Monday, March 14, 2022

Discussing The Art of Living with Grant Snider

 
by Mike Rhode

Since I first saw his cartoons about books and reading on the next-to-last page of the New York Times Book Review, Grant Snider has been one of my favorite cartoonists. His new book, The Art of Living: Reflections onMindfulness and the Overexamined Life (Abrams Comic Arts, $19) is full of his delightful single-page multi-panel cartoons that can make a reader pay attention and wonder about their lives and goals. I was very pleased to be offered the opportunity to talk with Dr. Snider (for he’s an orthodontist by trade, and a cartoonist by avocation.) Before getting into the interview, his new book is described by his publisher as follows:


In
The Art of Living, cartoonist Grant Snider, author of The Shape of Ideas and I Will Judge You by Your Bookshelf, has created an all-new collection of one- and two-page comics that map his inner thoughts, poetic observations, and frequent failures at living mindfully. With both humor and a touch of reality, The Art of Living centers on mindfulness, but also empathy, relaxation, gratitude, and awareness—evergreen subjects that are more important and relevant now than ever. With a striking package, The Art of Living is an extension of the themes of Snider’s first two books—which explored the creative process and the love of reading—and is the perfect gift for those in a need of reflection, commiseration, hope, and a little extra self-care. Above all, Snider's cartoons will inspire and encourage a more thoughtful way of experiencing the world. Whatever it is, the way you tell your story online can make all the difference.

Mike Rhode: What type of comic work or cartooning do you do?

Grant Snider: I do primarily web comics that get collected in books, like The Art of Living, which is coming out soon. Basically, I draw a weekly comic strip, find broader themes in those, and gather them together in book form.

Mike Rhode: Why did you decide to start a web comic?



Grant Snider: That's an interesting question. I didn't really know I was doing it, at first. As a very young cartoonist, just in college and coming out of college, I thought that I would be submitting to newspapers. And I still do publish work in newspapers occasionally, but I realized a lot more people were seeing the stuff I was putting on my personal blog,
Incidental Comics, than could ever be seen in the traditional newspaper sense. So I started updating that and putting it out in social media, and got a pretty nice audience of online readers, and have continued to grow that over the years.

Mike Rhode: How do you actually do your cartoons? Is it traditional pen and ink or a computer-aided combination? Some of your work definitely looks like collage work to me.

Grant Snider: Yeah, it's a hybrid. All of the lines are hand drawn and occasionally I'll use cut-up paper, or watercolor, or some other medium, to give it a different personality or feel, but typically it's drawn in ink and marker on tracing paper, which I'll then scan into Photoshop. Then I use Photoshop to edit and compile and add digital color in most cases. But I really like the traditional way of working. I'm a little bit too uptight to make my finished pieces an amazing piece of gallery work that I could put up on a wall. So it ends up in all these little scraps that then get thrown into the digital world and compounded into the finished composition.

Mike Rhode: You are not alone in doing it that way. With the lettering, do you do that by hand or is that on the computer?

Grant Snider: Yep. It's all hand lettering.

Mike Rhode: To go into a little bit of your background, I'm wondering when and where you were born?

Grant Snider: 1985 in San Diego, California, but I moved to Kansas when I was two and I grew up in the Wichita, Kansas area. And I've basically been in here my whole life, except for a foray into Kansas City and Denver as a young adult.

Mike Rhode: What is your training and education in cartooning?

Grant Snider: Studying lots and lots of other cartoonist work and trying to do my best to imitate it. I don't have any formal art training, but I think like most people, you kind of learn by doing. Seeing an amazing comic strip, like Peanuts or Calvin and Hobbes, wondering how the creator made it, and then doing my own version of it, was probably how I got started. And then eventually gathering enough influences together, I think I developed a bit of my own style, which is hopefully still developing. It's all been learning by publishing and by trying to make something new each week.

Mike Rhode: Who are your other influences? Is Mutts an influence on you? Reflecting the subject of your current book, The Art of Living, the inspirational thoughtfulness is something that Patrick McDonnell is known for.

