About

Jennifer de Guzman is a writer and comics editor living in the San Francisco Bay Area. She writes stories about sad girls, seawater, bottomless wells, airborne plagues, and horses. You can find links to some of them them in the Selected Works section or read them at her Scribd page.

She also writes "Life in Comics," a monthly column for Publishers Weekly Comics Week, and collaborates on "Heaven Knows I'm Miserable Now," a comics column on Robot 6, with her husband, artist Brian Belew.

Portrait by Brian Belew.

What Are Possible Impossiblities?

“The Poet ought rather to chuse Impossibilities, provided they have Resemblance to the Truth, than the Possible, which are Incredible with all their Possibility.”
- Henry Fielding, quoting Aristotle in The History of Tom Jones, a Foundling

Five Things That Are Tough to Convince a Six-Month-Old Of

1. Strained peas are the most delicious food you will ever eat.

2. Taking a nap really is in your own best interest.

3. Screaming is not the best method of communication.

4. Mom and Dad’s hands are not teething rings.

5. The kitty is not a teething ring.

I Write Like…

There’s nothing like an Internet meme to distract the writer from writing! This time it’s “I write like,” which analyzes an excerpt of your writing and tells you whom you write like. I tried a few excerpts.

An “interlude” chapter (these are chapters that take place between the main action of the novel — they’re set before the time of the novel and are written in present tense) of my young adult novel produced:

I write like
Vladimir Nabokov

I Write Like by Mémoires, Mac journal software. Analyze your writing!

Which is kind of funny because the novel involves the sexual relationship between a fifteen-year-old girl and a twenty-seven-year-old man.

I put in the most recent story I’ve written, “Beggars Would Ride,” and got this:

I write like
H. P. Lovecraft

I Write Like by Mémoires, Mac journal software. Analyze your writing!

Which is just weird. Is it because that story has long sentences? But it also deals with themes of isolation, madness, and individual fantasy, so I guess it’s fitting, even if it takes place in an Oregon farm house and not in a New England town beset by Elder Gods.

Then I put in the first chapter of my young adult novel, and I got this:

I write like
Margaret Atwood

I Write Like by Mémoires, Mac journal software. Analyze your writing!

I’m pretty happy with that!

Embarrassing Convention Moments

For the first time in eight years, I won’t be working at Comic-Con. I’ll be there, though, experiencing the convention on the other side of the table. (And not appearing in the background of pictures people take of other people at the booth.) The hotel and flights are booked, and Brian and I are figuring out how to travel with a six-month old. (Luckily, the flight is only an hour and a half long.)

Looking toward Comic-Con, I have been reminiscing about some moments at conventions that were a little embarrassing. I try so hard not to be an awkward and socially stunted nerd, but sometimes I just do stuff that makes me feel stupid. Here are some, in roughly chronological order. They illustrate common pitfalls of attending comics conventions.

  • I confused the then-current artist on The Tick with its creator, Ben Edlund. He said to me, “You don’t even know who I am, do you?” I think he also resented that I didn’t ask him to sign my midriff and give him my phone number, as the girl ahead of me in line did. (I know this dude’s name, but I’m not going to mention it.)
    The Pitfall: Revealing that you don’t know Your Stuff. Or actually, revealing to an artist that you don’t know His Stuff. He could be the kind of artist that think His Stuff’s the Hottest Stuff Around, and he might be kind of jerky if you ask him something he thinks you should know. Just get your sketch or autograph, say hello, whatever, and get answers to your questions on the Internet.
  • I asked Dave McKean for a sketch after I’d been standing in a line that had “NO SKETCHES” signs near it for fifteen minutes. He did a sketch for me anyway, of Death from Sandman.
    The Pitfall: Not being on the lookout for signing rules. Especially with the bigger names, there will probably be some.
  • I tried to introduce myself to someone I don’t know. This artist knew someone at the book and had stopped by . I wandered over. The other person didn’t say anything in ways of introduction, so in a break in the conversation, I started to extend my hand to introduce myself. Unfortunately, the artist was using the break in the conversation to say goodbye. So he said to me, “I don’t know you, but I’ll shake your hand anyway.” I felt stupid. And also unimportant. Wah.
    The Pitfall: Conforming to our culture’s expectations of interpersonal decorum. It doesn’t always work. Comics conventions are kind of full of people who aren’t great at doing this, so when they meet it, they might not recognize it. But don’t stop doing it — because the people who try to mind their manners as well will appreciate it.
  • I was rendered speechless. I was talking to someone about a book I had encountered, saying it seemed like it was trying to ride on Lemony Snicket’s coattails while simultaneously copying Jhonen Vasquez. A dapper, roundish man approached us and asked what we were talking about. I showed him the flier for the book. “Well,” the man said, “I’m Lemony Snicket, and I think it’s a wild outrage!” I looked at his badge. It read “Daniel Handler.” I stared at him and said nothing until he slinked off, at which point I sputtered: “You are Lemony Snicket!”
    The Pitfall: Not being prepared to meet someone whose work I admire. Conventions are stuffed full of them. Be prepared to be as scintillating as you are in your daydreams — you know, the ones where people gather around you as you show off your wit and they laugh and say, “Oh, my that is humorous! Very clever! Bravo!” Or at least the ones where you have a pleasant, though not deeply meaningful, exchange with someone whom you admire. (See also, “This part of San Jose always smells like onion rings.”)
  • I heard the words, “It’s nice to meet you,” coming out of my mouth as I was speaking to someone I had already met. I saw her expression change as she thought, “This snob can’t even remember that we’ve met before!” I was abashed.
    The Pitfall: This has probably happened to everyone at a convention — you meet so many people and then you forget whom you’ve met, or you don’t connect a name to a face, and then, ugh, you make an ass of yourself. What you need is one of those personal assistants who memorizes faces and names and whispers the information to you as people approach you. Failing that, you need to have a good “con apology”: “I’m sorry, I realize now we’ve met before! You know how these things are! Sensory overload and what not… Anyway, how are you? How’s [insert something that proves you remember who they are]?”

