at Scholastic (I worked there from 85-90), I was offered a two-book deal, flat fee (no royalty), and was handed a catalog produced by the company. The catalog included lots of pictures of trolls in various outfits. The golfer, the tourist, the farmer, the pirate, the wizard, etc. Here’s a sample spread:

 

I can tell you want a closer look.

 

 

 

My assignment was to make up a couple of stories featuring the Trolls. At that time, sometimes to my chagrin, I was considered a “clever” guy by various editors at Scholastic. Of course, I aspired to be more than just a clown. I was a literature major, filled with deep thoughts and passionate feelings, but they saw me as a creative court jester who worked cheap. Perfect for the Norfin Troll project!

This is, of course, four years before Jigsaw Jones came along. I was just beginning to get assignments. So, one hundred percent, I was happy to do it (I just wasn’t going to put my name on it). One very cool aspect of the project was that a team of photographers — the talented due of Mary and Joe Van Blerck — would pose the dolls, build artistic sets, and photograph the scenes for the book. It was pretty amazing what they accomplished, actually. Quite skilled. Never met ’em.

I still have one copy of the first book, Too Many Trolls. The main challenge was to come up with an idea that allowed for lots and lots of cute trolls. I remembered the classic Marx Brothers state room scene from “A Night at the Opera.” Yes, I decided, I could steal that! In the film, everyone crowds into a small room with hilarious results.

 

That was it! So I told the story of Hanna, who was visiting Aunt Inger and Uncle Hans (I lifted these names directly from the catalog). Remembering my lessons from the Whole Language pedagogy of the day, I added a recurring phrase, “Shhh, baby is sleeping,” and was on my way. 

One by one, groups of visitors appear to threaten the quiet: one golfer (his ball sails through an open window), two neighbors whose TV is broken, three peppy cheerleaders, and so on, until ten plane crash survivors (!) show up (cheerful, but in need of a phone) and Hanna has finally had enough. She cries out, “Sixty Norfin Trolls! There are too many trolls in this house! I’m sorry, but everybody has to leave. Baby needs peace and quiet!”

They all depart, loudly, and peace is at last restored. Baby has managed to sleep through the trollish tumult. But on the last page, you guessed it, baby cries, “Goo-goo-goo-GAHHH!”

A classic work of literature, long out of print.

 

Lastly, I employed the pen name, Mitzy Kafka. I fondly remembered the old picture book, Tell Me a Mitzi by Lore Segal, a title that always struck me as funny. As for Kafka, I was and remain a fan of the great man’s work, and somehow the surreal oddness of Kafka’s books connected in my mind to the surreal oddness of my assignment. Thus, Mitzy Kafka climbed from her chrysalis, fluttered her soggy wings, and emerged to enjoy a brief but resplendent existence.

I share this story because, hey, it was a good book for what it was. I’ve read far worse in hardcover. So I cashed my check and could still look at myself in the mirror. Best of all, no trolls were harmed during the making of the book, despite the plane crash. I did my best, plied my craft, and the end results — to the extent that I had control over these things, left me restlessly satisfied, if unfulfilled.

I feel like some people view “the writer’s life” as some sort of edifying, ethereal experience — as if we were special people, uniquely gifted — and I’m here to say that for much of my (cough, cough) career, I’ve been like a carpenter trying to earn a living. Too Many Trolls, and jobs like it, helped pay the mortgage. And in the meantime, I kept hammering away. 

Mitzy Kafka would have been proud.

Here’s some sample spreads from the book, since you won’t find it anywhere else!

Pure nonsense, of course. Lighthearted fun. And, I am pleased to report, I still think it’s pretty good — for, you know, what it is.

I cashed the check.

Remembering 40 Years As a Published Author, Pt. 1: The NBA Postcard Book!

I decided that this year I’d occasionally take a look back at my long & inglorious career as a children’s book author. Readers ask me how many books I’ve written and I honestly don’t know the answer. Lately I’ve been guessing, with my voice rising at the end, “About ninety?”

I published my first book in 1986, at age 25, a picture book titled Maxx Trax: Avalanche Rescue! Long out of print, I will still get the odd piece of fan mail about it. And since then, I’ve more or less hung in there and . . . survived. Often barely. That’s really my greatest accomplishment. That I’m still standing.