Grant Snider: It wasn't in my local newspaper growing up, but I do remember seeing it when I'd go to the Denver area to visit family. But later on I found a Mutts collection of maybe a decade's worth of strips or more, and I just absolutely loved it. I don't know if it was as much of an overt influence, because I think what I was doing was fairly developed by the time I discovered it and really dove into it. But I really see it as like a companion strip.  Patrick McDonnell's work, I feel, is of a similar mindset with a kind of warm feeling, and obviously he has a hugely high level of technical quality that I hope to get close to.

Mike Rhode: He's considerably older than you, so you have plenty of time. Is there anybody else you want to list as influences besides Calvin and Hobbes and Peanuts?

Grant Snider: The big three that I was basically studying and riffing off of, and doing my versions of, when I decided I wanted to become a cartoonist were Roz Chast, the great New Yorker cartoonist; Matt Groening, the Simpsons creator who also did Life in Hell, a weekly alt comic strip in the eighties and nineties; and Tom Gauld, a British cartoonist who draws some New Yorker covers and some amazing graphic novels, and for a long time did a lot of literary comics, which I really love.

Mike Rhode: Gauld still does those. I was going ask about Tom Gauld somewhere in this interview. That is an interesting group of influences. I don't know that I would've picked up on any of them but Gauld for you. Are you old enough to actually have seen Groening’s Life in Hell in newspapers?

Grant Snider: No. At least I never have seen it actually in newsprint form. Like any good kid, I was looking at my parents' bookshelves and I saw my dad had this comic book. I think it was The Big Book of Hell and I was like, “Oh, this is interesting.” I read him, but I don't think I understood most of the jokes as a teen, or pre-teen, when I got ahold of it. But I did see kind of what he was doing, where he was going with things, and stole the book from my dad, and over the years, I kind of studied it. I really took a lot of the humor and his visual style and visual voice. I don't think you can see a ton of it in my work right now, but for my early comics, I was trying to be as witty and ironic as those and maybe failing. The same for Roz Chast. If you go back to some stuff I was doing for my college newspaper, you can see, “Oh, there's Grant trying to imitate Roz Chast.”  I don't see them as overt influences right now, but I still do love to read their work and get a lot of joy from it.


Mike Rhode: Were you just seeing Chast in The New Yorker, or were you picking up collections?

Grant Snider: At first in The New Yorker. I didn’t live under a cultural rock, but certain things I was just never exposed to as a kid, so I never saw a New Yorker magazine, or never was never aware of it till midway through college. My brother brought home a stack of old New Yorker magazines from his architecture library. I looked through those and I was seeing the cartoons (while I maybe had a vague recollection of what a New Yorker cartoon could be.) I saw Roz Chast’s work and I was a little bit turned off by it. Like it just made me feel weird. I wasn't responding to it. I put it away, thinking “What's this strange drawing style and sense of humor?” And then maybe a week or two later, I picked the same magazines up again, went through them, and I was like, “Oh, she's a genius. I get it perfectly.” I love that just very idiosyncratic voice, the personal line quality, and everything she did.

Mike Rhode: I was the same way with The New Yorker and also never saw it until I was in college. Now she's an icon, but years ago in 1978, when Lee Lorenz brought her on, apparently there was quite a bit of a debate about her work.

Grant Snider: I love to see her old, very first comic strip collections. I've gotten from the library and they're just so amazingly weird. I love them.

Mike Rhode: Let's go back to your new book on mindfulness. Are you doing these cartoons partly for your own mental health? Does the mindfulness aspect of them help you in your own life? Are you coming from experience here?


Grant Snider: Experience, but with a little bit of artistic distance from it. I've always kind of seen my drawings as … somebody described them as ‘self-help’ for myself, which I thought was a good phrase. I'm not necessarily doing it to show somebody else, “Oh, this is how you should like live your life.” More so, it's me exploring my own thoughts and feelings, and maybe things I'm struggling with at a given time. One of those things I've really (and I think the world has) struggled with in the last decade or two is focus and attention, and keeping on task with all the digital distractions and devices. So for me, writing and drawing is a way to get  into a better frame of mind, to be very intentional about what I'm focusing on,  to be mindful of things around me, thoughts and feelings inside of me and, hopefully to make some interesting art from it.

