Sequential Artists Workshop

This week Jess and I continued our discussion of PITCHING, and about feeling weird and lousy and under pressure and low boundary and high maintenance and under the gun and everything else!

Tune in next week to for Episode 8 of The Terrible Anvil: Monetizing Every Moment of Waking Existence on Instagram (What Could Go Wrong?)

I believe a transcript will be posted with this!?

Cheers’ y’all

Here’s some random thoughts we hit

We talked about both creators and publishers creating realistic expectations and boundaries--if a publisher doesn't give you a deadline, don't wait for them to hand you one! You might need to build you own. I thought having a looming book deal would give me the accountability to stay on track, and while it sort of did, it mostly stressed me out. I'm so grateful I was able to publish a beautiful book, but it was a lot more difficult than I thought it would be (see those pesky "feelings" Cara Gormally mentioned above.)

Tom Hart talked about his second-book slump where he tasked himself with outlining a sequel to his beautiful graphic memoir, Rosalie Lightning. At the end of his twenty-some page outline, Tom didn't want to make that book! It ended up becoming the seed for his book The Art of the Graphic Memoir.

Tom said a paraphrase of a great quote, whose origins are unknown to me:

"How to get a book deal? First get famous!"

I chimed in: "“If I’m not going to make any money I might as well make comics!""

Later on the call Tom Hart and I tried to speak to this great idea from Adrean Clark :

"I wonder if it's possible to talk about transforming our work -- not everything has to be something to "go big or go home" on. An idea can be a self-published zine, can be a comic feature in a newspaper, and so on. Thinking about the full range of pitches, whether to pitch to ourselves or to others. Does that make sense?"

Tom Hart read this quote I sent him from an article, via J.F. Martel:

I also added: "spend time with your own work for a long time before launching it from the (marketing) cannon!"

We remembered the awesome Pro Call with Laura Gao, you can see the recording over here! Their process and the timeline for their book deal (Messy Roots) was super-duper fast and a ton of work all at once after their comic went viral. (thanks Jim for the Pro Call link!!!)

Tom Hart mentioned the art critic Heidi MacDonald's podcast interview with comics creator Box Brown. Box said: "I feel stupid for following my dreams!" Re: capitalism can kinda make things feel cruddy. 

Tom noted that  "There are a lot of reasons to feel bad while making art. Most of those are expectations of results, expectations, rewards"

He noted the value of self publishing and Jim added: "I agree with Tom! I just ordered 100 of my books from Lulu. And that was after a couple of proofing cycles."

I asked Tom is art-making might be a form of mental illness and he said, "Art is not a mental illness but a sane response to an insane world."

Leonie Sharrock asked:Question re 'form' … what happens when you want to go hybrid? how do we pitch hybrid works?Tom Hart said:Leonie, those are more difficult but slowly people catch on… 🙂

In this week's episode of The Terrible Anvil we talked about pitching your work—whether short-form comics or book proposals—and getting published as a comics artist.

Some really great ideas from the chat that we hope to touch on in episode seven (a sort of sequel, with maybe more of a focus on BOOK pitching.)

Tom mentioned the expectations of what a book contract or publishing project will do for us

Sally mused: If we're not bankable, maybe we're MORE relevant.

Tom shared a link to CHILL SUBS, where you can look for places that publish short comics: 

https://www.chillsubs.com/

 and spoke about the FLOW anthology pitching process (theme relevance, no pay, a round of roughs and finishes with some small edits)

Alison Kent also had a good point on networking versus making real connections:  I think it was Jay Sherer or Caleb Monroe said that building relationships -- friendships, not networking necessarily -- is key. Share info, refer your friends. They said it was the most important thing

Some Quick Tips on Cold Emails (or DM-ing art directors)

1) Write a letter.

 2) Be a fan of the editor’s work! 

3) Be authentic, "might like my work, or I’m working on a book, maybe we can work together" etc 

4) Share your work via URL to website or previously published work (not PDFs or JPGs unless they ask)

Remember: *Be polite, be brief, but no need to undersell your stuff or apologize!*

Alison also shared: Sharing your pitch ideas with friends seems to be a great way to focus your pitch

Sally  remembered: Emil Wilson  said in an Sunday Open Studios conversation something really helpful to me. Rather than seeing a call (for entries) and trying to generate an idea, it's easier to if the call reminds you of something that you have already come up with. So it makes all that stuff we create without obvious goals is resource building.