Have fun at Comic-Con kids. Don’t embarrass yourselves.

They Say You Were Something in Those Formative Years

"Not quite Sophie Beer" by Dan Foy, www.flickr.com/photos/orangeacid/, used under Creative Commons License

Via the New York Times Paper Cuts blog, I found “Bad Books for Kids,” an essay on young adult fiction by David Mills, first published in Touchstone, a Christian magazine. Mills expresses his shock at what he calls “commercial depravity” in literature for young adults, and claims that these “problem books”  ”appeal to the worst in every teenager.” He prefers classics, such as Kidnapped by Robert Louis Stevenson, which deal with problems of adolescence at a “prophylactic distance.”

I could easily make fun the phrase “prophylactic distance” and respond to Mills’s argument, but I realized, as I read the essay, that it would be pointless. Mills and I have a difference at the foundation of our views about what the purpose of young adult fiction is. I’ve come to think of it as reformative versus formative.

In reformative young adult fiction, readers are presented with an idealized vision of adolescence. The main characters in these books experience some difficulties without getting too sullied by them. They do not despair. They do not rebel in any significant or dangerous way but learn from their troubles and come out better for having had a life lesson. They are adolescents as adults wish them to be: curious and seeking their individuality but not hurting themselves or their parents in the process. These books depict adolescence in a muted way — the troubles of growing up are there, but they are easily met and resolved. The overriding virtue of these books, as Mills sees it, is their virtue: they are “morally serious.” I don’t think there is necessarily anything wrong with books like these; some of the books Mills cites are favorites of mine, like Anne of Green Gablesand His Dark Materials.

However, I don’t think books like these offer a full complement of experience to contemporary young readers. As a young adult, I adored classic books about teenagers, but I also read Judy Bloom and V.C. Andrews– and classics that would probably fail in Mills’s scrutiny, like The Catcher in the Rye and The Bell Jar. As the reformative point of view has it, books like the latter indulge the teenager’s propensity to be self-centered, self-pitying, values-questioning, and, ultimately self-sufficient. Reformers like Mills do not want adolescent problems to be too “tawdry,” and he does not want those problems to be solved without God and family. But as I see it, self-pity, misery, desperate longing, foolish experimentation, and real problems, are natural parts of adolescence, and to deny the (sometimes uncomfortably graphic) depiction of adolescence from the adolescent point of view (as much as adult writers like me can recapture it) is to deny teenagers the reality of their experience.

And this is key: So much of how teenagers are regarded is as a sort of liminal species whose concerns are both temporary and not as important as they think they are. Recently, my therapist asked me what characterized therapy that I had responded well to in the past — I thought back to being sixteen and sullen, of being twenty and scared, in a psychologists’ office, and the common factor worked its way through the memories of talking and crying into the foreground: My problems had been taken seriously. I was not treated as if I was in a stage, as if my mind’s workings (and non-workings, as it were) weren’t important as long as that mind was still forming. I wasn’t temporary, a rebellious teenager or a fickle young woman (as I had been characterized), to the therapists, or at least they didn’t treat me that way.

And that’s what, from a formative point of view, I think the best contemporary young adult fiction does. It doesn’t treat teenagers as if their minds are too fragile to contemplate themselves, as if their angst is unfounded or exaggerated. It says, “You are not alone or abnormal.” (Or in the case of V.C. Andrews, “See, you’re not abnormal. This is abnormal!”) And it sometimes even says, “Yes, things could be worse.”

Anniversary

Brian and I forgot it was our anniversary when we woke up this morning. Life sort of got in the way of remembering. We’d been out the night before at a San Jose Giants game. (They’re a Giants minor league team, and their stadium has the best churros in the world.) I woke up first, fed the baby, then put him in the bed between us and we lay playing with him for a while, until Brian had to get up to go to work. Then I had to get dressed for a morning doctor’s appointment. We talked, kissed the baby, kissed goodbye, and it wasn’t until I got to his work today to have lunch with him that I remembered to say “Happy Anniversary” to him.

But it doesn’t really matter, to either of us. I love that we began our anniversary in a quiet way, with our little family together, snuggling with our little one. Milestones have a way of zipping right by while you’re busy living.