Mike Rhode: That's exactly what I was trying to get at, because the feeling I got was that your cartoons were very personal. They weren't meant to be a self-help book. They were, like you said, self-help for yourself.

Grant Snider: There's also a bit of irony there, because I know like whatever amazing idea I have one day of how to change my life, and live differently, and improve myself, is probably going to fall flat or at least come up a bit short in practice. And I hope hopefully I have enough of that humor in it to make it something a little bit different than self-help.

Mike Rhode: Absolutely. You mentioned you were a student newspaper cartoonist. Can you talk a little bit about that?

His first online strip from March 2009
Grant Snider: Oh, it's a little embarrassing to go back and look at them, which I think most people feel about their old work, but for five days a week, I was drawing single panel cartoons for the University of Kansas student newspaper called The Daily Kansan. These would be in print, which was pretty cool. I could see somebody look over somebody's shoulder in lecture hall and see them reading my strip, which was a huge ego boost for me as a young cartoonist. And occasionally I'd hit the nail on the head and have some something actually pretty funny or, or interesting, but that was more by accident. Just getting that regular rhythm and routine of drawing, I think, let me try a lot of new things. They hardly ever rejected anything, so I could kind of do whatever I wanted, for better or worse. Once I got out of college I realized, “Man, I really, I love doing this. I have to keep it going.” I'm not drawing a daily strip. I don't have any aspiration to do that, but I can take some of those things I learned about creating on the fly and bring them to my weekly work.

Mike Rhode: That was a big circulation newspaper at the time…

Grant Snider: I would imagine. The student body was probably 20 to 30,000. I don't know how many copies they printed every day, but you certainly saw them strewn all across campus in every corner.

Mike Rhode: How did you go from that to dental school and orthodontics?

Grant Snider: [laughs] It all happened together. I was actually an engineering student and I always had an artistic leaning, but never had a specific idea of how I wanted to incorporate it into my work life or my avocation. When I got to dental school, I started drawing for their student newspaper in Kansas City and started submitting to some local newspapers - the alt weekly and then the bigger paper, The Kansas City Star. I eventually got interest and did some strips there, and that's when I really started to realize, “Oh, this is maybe something I could do as a side career or, a fun hobby that pays 50 bucks a month,” with no expectations that would grow into anything bigger than that.

Mike Rhode: So you're in Kansas City and so is Andrews McMeel, the biggest comic strip syndicator. Did you ever approach them?


Grant Snider: I think maybe right before I was about to graduate and leave Kansas City, I did meet with John Glynn of Andrews McMeel. We just talked and had a nice lunch and it was more a ‘getting to know you’ type thing. But yeah, I never quite made the connection until it was about time to pack up and do something different. But I think that's a cool connection and I had a fun time meeting John.

Mike Rhode: And how about the Hallmark greeting card people that are based out there? You didn't talk to them either, I take it?

Grant Snider: No, I was so involved in working on teeth and trying to keep a comic strip going that I never approached them. I was probably half a block from the Hallmark offices at dental school, but so I'd always walked by there. Yeah, greeting cards I think would've been an interesting challenge, but never something I had huge aspirations to do.

Mike Rhode: I can understand that. This is not an insult, because I think greeting card cartooning is a very important part of the field (although underrated), but I think you could have been an excellent greeting card cartoonist.

Grant Snider: I've talked to some children's book authors and illustrators and other people who've worked in that industry, and I think you would learn a ton of stuff and have a potential to get a lot of creative juices going that you could take into your personal work as well.

Mike Rhode: A lot of Mad Magazine illustrators were greeting card cartoonists like Peter Paul Porges and Jack Davis, but it's just something scholars of the history of the field are not paying attention to at the moment.

Grant Snider: That’s true. Yeah.

Mike Rhode: If you could, what in your career would you do over or change?

