Blind Spot

Stephan Pastis at the Bank Street School for Children in NY.

We got to talk to Stephan Pastis about his inspiration for Timmy Failure: Mistakes Were Made. He calls Timmy a boy with a "blind spot." 

You are a comics artist. What have comics taught you about pacing a scene and character development?
Comics is all about pacing. I literally control the shutter of a camera. I give you four panels and each operates as a beat. You have to strip away everything that's extraneous. Comics teach you to be very direct. You have to be able to describe each of your characters in one word. Mean. Dumb. Smart.

Describe Timmy Failure in one word.
I see Timmy as an example of a blind spot. I need two words: arrogant and dumb. He was built entirely around the notion that a blind spot is what makes a character compelling. He sees himself one way, and the rest of the world sees him another way. Confederacy of Dunces was my model: Ignatius Reilly.

But Timmy is also very sympathetic.
In at least one aspect of our lives, we see ourselves in one way and the rest of the world sees us as another. We all lie to ourselves to some extent. In that way, Timmy is relatable. If you see Total [his polar bear sidekick] as a figment of his imagination, that's a measure of how alone he is. I think people respond to that. Despite his arrogance and pomposity, he is sort of sympathetic.

How did Total evolve?
I knew Timmy needed a partner, and I wanted it to be an animal because animals are fun for me. Timmy doesn't have a dad, and the polar bear is large and therefore subliminally protective; soft, so subliminally comforting. Then I thought it would be fun to have an animal who's just a polar bear, as opposed to the anthropomorphic animals in my strip. Timmy takes Total as much more, as a partner, as secretary, as filer, and he's terrible because he's just a bear. Without Total, there's no Timmy. The question I've heard the most is whether he's real, and I think that's a fascinating question. I like people to see it if they want to see it.

How did you come up with Timmy's voice?
His voice is really just mine. Timmy has a lot of me in him. A little bit arrogant, a big dreamer, but not that great at anything. A little bit oblivious. He shares a lot with the characters in the strip. I probably only have one voice, and that's it. Someone who's dumb but thought himself smart. I just write and what comes out, comes out. I have to figure out logically what I created instinctively.

Tell us how you met Charles Schulz.
I was a lawyer in San Francisco, and I was burned out. I read in a weekly newspaper that Charles Schulz had breakfast every day in the same place. I got in my car and drove for an hour to Santa Rosa to this diner, near an ice rink, and watched the skaters. I just waited and waited, and about an hour later, I see a man with white hair walk in, and I knew it was him. This was huge for me. I watched him eat his breakfast. He finally finishes, and I get up my courage and kneel down at the side of the table. I said, "I'm Stephan Pastis and I'm an attorney." I saw him withdraw immediately. I caught myself and told him I was a cartoonist, and that changed everything.

He talked to me for an hour. He asked if I had my drawings with me. They were in the car, and I showed them to him. He said nice things. He gave me some tips about changing the pen I used. How often do you get to meet your hero? The last 60 years of cartooning stems directly from Peanuts. He was to cartooning what Brando was to acting. Brando had a new style of acting, the Method. It changed acting forever. That's what Schulz did in cartooning--the timing, the dryness, the melancholy--that all comes from Peanuts.

This interview was adapted from a longer article in Shelf Awareness for Readers.

A Fresh Start

In Bluefish by Pat Schmatz, Travis has a complicated relationship with his grandfather, his sole guardian. He’s not excited about the fact that they had to move away from the creek where Travis found some peace of mind, and he misses his hound, Rosco. But it is a chance to start fresh. And to leave behind the nickname his peers had given him: “bluefish.”

The book opens with a good Samaritan act. Travis sees a stray shoe come flying past him while he’s at his locker. Shortly thereafter, a kid ambles by who’s missing one. Travis returns the shoe to the kid without a word and continues on his way. This earns him the respect of Bradley (the one-shoed kid) and also Velveeta, a silent witness. A friendship tenuously takes hold among the three. It’s sealed by a teacher, Mr. McQueen, with a knack for matching the right kid with the right book, and for offering the right comment at the right time. Travis has never known an adult like that, and Velveeta is sorely missing the one adult who had served that role in her life.

With the aid of this friendship and adult guide, both Travis and Velveeta find the courage to confide in one another. There’s a hint of attraction between them, but Schmatz keeps their connection platonic, exploring the full extent of what it means to be a true friend and confidante. Through their friendship, each transforms his and her self-image, and they begin to see in themselves the sense of possibility that they bring out in one another. Schmatz packs an emotional wallop in this brief novel.

Learning the Hard Way

The title hero of Substitute Creacher by Chris Gall learned his lesson the hard way. But we don’t know that at first. Have you ever heard of someone learning the easy way? When it comes to life lessons, most of us learn as a result of going through a tough experience, and wanting to avoid going through that again.

We may try to spare others headed down that same slippery slope with a word of warning, but the listener only truly hears it if he or she wants to hear it. Or if he’s going through something similar himself and seeks advice from someone who’s been in their shoes. That’s the terrific twist at the end of Substitute Creacher. After all the examples Mr. Creacher gives of students gone wrong, it turns out that he is one of them. That gives him insight into the children’s characters and credibility with his young audience (both students and readers).

The teacher may have learned the hard way, but he has a gentle delivery with the children in his classroom. He dispenses his anecdotes with humor and rhyme (framed in green slime). By the time the students realize that their sub is more like them than they’d realized, he has won them over. That’s also when it dawns on them that he’s merely trying to spare them the experience he had to go through to learn his lesson.

School Daze

It doesn’t matter how great most of your teachers are or how much you like your subjects. Every student knows what a bad day feels like.

In School!: Adventures at the Harvey N. Trouble Elementary School by Kate McMullan, inspired and illustrated by George Booth, the author and artist make high comedy out of that cold hard fact. Certain things annoy us and happen every day exactly the same way, over and over again. Your child’s bus driver may not drive into a ditch every day, but he or she may say the exact same cloying thing every morning, or pull up in the wrong spot every day, or center the door directly above a giant mud puddle.

Certainly we can all remember the substitute teacher saga – everyone wants to get one over on the sub. It’s a free-for-all. Hence McMullan and Booth’s twist about having a non-boring sub carrying a briefcase makes more of an impact. The pun in every character’s name only makes the recognizable ticks and quirks more fun.

I recently got to hear Lizz Winstead speak at the BlogHer conference here in New York City this summer. Winstead is the co-creator and former head writer on The Daily Show, and an audience member asked her what she thought of a story on Jezebel.com that asserted The Daily Show had an underrepresented number of women writers. Winstead defended the show’s hiring practices saying, “It’s not a woman thing, it’s a nerd thing,” and that in order to write for The Daily Show you have to be a “media-consumer extraordinaire, historian and satirist.”

School makes me think of that combination. The confluence of the experiences of Kate McMullan as a former fourth-grade classroom teacher and longtime author of children’s books, and of George Booth as a seasoned New Yorker cartoonist and satirist, makes their combined take on life in the halls of a frenetic public school a wildly successful send-up. No matter how your child’s school year is going, he or she will be highly entertained by this ode to school days.