Just last week, in partnership with author Audrey Vernick, we handed in the 3rd title in our upcoming graphic novel series, Bigfoot and Dodo. We can’t wait to see it, but we’ll have to: The books won’t be out until sometime in 2027. There are other books afoot. A new lower middle-grade adventure series, The Survival Code (two titles coming, also in 2027), and a 3rd title in my “And a Moose!” series of easy readers, Two Astronauts and a Moose! Coming in, yes, I’m afraid so, 2027. 

Anyway, welcome to The Ultimate NBA Postcard Book!

This book came out in 1997, copyright held by NBA Properties, Inc. I was a freelance writer, hungry for work: a hired gun. Around that time I was consulting with Alan Boyco at Scholastic Book Fairs, and doing odd jobs for Barbara Marcus with Scholastic Book Clubs, and just beginning to conjure up the “Jigsaw Jones” mystery series. This little project came, as I recall, at the request of Alan Boyco, who was very kind to me over the years.

The “book,” of course, was not quite a book. It was a collection of postcards with brief player profiles on the back. Here’s an example of a “page,” which was printed on sturdy cardboard stock: 

The book consisted of 30 postcards, featuring many of the NBA’s top players at the time: Toni Kukoc, Rik Smits, Chris Webber, Joe Dumars, Patrick Ewing, etc.  My writing occupied a small space on the back. Like so:

Maybe not the highest literary standard, I realize. But the truth is, I love this kind of writing. And I mean, I have always loved it: that classic “punchy” sportswriting voice. And while I worked hard in my career to avoid getting trapped in that box — pigeonholed as “just” a sports guy — it was something I very much enjoyed and still respect. And I was good at it, too.

Here’s a closer sample from the book:

I still like the opening to my write-up on Glen Rice:

What does Glen Rice mean to the Charlotte Hornets? Instant offense. Winner of the three-point contest at the 1995 NBA All-Star Game, Glen has one of the purest shots in the league. He sets up behind the arc and fires hoop-seeking rainbows . . . 

That’s a swish, right?

Growing up, like so many kids, I was a huge sports fan. My favorite team was the New York Mets. When I was 8 years old, the “Miracle Mets” won the 1969 World Series. I was there, it seems, for every pitch. Watching the games with my mom, an old Brookly Dodgers fan who chomped on ice and smoked Chesterfields. In the days before ESPN and social media highlights, the only way to relive the games and follow the players in depth was to open the newspaper and read. Today I consider myself blessed to have lived in that time, because my love of sports turned me into a reader. And my first favorite writer — the first writer I was aware of, and actively enjoyed — was Dick Young, who wrote for the New York Daily News.

His writing was funny, fast-paced, sharp, and stylish. On Sundays, he penned a long, free-flowing column called “Young Ideas” where he riffed on all sorts of things, often separated, I think I remember, by an ellipses.

 

Young, a truly larger-than-life sports writer, would later become a pariah in New York, since he wrote a series of brutal, cruel, merciless columns that helped drive Tom Seaver, the Franchise, out of New York. The world of sports and American culture had changed, and Dick Young, staunchly conservative, did not change with the times. He didn’t care for hippies or the freedoms (and wealth) of modern ballplayers. Anyway: A kid, I read his columns religiously.

It is very possible that Dick Young had the most lasting effect on my writing style than any other writer I later encountered. I’d love to say it was Joan Didion or Richard Ford, but in life, nobody quite ever measures up to your first love.

Anyway, here’s the title page and that’s me, James Preller, a guy just trying to earn a living as a writer, gratefully taking whatever job came my way.

 

 

 

 

Scared of Santa, Revisited, Again (because it never gets old)

I’m REPOSTING from the “Greatest Hits” collection . . .

——————

No, I don’t know why good, sane, well-intentioned people do this to their children.

This guy terrifies even me — I keep thinking he should have a lit Chesterfield and a glass of bourbon in his hands, not an innocent lamb.

I remember that my parents once gave me the “opportunity” to meet Santa at a shopping mall somewhere on Long Island. I sized up the situation from a distance, planted my feet, and said, “Nuh-ugh.” A Christmas Story is surely my favorite holiday movie (absolutely love it), and they handled this particular life passage — the visit with Santa — to perfection. But then again, I think that whole movie is genius.

Here’s the book, and here’s my original post (with different photos) about the book from last holiday season.