Grant Snider: I think early on, I just wanted everything to happen right away. I had my first comic strip published in the New York Times Book Review and I was like, “Okay, I've made it, this is it. I'm gonna get a big book deal. I'm going to get this huge audience.” And I think five to seven years later, I was still waiting for that to happen. Instead of more just kind of having fun with the creative aspect of it, and focusing less on where I'm getting my work published and who's reading it. I think a lot of those things happen naturally just by consistently working. If I could have told my old creative self, “Hey, don't worry about that stuff. It'll come naturally - just focus on making great work.” It would've saved me a lot of anxiety.

Mike Rhode: That type of self-knowledge is tough.

Grant Snider: You can't develop a cartooning voice and following and a body of work overnight. Maybe some people can be instantly good at cartooning or whatever art form they're trying, but it is really something that takes quite a long time to develop.

Mike Rhode: Web comics is kind of changing the world a little bit lately in that some people pop onto Webtoons, and they seem to come out of nowhere, and all of a sudden they've got a million followers, but that tends to be more for sequential type stories that are manga-influenced and meant to be read on a phone. You mentioned the New York Times Book Review, which was where I first starting seeing your book-based cartoons. How did how did you get into the Book Review? Did they approach you? Did you send submissions to them?


Grant Snider: So I was sitting in a darkened lecture hall in my orthodontic residency, probably on my laptop, just scrolling when I should have been paying attention to the lecture or whatever. I saw a strip by
Wendy McNaughton, who's an amazing illustrator from San Francisco. It had appeared in the New York Times Book Review back page. I think it was “Meals of the Great Writers” or something like that [“Snacks of the Great Scribblers” – ed.]. Pretty clever. And I saw at the bottom of this webpage, there's a link of somebody to contact at the Book Review. So I said, “Oh, that's interesting. I usually don't see a place to submit, let me send them an email.” I sent an email saying, “Hey, I really like this strip, and here's a few things I've done in the past. I'd like to try to send you guys some work.” Surprisingly, they emailed back pretty quick. I sent them a few ideas. They liked a handful of them and that's how I got started. I do remember that feeling of getting the email back and being almost shocked that they would take the time to respond and I’m pretty sure I ran out of the classroom real quick -- in a different class session, of course. It wasn't the same day, but I got real excited about it.

Mike Rhode: The traditional “over the transom.” Let's continue in that vein and ask how you got hooked up with The New Yorker. Are you working with the cartoon editor, Emma Allen?

Grant Snider: I've submitted a few things to her and they've published a couple things online. There was a time when I thought I wanted to try to draw single panel New Yorker cartoons like many of the amazing cartoonists have over the years. I tried my hand at that and realized it wasn't quite working, so I've occasionally submitted like a longer piece for their online version. But they're not right now a place I'm submitting to regularly, although I might in the future.

Mike Rhode: But it was the Emma Allen generation.

Grant Snider: No, I don't think I had any contact with Robert Mankoff when he was cartoon editor.

Mike Rhode: Your latest book is published by Abrams, right? Did they do the previous book?

Grant Snider: They did The Shape of Ideas back in 2017. And then IWill Judge You by Your Bookshelf, which came out right around the time that everyone was locked inside their houses, in 2020. This is my third book with Charlie Kochman and Abrams Comic Arts, The Art of Living.

Mike Rhode: How did you get hooked up with Abrams? Do you propose a themed collection to Charlie or does he say to you, “What do you have now that we could work on?”

Grant Snider: We first got in touch through my book agent, Judy Hansen. I mentioned that time when I got my first Book Review strip published, and I thought I was going to take over the world. I also reached out to try to find a book agent, because I thought it was the right time. And Judy was kind enough to take me on, as you know, in the very early stages. She knew Charlie - was good friends with him over the years - and thought we would make a good fit. When I first talked to Charlie, I didn't really have a clear idea of how I could organize the strips into a book, but he helped shape them and was instrumental in making them feel and work in book form. For the latest one I did, after a conversation with him where I basically said, “Oh, I have no idea what the next book should be,” we talked a little bit. I came back to it a couple of days later and realized, “Oh, I think mindfulness is the broad theme for my next collection.”

Mike Rhode: I was quite amused by the index at the back of the book, which sort the cartoons by a type of mindfulness: “I will pay attention to what's in front of me;” “I will make a blank space for each day.” Was that you, or was that somebody else who was suggesting indexing it that way?