Jim had a great comment: Pitching as a nobody is a challenge. I feel like I have to create a resume (so to speak) before I have enough credibility to be considered as an actual cartoonist. The SAW themed anthologies are helpful in building a reputation.

Sally and Leonie  were also wondering if the pitch should include the 'end' or the 'why' for the comic, what was learned in the process of investigating the topic of the work, etc. I find I leave that stuff out for short form pitches, and include it in book proposals.

 Jim  also said: I would be interested in hearing what others are doing to promote their self-published work. In one sense, I feel like the actress in La La Land who stages a one-women show, which she feels is a total disaster until it turns out that there was a Hollywood casting director in the audience. I'm hoping that a talk I give to a handful of people at a library or senior center might turn into something like that. A guy can dream, right?

Sally  also said this:

It's good to try to frame the experience as offering something of value rather than begging for support/validation/etc.

And stay tuned for even MORE ABOUT PITCHING in next week's episode!

This week’s Terrible Anvil we talk about CHOOSING IDEAS and then LETTERING

We talked a lot about IDEAS as SPELLS, and that ideas assert themselves. And Ideas are invitations to act. But they don’t all have to be acted upon. They come and they go.

We answered from the crowd: If you have too many ideas whirling around your head, what's a good way of picking one out to work on? 

and

How do you reconcile what’s in your head and what you put on paper?

--------------------------------

The Terrible Anvil!

How do you make comics without all the frustration? Without feeling lousy and inadequate all the time? With the Terrible Anvil of daily deadlines! And a community, and mindset shift about what it means to make comics and art. Jess Ruliffson and Tom Hart are working through the whole process, one piece at a time, turning frustration into fun and glee.

💬ONLINE COURSES SAW is a SCHOOL with loads of online courses you can see here: https://learn.sawcomics.org/

💬COMMUNITY REMINDERS! You can also join hundreds of people sharing their work at our free members site

https://members.sawcomics.org/share/F6BBQeyGUGE0g-Qk?utm_source=manual

💬 DONATIONS Thanks so much for being here! SAW Comics is a 501C-3 non-profit and we thrive on your support and donations! You can support these workshops, plus the many many ways in which we strive to meet our mission of training and supporting graphic novelists.

You can support us on Patreon or PayPal, here: https://www.paypal.me/comicsworkshop

https://patreon.com/sawcomics

Venmo: sequentialartists-workshop Or become a sustaining donor: https://learn.sawcomics.org/courses/saw-sustaining-member-donation

Recorded at SAW on Zoom, Feb 2024

THANKS!

What follows are Jess’s recap and then the ZOOM AI recap….

JESS’s RECAP

We were answering two good questions this week about IDEAS and also we FINALLY talked a little bit about lettering.

Deanna asked:

If you have too many ideas whirling around your head, what's a good way of picking one out to work on? 

My friend Fionnuala at the University of Edinburgh asked:

How to reconcile what’s in your head and what you put on paper?

Some highlights from the call chat:

Our ideas----->I'm a bit of a hoarder when it comes to ideas- TomAlso Tom: I have two answers: randomness and cards, but also--ideas are bossy!Carole McKee Armen:Ideas choose me

Leonie Sharrock:sometimes I have to wait for another idea to trigger an old idea into life … like one idea finds its soulmate idea, then we're cooking!! 😀

Jess thinking about the astonishing ideas vs the ordinary onesTom: Sometimes am worried ideas my skitter away - putting it off might release it of its creative charge, which is a little sad. ideas are like spells that wear off re: a lot of our mental attachments are spells and they fade

From Maria Fitzgerald:Maybe some ideas are just perfect for how you think at a certain time, but then as time goes by your thinking changes.

Jess: ideas like fireworks, ideas that are like bossy siblingsSometimes many ideas live in your book draft. Then you realize 2 are a book, 1 is a different book. As you work, things become more clearAn idea is an invitation to act - Tom Hart 

From Donna:I can’t finish a project until I have an outline (from which to deviate)

Tom mentioned the perils of an old idea that is super mapped out - hard to act on itFrom Maria: I kind of keep my ideas to myself until I get something down on paper…Because talking about an idea is not the same as actually writing it or drawing it yourself.