RE-POST: Pretty Lights on the Tree, I’m Watching Them Shine

Sometimes you can hear a song a hundred times and on a random afternoon it will hit you in a new way. Whap, right upside the head. As a huge Bob Dylan fan, that happens to me frequently, where I’ll suddenly appreciate, say, Dylan’s piano technique on “Blind Willie McTell” — and need to hear that song every day for weeks.

That happened to me recently with “Christmas (Baby, Please Come Home),” written by Ellie Greenwich, Jeff Barry, and Phil Spector.

Specifically, these simple lines:

Pretty lights on the tree
I’m watching them shine
You should be here with me

Those lines have all the qualities of a successful haiku except for the syllable count — that attention to concrete detail, the lean clear prose (no purple or wasted words), and a darting movement from exterior, objective reality to an interior emotional state, where “outside” and “inside” become linked through juxtaposition.

I admire lines that can be as unadorned as, “Pretty lights on the tree/I’m watching them shine.” I love how that straight description conveys an inner depth (I’ve talked about that quality before, most recently here). I think it’s difficult to pull off, using simple words, yet evoking a depth of feeling that lies somewhere below language.

“You should be here with me.”

And, absolutely, it’s Darlene Love’s vocal performance that puts it over the top.

A lot of people have done this song, with mixed results: U2, Death Cab for Cutie, Mariah Carey, John Martyn, Hanson, Bruce Springsteen, etc. But nobody, but nobody, touches Darlene Love’s version, produced by Phil Spector on this 1963 LP: “A Christmas Gift for You from Phil Spector.”

On this essential disk, Spector lends his signature “Wall of Sound” treatment to a number of secular holiday tunes, enlisting the vocal talents of the Ronettes, the Crystals, Bob B. Soxx & the Blue Jeans, and Darlene Love. A few years back, Rolling Stone magazine ranked it #142 on its list of 500 greatest albums of all time — not bad for a holiday album.

Here’s Darlene Love on a 2012 visit to “Letterman” — just a stunning version, given the full arrangement it so richly deserves. Violins and cellos, nine backup singers, a horn section, random percussionists pounding on the kitchen sink, and . . . snow!

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The snow’s coming down
I’m watching it fall
Lots of people around
Baby please come home

The church bells in town
All singing in song
Full of happy sounds
Baby please come home

They’re singing “Deck The Halls”
But it’s not like Christmas at all
‘Cause I remember when you were here
And all the fun we had last year

Pretty lights on the tree
I’m watching them shine
You should be here with me
Baby please come home

They’re singing “Deck The Halls”
But it’s not like Christmas at all
‘Cause I remember when you were here
And all the fun we had last year

If there was a way
I’d hold back this tear
But it’s Christmas day
Baby please come home

Here’s Bono and the gang giving it a go:

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In this recent cover by Death Cab for Cutie, Ben Gibbard eliminates the celebratory element that has crept into recent versions, to capture the sadness and longing that is at the song’s (true, I think) core.

If there was a way
I’d hold back this tear
But it’s Christmas day
Baby please come home.

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RE-POST: Imaging the Character of Griffin Connelly in BYSTANDER

I just enjoyed a terrific visit to Virginia, three nights, visiting Matoaca Middle School and Davis Middle School. I stayed in Richmond, was treated like a conquering hero, and all I can do is express my heartfelt gratitude one more time. Thank you to three librarians, Mrs. Masters, Mrs. Green, and Miss Warshen (I hope that’s how you spell it). Most singularly: The trip would not have been possible without the near-heroic efforts of Amanda Brata — and all the teachers/administrators who decided to make Bystander a school-wide read for their students. That’s an amazing honor I don’t take lightly.

SIDENOTE: I know I’m forgetting the name of someone who took me around to classrooms on Monday, and it’s killing me. It’ll come to me, promise!

Over three days, I gave eight (fabulous) large-group presentations. I was also offered the opportunity to enjoy several brief classroom visits. One perceptive student asked about how my intentions when it came to creating the character of Griffin Connelly. It was thoughtful question that I tried to answer as best I could. The truth is, I suspect that I write better — clearer — than I talk. So while I was fumbling for an answer, I referenced this blog post about Griffin’s two-faced quality.

Here’s an excerpt of that old post.

——-

Let’s talk about smiles . . .

I began my work on the book that would become Bystander by hanging out in the local library with a composition notebook. At the top of the first page of that notebook I see that I copied a line from Michael Connelly’s  Echo Park: “What is the bad guy up to?” I was excited. After writing 30-plus Jigsaw Jones mysteries for younger readers, I finally had a bad guy. It wasn’t going to be all benign misunderstandings and well-intentioned foul-ups; here, I had a character with potential for real darkness.