Grant Snider: For all three of the book collections of comics, they've taken one of my strips as their organizing principle. In the creativity book, The Shape of Ideas, it was a comic strip called “Genius Is” where it's broken into inspiration, perspiration, desperation, et cetera, and those became the chapter headings. From a comic in the bookshelf book, it was “Some Confessions of a Book Fiend,” which was a working title before we changed it. So these various reader confessions showed you're a true and desperate lover of books. In this latest one, it was a comic I drawing called “The Attention Manifesto.” The whole book didn't really feel itself like a manifesto per se, so it wasn't really working as a title for the book, but it was a nice way to separate the comics among these various themes. So yeah, the current index headings are all taken from my “Attention Manifesto,” which links the book together.

Mike Rhode: Well, that's very clever. For this current book, are you hoping that it'll make it into the self-help realm? I know we talked about how you didn't intend it that way, but are you cross marketing it as both a mindfulness and a cartooning book?


Grant Snider: That's an interesting question. I leave those thoughts to the people putting them in bookstores and doing the specific promotion. So I haven't thought about that. I would consider it more of personal philosophy, but where it ends up in a bookstore is a little bit outside of my care, if that makes sense. [laughs] I try not to think about it too much.

Mike Rhode: I was just wondering if Abrams was trying to help you break into an under-served market. There’s not a lot of self-help cartoon books I think.

Grant Snider: To be honest, I wouldn't mind seeing it in either place. I do think it maybe belongs a little bit more among graphic novels, but it's not a traditional graphic novel in that sense. I don't know if it's going to be more responded to by people who are used to reading comics and graphic novels, or by somebody who has never picked one up before. I’d like it to have an audience in both groups.

Mike Rhode: That's an interesting point. And I honestly do not know what the answer to that is either. It would be interesting to know who you're appealing to with this book.

Grant Snider: If people knew how to sell books, every book would be a best seller, right?

Mike Rhode: Yes, exactly. So are you a great reader?

Grant Snider: I go through phases. Right now I'm in a pretty good reading cycle. But I I'll also go through times where I read less or feel like I don't have the attention or patience to read. So it really depends, but I do try to read most nights whether it's picture books, comics, poetry, novels, non-fiction, et cetera. I know my reading list or books I've read, pales in comparison to some of my friends, but I would say I'm above average.

Mike Rhode: A follow up question would be, are you a book collector? Because many people end up with a lot of books that they put on shelves…

Grant Snider: Inadvertently. Absolutely, yes. From the hundreds of books, my family gets from the library, both for me, my wife and our kids. We have a bunch that we don't technically own, but are strewn all about the house. I tend to accumulate mainly books with more pictures, just because I feel like I can return to those from visual reference or visual inspiration. I'm not as quite attached to a really good novel; I don't have the need to own it or keep it on my shelf, even though some, I just end up accumulating, just because. I would say I love collecting books with drawings and pictures of all kinds.

Mike Rhode: I think you mentioned in passing reading comic books -- do you actually read comic books or comic strip collections?

Grant Snider: I've never, and not out of any distaste or dislike, but I've never read like comic books in the superhero genre.  I do have quite a few graphic novels on my shelves, but it's not something I have to read every single one that I can. I do think a lot of my favorite books are like old collections of Jules Feiffer’s comics or old New Yorker cartoon anthologies, which I don't think most people think of when they say the term comic books.

Mike Rhode: No, no. Certainly for many years, people made the point of insisting that those were not comic books.

Grant Snider: But it's all words and pictures and drawings and panels. There's certainly different styles and genres of those, but it's all comics. [laughs] I don't, I don't discriminate against any type of comics.

Mike Rhode: Yeah. Jules Feiffer did graphic novels in the sixties, and now Roz Chast, possibly towards the tail end of her career presumably, is doing them. It's all comics, but I think Will Eisner liked the term ‘sequential art.’

Grant Snider: Sequential art? Yeah. It would've been interesting. I've really gotten into the Peanuts collections of the decades of strips from Fantagraphics, because I never read Peanuts that much as a kid. It just seemed boring. Now, I think it's amazing. I would be curious if Charles Schulz were alive today, would he have been coerced into doing a graphic novel and what might that have looked like? That's an interesting question.