Carole also said:Sometimes talking about an idea makes it lose its mojo. Don’t know why…Tom: sometimes it's ok if an idea is just cool to talk about and you don't make something. Or what about an idea steeped in curiosity, steeped in a question?Tom says: start wherever you can!-----Question Two------!How to reconcile what’s in your head and what you put on paper?

Jim Hamilton:Falling was a side topic that came up while I was researching a different book. I only became obsessed with it over time.Tom: we're creatures! We make stuff! (Create-tures?)I mentioned my love for the competitive baking show, Nailed It! As well as the Trump cake that makes me wheeze with laughter:

Which Tom eloquently paraphrased as: when we try to make the professional art it looks like amateur baking show cakeI wondered:“Are you inviting the audience in too soon?”

Maria had a good point:I wonder is it true that the reader gets more involved if they have to interpret the art a little…. if it is not just perfectly representational.

One of our nonfiction students Ellen, said about her work: "I have to have fun doing it!" which is really useful.

Tom shared this quote via Austin Kleon, from Will Oldham:“Part of the idea in making a record is to freeze lots of moments of learning and discovery so that it really is like every time you press “play” you are opening up this experiment again.”

Tom further opined:honoring imagination with a certain amount of liveliness - the fun of it is learning and doing something unexpected - rereading it later, can relive that moment, what it was like to discover somethingTom says Try not to separate the process from the finalJess: as working professionals we forget to have fun

ON THE TOPIC OF FUN--- WHAT ABOUT LETTERING?!Some Lettering tips: 

* Don't put it off til the very end

* Do leave lots of space

* Don’t do long Hindenburg lines of text! (giant ovals of dialogue balloons)

Jess used to be afraid of lettering. But if she does it first she now thinks “wow this looks like a real comic!Alison Kent asked:Wondering how many people produce scripts separate from the drawings?Jim does! (Jim said: But it may not be the kind of script you are asking about. I lay out the text for each page and then trace it before adding drawings.)

Jess mentioned: if i have a clear script, lettering is WAY easier too! Sometimes the fear of lettering is the fear of clarifying the scriptTom asked: What is the lettering for? Communicators/creatures - it doesn't have to look a certain way - don't fall into the trap of using Arial font and not being specific - treat the lettering like it's part  of the work (or communication/expression of the work)Can generate your own font here at Calligraphr (thanks Adrean!)Good resources out there for lettering! For example (Nate Piekos' BLAMBOT!)

Alison Kent:Re: scripts — I heard a podcast about making comic book scripts and this gives client a good sense of what’s going to be there before you spend 3 years drawing. (Or before the client gives you a contract)Adrean added:I think sometimes we research things too much when we really should be playing and experimenting with it. Things like lettering, etc — requires “do it” time to build up the skills and knowledgeTune in for next week's episode: PITCHING!

From Sally Charette:How about talking about pitching since pitching for the next FLOW anthology is coming up? (TROUBLED HISTORIES)

ZOOM Quick AI recap

The discussion between Jess and SAW Comics focused on the challenges of creativity, idea generation, selection, and execution. They shared their experiences of working on their podcast and book, "The Bootleggers Guide to Comics", and the process of crafting Tom's memoir. They also touched upon the importance of enjoying the creative process, not taking oneself too seriously, and the significance of lettering in comics. Towards the end, they decided on the topic for their next meeting, which is how to pitch ideas more effectively.

Summary

Podcasting and Idea Generation

Jess and Tom had a detailed discussion about the content of their podcast, focusing on the topic of lettering which was decided to be postponed. They addressed questions from their audience, including one from Deanna Feinstein about handling too many ideas, and another from a friend at the University of Edinburgh. They shared their experiences with idea generation and selection, and the challenges of finding ideas, especially when faced with deadlines. Jess and SAW Comics, also known as Tom, also discussed their process of crafting a book titled "The Bootleggers Guide to Comics", using a podcast to workshop ideas and setting weekly check-ins to keep progress on track. They concluded the discussion by sharing their idea generation and selection process for Tom’s memoir.

