I've said this before, but I think one of the reason so many of the cartoonists I know have become friends is because the Internet is a much more cooperative space.
Alternative cartoonists have to rely on comic book stores to get their stuff in the hands of readers.
I believe in books that do not go to a ready-made public. I'm looking for readers I would like to make. To win them, to create readers rather than to give something that readers are expecting. That would bore me to death.
There will always be non-readers, bad readers, lazy readers - there always were.
My drawing, like that of most cartoonists, is intended first of all to be functional: to create believable space, and communicate information. My strongest point in drawing has always been my ability to show characters' nonverbal communication through facial expression and posture.
Fantasy stories will always be popular, as there are always readers who are willing to escape, freely, to the worlds that the authors create, and spend time with the characters we give life to.
I've always said that my favorite aspect of online political writing is how interactive and collaborative it is with one's readers: that has always been, and always will be, crucial in so many ways to what I do.
Too often cartoonists just look at other cartoonists and, after a lot of inbreeding, everyone has the same funny look. The challenge of drawing is that there is no one right way to visually describe something. It's a good thing to confront your limitations and preconceptions every so often.
I can definitely say that of all my friends who I consider to be really great cartoonists, we're all trying to aim at basically the same thing, which is an ever closer representation of what it feels like to be alive.
I come to writing the same way I come to teaching, which is that my goal is always to create life-long readers.
Cartoonists create so many cartoons on any given topic that we can follow the life cycle of a comic idea and how it evolves over time more quickly than we can with a form like the novel.
I always idealized the mainstream cartoonists and the packed schedule they worked under.
I do worry that beginning cartoonists could feel somewhat strangled by the increasing critical seriousness comics has received of late and feel, like younger writers, that they have to have something to "say" before they set pen to paper. Many cartoonists feel even more passionate about this idea than I do, vehemently insisting that comics are inherently "non-art" and poop humor or whatever it is they think it is, but that attitude is a little like insisting that all modern writing should always take the form of The Canterbury Tales.
There's a village in my computer - friends, fans, readers, and colleagues. It's a populous, sometimes chaotic little burg always bustling with news, gossip, opinions and potential excitement.
I definitely have had fights with best friends. Some of them have led to me and said friend not being friends anymore, but it always turned out to be for the better. I think if you fight with someone, and you can just never reconcile, that just goes to show that maybe you shouldn't have been friends in the first place.
You can't believe anything that's written in an historical novel, and yet the author's job is always to create a believable world that readers can enter. It's especially so, I think, for writers of historical fiction.