Mike Rhode: Yeah, it is. There were Peanuts comic books back at the very beginning of the strip and he did not draw them. He really disliked that. I guess once he started in animation, he had to give up drawing everything himself. But yeah, that's an interesting question. The world does move on. Let's go to your children's books. I have your There Is a Rainbow right here in front of me. This one is all colored pencil, right?

Grant Snider: Yes.

Mike Rhode: It says on the press release that Abrams sent me that you've done several other children's books, which somehow I missed. Can you talk a little bit about why you do children's books, how you do children's books, and who you do children's books with?

Grant Snider:  Let's see, the start of it was being just a lifelong reader of picture books. I was always the guy, before I had kids, before I had a family, who would still be in that section of the library, looking for amazing illustrations and stories, and just getting excited about the ideas in there. So it's something I've followed throughout my life. And I still have a lot of picture books that I had as a kid that really still inspire me, like the book Tuesday by David Wiesner with frogs flying through the air and just great drawings. Once I was a little bit more established with my cartooning style and felt like I had figured a few things out with that, I was like, “Okay, what's a new creative challenge? I'd like to make a picture book.”

It was a lot more frustrating than my ascent into comics, in that I thought I had had all these skills from making comics and it turns out it's a completely different art form. Some of the things that I was used to falling back on just didn't translate or didn't help me and almost hindered me in making picture books. So I tried a bunch of drafts using my same book agent, sent them to some editors, but nothing was working until finally it was. The first book I had published was called WhatColor Is Night? and it came out with Chronicle Books. I've worked with them for five or six books now. It's been a very interesting challenge. I still don't feel like I have mastered the formula, but maybe that's not the point. It gives me another way to tell stories and try new things in my art.

Mike Rhode: Your first three children's books were done solo and the past two have been with other writers?

Grant Snider: I did What Color Is Night? (2019), What Sound Is Morning? (2020), My Words (2020), all of which I wrote and illustrated. About the time I was finishing up the last couple of those, I got to collaborate with Travis Jonker, who I had corresponded with online a little bit. He had an idea for a story I liked, so I came up with the art for Blue Floats Away. And then the same editor I worked with at Chronicle had a proposal from Theresa Trinder for There Is A Rainbow. I thought it was a nice story and would be a cool challenge, so I did that. I don't consider myself primarily an illustrator. I'm used to having both my words and my drawings to obsess over, but those were both fun because they got me out of my normal routine.

Mike Rhode: I was somewhat surprised when you were working with other people. I know that children's book publishers in particular like to put together writers and artists and ensure that the twain never meet which I find very strange since in the cartooning world it seems that everybody knows each other and they work together.

Grant Snider: Actually the collaboration with Travis on the book, Blue Floats Away, we had approached our mutual book agents who approached the editors together. That one was more collaborative, I think, than the traditional picture book process.

Mike Rhode: In children's books, will you be returning to being the solo author of them again?

Grant Snider: Yeah. I still keep my door open to illustration projects, but it's not something I'm actively pursuing. I think if the right thing comes across my desk, I'd love to try that again. But I do have another children's book called One Boy Watching that's out this summer and it's in colored pencil again. It's my autobiographical experiences riding a bus through the Kansas countryside as a kid. And then another one called Nothing Ever Happens on a Grey Day that I'm finishing up the art for now.

Mike Rhode: Is there anybody else you want to recommend in the children's book field as people you look up to or as influences?

Grant Snider: There's a bunch. [laughs] I'd be saying some to the exclusion of others…  Another person I list is a cartooning influence who has one or two fantastic picture books is J.J. Sempé, who does covers for The New Yorker in his eighties. He's somebody whose work I just completely admire and try to imitate at times.

Mike Rhode: I can see some of his influences, especially his multi-panel stuff that was done in France and then moved over here. In your list of books, it looks like Quiet Power, the first book you did, was illustrating for somebody else.

Grant Snider: Yep. Susan Cain, the author, had a bestseller for adults called Quiet, and this was the version of that for young readers. I got to sneak in some comics. I got to do some spot illustrations as well as the cover. That was exciting because that was the first book that was widely published that had my work in it.