Ideas and Creative Processes

Jess and Tom had a lively discussion about the nature of ideas and their creative processes. They shared their experiences of having multiple ideas and the challenge of deciding which ones to pursue. They agreed that not all ideas are awesome and sometimes need to be separated. They also discussed the thrill and excitement of having a new idea, often even more than the final product. They emphasized that an idea can exist in various forms, including as a conversation, and wondered about the conventional structure of novels. They also touched upon the challenges of maintaining motivation and focus when working on a project. Towards the end, they discussed the sensitivity and privacy associated with creative ideas, and the importance of keeping some ideas to oneself to preserve their magic.

Creative Process vs. Expectations

The meeting revolved around a conversation between SAW Comics and Jess on the challenges of reconciling ideas in one's head with their execution on paper. SAW Comics shared his perspective, emphasizing the importance of being present and curious in the creative process, rather than adhering to expectations or preconceived notions. Jess agreed and tied this into a previous conversation they'd had about the satisfaction derived from the process of creation rather than the product itself. The discussion was punctuated by Jim's input on a different question via the chat.

Nailed It!: Inspiring Lighthearted Creativity

Jess and SAW Comics had a conversation about the Netflix show "Nailed It!", which is hosted by Nicole Beyer and Jacques Torres. The show involves amateur bakers attempting to construct elaborate cakes under pressure. Jess drew parallels between the show's lighthearted approach to baking and their creative processes, emphasizing the importance of not taking oneself too seriously and embracing the joy of the process. SAW Comics noted that the show is full of laughter and joy, and shared how the concept of side projects has influenced their work, mentioning Megan Kelso's shift towards short stories after realizing their potential.

Creativity, Joy, and Balance in Artistic Process

Jess and SAW Comics had a discussion about the importance of enjoying the creative process. Jess shared her personal struggle with taking her art too seriously and how she found joy in making it a bit silly. She highlighted the importance of maintaining a childlike mindset and not being too critical of the outcome. They explored the challenges of balancing self-acceptance and self-improvement in their work. SAW Comics emphasized the importance of capturing moments of learning and discovery during the creation process. The conversation also touched upon the idea of monetizing their work, and how it can sometimes lead to a more transactional approach rather than being driven by curiosity and enjoyment.

Lettering in Comics: Artistic Expression and Communication

Jess and SAW Comics discussed the importance of lettering in comics, emphasizing that it should not be overlooked. Jess shared her method of creating layouts to show editors quickly, using a font generator based on handwriting. SAW Comics added that lettering is a form of communication and a part of their artistic expression, rather than just a decorative element. They also reflected on the significance of lettering in their earliest drawing experiences and proposed that recalling these experiences could be beneficial.

Comics Lettering and Scripting Discussion

SAW Comics and Jess explored the topic of lettering in comics, discussing how it reflects personality and the challenges of conveying meaning beyond conventional letters. Jess suggested that fear or avoidance of lettering might be linked to unclear scripts. They agreed that there are various styles of lettering that can effectively communicate ideas. Jess also discussed her interest in creating clean scripts, emphasizing the importance of designing panels and determining the appropriate word count. She shared her preference for clear parameters on scripts, like length and medium, to guide her creative process. Jess concluded by suggesting a possible episode about pitching short form comics or a book proposal.

Work, Experiment, Pitch: Importance and Effectiveness

The discussion also touched on the importance of doing the work and experimenting rather than just researching. Towards the end, they decided on the topic for the next meeting, which is how to pitch ideas more effectively, in light of an upcoming anthology.

Next steps

Jess and SAW will revisit the topic of their book, The Bootleggers Guide to Comics, and discuss how to work on it more effectively. They will also consider the topic of pitching for the next anthology and how to make ideas more actionable.

THANKS!

Episode 4 - Building the Dream Castle

Today on Episode Four of The Terrible Anvil, we tried to tackle the topic of making a sustainable creative physical space and habits to make work.

And as usual we veered off topic and expanded and waxed philosophical on all the different types of "castles" creatives build: the physical workspace, the vision for the work itself, the audience you hope to reach.

I (Jess) also am editing a book (The Bootlegger's Guide to Comics!) and we took a topic from the early draft wondering: What's the purpose of an audience or editor, and when to open the door of your castle to share work?