I see that I was reading Savage Spawn: Reflections on Violent Children, by Jonathan Kellerman. A powerful, disturbing book that looks at antisocial youth, from aggressive bullies to cold-hearted killers.

And right there on that first notebook page I started a list of potential “bully” characteristics. I wrote:

Smart, charismatic, charming, popular, superior, tortures animal?, trouble with police?, lights fires, COLD, raised by grandmother?, non-compliant, poor grades, not affected by discipline, causes fear, lucid, psychopathic?, free of angst, free of insecurities, (later, when caught, self-pity), preternaturally CALM.

I was in the first stages of character development — and for me, I’m at my best when character evolves into story, as opposed to plugging character into plot. That is: character first. With my focus exclusively on this “bad guy,” I even came up with a potential book title: Predator.

It became important to me that my main antagonist, Griffin Connelly, was divorced from the bully stereotypes we often see in books and movies. You know, the bully as gross coward, unlikeable lug, dim-witted brute, dirty, ugly, unpopular. It simply wasn’t realistic, and by turning bullies into  one-dimensional characters, we surrendered much of the complexity (and difficulty) of the topic (and story).

A quick plea: There’s a tendency to slot any topical book, such as this, into the bibliotherapy shelf. But Bystander is a story, a page-turner with thriller elements that a biased Jean Feiwel called, “Unputdownable.” It’s not a thesis paper. It’s a good, fast read. I hope boys find it.

Whew. I see that I’m letting this post get away from me, because I’m trying to talk about too much. So I’ll get specific:

I wanted Griffin Connelly to be  a great-looking kid, with charm and verbal dexterity and a great smile. He would be, in every sense of the word, attractive. All the surfaces would shine. The ugliness concealed.

His smile was one of the keys to his character. But what is  a smile if not a baring of teeth? The smile beams beatifically, but also represents a flashing of fangs. A threat. The wolfish grin. There’s menace under the surface.

Griffin Connelly was the kind of person who would smile at you while he stuck a knife in your back. And maybe, for pleasure, gave the blade a twist. The toothy smile was the mask he wore, this master of the mixed message.

Page 7, when Eric first meets Griffin:

The shaggy-haired boy in the lead pulled up right in the middle of the court, halfway between the foul line and the basket. He stayed on his bicycle seat, balanced on one leg, cool as a breeze. The boy looked at Eric. And Eric watched him look.

His hair fell around his eyes and below his ears, wavy and uncombed. He had soft features with thick lips and long eyelashes. The boy appeared to be around Eric’s age, maybe a year older, and looked, well, pretty. It was the word that leaped into Eric’s mind, and for no other reason than because it was true.

Some random examples now . . .

Page 11:

Words came easily to Griffin, his smile was bright and winning.

Page 18:

Griffin flashed a smile, that hundred-dollar smile he could turn on in an instant. He reached out his fist. “Are we cool, buddy

Page 50:

“Mrs. Chavez!” Griffin exclaimed, smiling cheerfully. “Please let me help you with that . . .”

Page 68:

There was no way Eric could tell Griffin Connelly that story. So he told bits and pieces and white lies. Eric wondered if Griffin sensed it, the whole truth, if somehow Griffin already knew, saw into Eric’s secret heart and smiled.

Page 78:

“You want to hang out, don’t you?” Griffin asked. He smiled, put an arm around Hallenback’s shoulder.

Page 130:

Griffin winked at Eric. Then gave that big Hollywood smile, and swept the hair from his eyes.

Page 130:

“What are you going to do? Punch me?” Griffin taunted, grinning.

Page 131:

“I’ll be seeing you around, Eric,” Griffin said. His smile was like a pure beam of distilled sunlight. His long lashes blinked, his cheeks pinkened. He wore a perfect mask of kindness and light.

Page 165:

Griffin smiled wide, folded his hands together, and said in a soft voice, “We’ll see about that.”

Page 186:

Griffin grinned through the insults.

——-

Presented in this way, it may seem a little much. But  in the context of the story, I suspect it’s unnoticed. The accumulated effect, I hope, is creepiness. Here’s a guy you can’t trust. Every threat comes with a smile. White teeth gleaming in the sunlight, fangs bared.

“My Grandma, what big teeth you’ve got?”

Don’t let that smile fool you.