Lots more on the show page here: https://members.sawcomics.org/posts/the-terrible-anvil-episode-4-building-the-dream-castle-50384315

THE ZOOM AI made this summary and it’s not bad:

Meeting summary for The terrible Anvil Episode 4 (02/08/2024)Quick recap

Tom and Jess discussed their podcast format and an upcoming episode focusing on the concept of 'building a dreamcastle' in relation to creating an optimal workspace. They also touched upon the value of editors and audience in the creative process. The discussion also included feedback and maintaining conversation flow. They considered the importance of having a space that inspires them and makes them feel proud and safe. They discussed the tension between creating for oneself and considering the audience and potential editors. They also explored the impact of social media on the creative process.

SummaryPodcasting and Comics: Building Dreamcastles and Balancing Feedback

Tom and Jess discussed their podcast format and an upcoming episode where they plan to discuss the concept of 'building a dreamcastle' in relation to creating an optimal workspace. They also mentioned a future project, The Bootleggers Guide to Making Comics, which involves testing material for a book. The discussion also touched upon the value of editors and audience in the creative process. They were open to feedback and planned to strike a balance between answering questions and maintaining the flow of the conversation.

Dreamcastles: Ideal Workspace Concept

Tom Hart @ SAW and Jess discussed the concept of "dreamcastles," a metaphorical term they use to describe the ideal workspace for creating and managing their projects. They talked about the importance of having a space that inspires them and makes them feel proud and safe. Jess shared her experience of showcasing her workspace to others and how it can lead to discussions about tools and techniques. Tom mentioned visiting artists who use color-coded systems on their walls to manage their stories. The conversation ended with the idea of using the "dreamcastle" metaphor to represent the process of creating a project, not just the physical space.

Creative Process and Social Media Influence

Jess and Tom discussed the creative process, focusing on the creation of a 'dream castle' as a metaphor for their artistic vision. They explored the tension between creating for oneself and considering the audience and potential editors. Jess emphasized the importance of creating a first draft without the pressure of audience expectations before making edits. They also discussed the impact of social media on the creative process, with Jess highlighting the pressure to share polished work on platforms such as Instagram. On the other hand, platforms like Patreon and the Mighty Network provide a space for sharing works-in-progress. The conversation concluded without a definitive answer on how to balance these influences.

Graphic Novel and Memoir Project Discussion

Tom and Jess discussed their ongoing project involving lettering and storytelling. Jess shared her experience of completing her graphic novel and feeling a need for a new project, which led her to collaborate with her partner on a memoir that she felt would be better suited as a comic. She also mentioned her interest in a larger project that could encapsulate stories from healthcare workers. Tom suggested focusing on the creative process first before considering its relevance to the broader world. They both agreed that the importance of their work should come before its cultural relevance.

Breaking Into Animation: Challenges and Advice

Tom Hart @ SAW shared his experiences with trying to break into the animation industry and the advice he received from a woman who ran Cartoon Network at the time. He highlighted the challenge of finding a unique angle for a project that commercial institutions like Cartoon Network would be interested in. Jess agreed with Tom's perspective and discussed the difficulty of creating stories that stand out in a crowded market. They also touched upon the importance of focusing on the creative process and not overthinking the audience or potential editors. Towards the end, Jess suggested the idea of a three-month nonfiction class featuring Tom, but noted that it was likely too late to implement the change.

Questions, Narratives, and Behind-the-Scenes in Creative Works

Jess and Tom Hart @ SAW engaged in a discussion about the utility of questions in organizing and synthesizing information, especially in large bodies of work. They emphasized the importance of personal narratives in creative works, noting that they will naturally seep into the work if deeply ingrained. They also discussed the balance between stats and facts in storytelling, particularly in the context of comics and graphic novels. They concluded by noting the trend of including behind-the-scenes content in books.

Art, Community, and Digital Tools

Tom Hart @ SAW and Jess had a discussion about the value of personal, ritualistic art and its role in community building. They emphasized the importance of transparency in the creative process and the communal aspect of art. They also touched upon their preferences in creating comics and their observations about the different ways people work. They both agreed on the potential of portability in tools and workspaces, and the convenience of working on digital platforms. Towards the end, they discussed the importance of lettering in comics and agreed to reconvene next week to discuss it. They also considered starting a thread on the Mighty Network about workspaces and potential book projects.

Next steps• 

Jess will create a recap of the discussion and consider starting a thread on the Mighty Network about workspaces.

--------------------------------

The Terrible Anvil!

How do you make comics without all the frustration? Without feeling lousy and inadequate all the time? With the Terrible Anvil of daily deadlines! And a community, and mindset shift about what it means to make comics and art. Jess Ruliffson and Tom Hart are working through the whole process, one piece at a time, turning frustration into fun and glee.

💬ONLINE COURSES SAW is a SCHOOL with loads of online courses you can see here: https://learn.sawcomics.org/

💬COMMUNITY REMINDERS! You can also join hundreds of people sharing their work at our free members site

https://members.sawcomics.org/share/F6BBQeyGUGE0g-Qk?utm_source=manual

💬 DONATIONS Thanks so much for being here! SAW Comics is a 501C-3 non-profit and we thrive on your support and donations! You can support these workshops, plus the many many ways in which we strive to meet our mission of training and supporting graphic novelists.

You can support us on Patreon or PayPal, here: https://www.paypal.me/comicsworkshop

https://patreon.com/sawcomics

Venmo: sequentialartists-workshop Or become a sustaining donor: https://learn.sawcomics.org/courses/saw-sustaining-member-donation

Recorded at SAW on Zoom, Feb 2024

THANKS!

Episode 3 - On Early Drafts

We had THREE topics that were somewhat braided together:

* A thought Jess had: Become more interested in DOING what you're doing than KNOWING what you're doing.

* A quote I wrote down: "I often find myself writing long meandering first drafts, that drift around a bit before settling down into a state of baffling indecision." - George Saunders

* (and a quote Tom had handy): "Write down everything that happens in the story, and then in your second draft make it look like you knew what you were doing all along." - Neil Gaiman Lots more on the show page here: https://members.sawcomics.org/posts/49998503

In this episode we talk a lot more about early drafts in non-fiction and fiction.

-------------------------------→

The Terrible Anvil

How do you make comics without all the frustration?

Without feeling lousy and inadequate all the time? With the Terrible Anvil of daily deadlines! And a community, and mindset shift about what it means to make comics and art. Jess Ruliffson and Tom Hart are working through the whole process, one piece at a time, turning frustration into fun and glee.

💬ONLINE COURSES SAW is a SCHOOL with loads of online courses you can see here: https://learn.sawcomics.org/

💬COMMUNITY REMINDERS!

You can also join hundreds of people sharing their work at our free members site https://members.sawcomics.org/share/F6BBQeyGUGE0g-Qk?utm_source=manual

💬 DONATIONS Thanks so much for being here! SAW Comics is a 501C-3 non-profit and we thrive on your support and donations! You can support these workshops, plus the many many ways in which we strive to meet our mission of training and supporting graphic novelists.

You can support us on Patreon

or PayPal, here: https://www.paypal.me/comicsworkshop https://patreon.com/sawcomics

Venmo: sequentialartists-workshop

Or become a sustaining donor: https://learn.sawcomics.org/courses/saw-sustaining-member-donation Recorded at SAW on Zoom

Episode 2 - Lean into the worst

In the Comics FLOW + PUBLISH group we asked around: how do you lean in when the going gets weird? What parts are EXTRA UNFUN, and how do you navigate it?

Helen asked about deadlines.

Oneita asked about guilt.

Virginia asked about backgrounds.

We spoke on all these topics, as well as the role of ritual and community in answering these three questions. We cooked up ideas on how to make a home there in the ruins, being okay with badly-drawn hands, what to embrace when we're working.

Join us over in Comics Flow + Publish for the next TERRIBLE ANVIL live call, on February 1 at 11 am Eastern! Happy Making, Jess

The Terrible Anvil

How do you make comics without all the frustration? Without feeling lousy and inadequate all the time?

With the Terrible Anvil of daily deadlines! And a community, and mindset shift about what it means to make comics and art.

Jess Ruliffson and Tom Hart are working through the whole process, one piece at a time, turning frustration into fun and glee.

💬ONLINE COURSES SAW is a SCHOOL with loads of online courses you can see here: https://learn.sawcomics.org/

💬COMMUNITY REMINDERS! You can also join hundreds of people sharing their work at our free members site https://members.sawcomics.org/share/F6BBQeyGUGE0g-Qk?utm_source=manual

💬 DONATIONS Thanks so much for being here! SAW Comics is a 501C-3 non-profit and we thrive on your support and donations!

You can support these workshops, plus the many many ways in which we strive to meet our mission of training and supporting graphic novelists.

You can support us on Patreon or PayPal, here: https://www.paypal.me/comicsworkshop https://patreon.com/sawcomics Venmo: sequentialartists-workshop

Or become a sustaining donor: https://learn.sawcomics.org/courses/saw-sustaining-member-donation Recorded at SAW on Zoom

How do you make comics without all the frustration? Without feeling lousy and inadequate all the time? With the Terrible Anvil of daily deadlines! And a community, and mindset shift about what it means to make comics and art. Jess Ruliffson and Tom Hart are working through the whole process, one piece at a time, turning frustration into fun and glee.

Episode 1 - What Part of Comics is the Hardest?

Recorded at SAW on Zoom

What is The Terrible Anvil?

Tom and I were bantering one day on a call and one of us said HEY WE SHOULD MAKE A PODCAST LIKE THIS!

So, it's a podcast.

Each week, we grapple with the BIG QUESTIONS about making comics. The "terrible anvil" itself is from nineteenth century badboy Emile Zola, who opined, "One forges one style on the terrible anvil of daily deadlines."

(Emile looks a little unimpressed with us, but I am deeply impressed with his immaculate sense of style here in this 1902 photograph.)

What is this podcast like?

We record with a live (Zoom) audience, so there's some participation in that sense, but mostly, we build the structure of each week's episodes by soliciting questions from members of the SAW community in the Comics Flow and Publish group.

This week's question was: What Part of Comics is Hardest?

We talked about drawing, suffering, self-doubt, the inner critic, LOTS of good stuff! See below for a little recap of the first podcast!

What is "bootleggers"?

Jess Ruliffson is one of SAW's instructors and she's making a book! The Bootlegger's Guide to Comics.

What is a bootlegger? A bootlegger is someone who by hook or crook will make their art, abandoning the gatekeepers, rules, inner and external critics, literary best practices, and any other sort of puffery or obstacle that's cluttering the way to making their best work. Basically, being the kind of unfancy version of yourself and making art IS THE BEST VERSION of yourself to make the story you want to tell.

How do we decrease suffering when we make our comics?

What is the hardest part of the struggle?

Some responses from our COMICS and FLOW crew:

Uli B: "Convincing people that the thing you want to tell is worth telling."

Beth T: "I love every part of making comics in the comics sense of thing. In terms of the whole creative process, it's in the early stages of a project, wrangling some sense into the many too many ideas I have that always frustrates me most. I always just want things to solidify FASTER so I can get to work (or to parts of the process that feel more like work). I am not a patient person. "

Sarah W: "For me, the worst part is drawing, but also feeling driven to tell stories that I am not sure people really want to hear. So then I end up in a morass of despair because I feel like I MUST but then, because I’m not sure anyone really wants to hear it, I also feel cringey and vulnerable."

Some little bits and highlights from our call:

Jess: Leverage the things that are weird.

Nancy M: I think you are giving us permission to be artists or graphic novelists without being published? that our work doesn't have to live up to a publisher's standard to put it out there. I feel like that standard keeps me from starting.

Tom: Who are these people you think don't want to hear your ideas?

Austin Kleon!

Katherine B: "I heard Linda Barry, in a podcast, say (something like) it's not the author's job to judge the work, just make it." Jess: Judge vs audience (can we be either of those to ourselves?)

Tom: do we do a thing if something like it already exists? Are we perhaps worried we're not unique BUT TOTALLY WEIRD instead?

Also Tom (one of my favorite moments): "I'm not the artist my writer wish he was."

Jess: Draw the worst version purposely in the thumbnails and it delights me Plus, this is already so bad, how can it be worse?? ......intentionally exaggerating the badness of it. Exposure therapy.

Greatness is what I'm striving for, but badness is already inside me. Make the bad version, exaggerate it, let it be a communication device....

Darlene: That’s why it’s important for me to have community and share work because someone else always sees something in my work I didn’t see or even understand.

To join us on a live call, find us over in the events section of the Comics FLOW + PUBLISH group over here.

https://learn.sawcomics.org/

The recordings will soon be a podcast that you can listen to on your favorite podcast platform. Happy Making! Jess

#TerribleAnvil #Bootleggers