 

Mike Rhode: Were those new pieces for that book?

Grant Snider: Yeah, they were all inspired by the text. I got to read the manuscript and do a bunch of sketches, and drink a lot of coffee, and take it in a bunch of different ways.

Mike Rhode: How do you work this stuff in around a family of five and an orthodontic practice?

Grant Snider: I work on Tuesdays and Thursdays at home in a little corner of my kindergartner's room. It has a door that locks, it has nice windows, and it has a good workspace. I really protect my drawing time. I try to be at the drawing table from eight to two or nine to three on Tuesdays and Thursdays. I'm always doing kind of some of the ancillary tasks throughout the week, but those are my two big chunks of creative time. You really just need to string together some consistent chunks of creativity to get a lot done. You don't need 24 hours, seven days a week. That's a recipe for insanity. [laughs] The times I've had that freedom makes me think the constraint of having a day job and having a big family is maybe in some ways helpful to my creative process.


Mike Rhode: They may make you seek the mindfulness a little more than most people do too.

Grant Snider: Oh yeah. It's spaces of quiet solitude are hard to come by, but even more valued.

Mike Rhode: I wanted to ask you a little bit more about your dental practice.

Grant Snider: I work at a satellite office of a larger group practice.

Mike Rhode: Do the people in the practice and your patients have any awareness that you have this second career?

Grant Snider: I know the people I work with do; as far as the patients, maybe a handful of them do, but it's not something I advertise. I keep try to keep those parts of my life somewhat separate. But I always think it's nice when someone says, “Oh, hey, I read your book,” or “I like your comics.” That's always a, a cool connection to make.

Mike Rhode: So the office is not decorated in posters from your website? [laughs]


Grant Snider: Well, there's a few that they put up, not that I asked them to do it, but I don't think they have my name or there'd be any obvious connection unless you already knew.

Mike Rhode: Also from the medical point of view, graphic medicine is obviously a hot thing these days. Have you had any thoughts about doing any type of graphic medicine, explanatory text, or autobiographical, or just a series of PSAs, or anything like that?

Grant Snider: No, but I've read some that are really good. I know the book Smile by Raina Telgemeier was a mega huge hit and for good reason. I think she's covered the orthodontic basis pretty well. [both laugh] I don't want to try to match that. I do love reading some physician authors, like Atul Gawande and the late Oliver Sacks. Some of that's fascinating to me, but I've never had the spark or the creative necessity to tackle that. I did do a lot of sketching of teeth and different things when I was in dental school, just as ways to aid my studying, but never for a wider audience. I think it's interesting; it's just the right spark of inspiration has not yet arrived.

Mike Rhode: What work are you most proud of is one of my standard questions.

Nature of Ambition part 1

Grant Snider: One strip I did that still resonates with me when I reread it is one called “The Nature of Ambition,” which is in my book, The Shape of Ideas. My character, my cartoon-self avatar in a way, is walking a crocodile as a metaphor for the creative process and eventually gaining all these other exotic animals that pull him away. He loses control of them and then goes back to his initial joy, which was walking the crocodile. It works better if you read the strip, I think.

Mike Rhode: What would you like to do or work on in the future? You said you have a couple more children's books in hand now.

Grant Snider: I'm always interested to try and learn new things in the children's picture book world. And every book is quite a bit different in that. I do want to continue my regular comics strip Incidental Comics, and just keep being excited about new ideas there. One other project I'm tackling in the coming year is going to be a book of poetry comics for kids. I grew up reading Shel Silverstein and thought, and still think, those poems are amazing as are his illustrations. And he was a great cartoonist for grownups in his own. As well as every other art form possible, he was a Renaissance man. But I want to make a version of poetry comics that could rival a Shel Silverstein book. I’m not going to try to make direct references there, but, but I always think of how valuable those books were to me as a kid, and now as a grownup. I'd love to do a form of comics that are poems that could be that special.


Mike Rhode: Are you thinking about running them through Incidental Comics first?

Grant Snider: I think some of them will appear there, but I do think a lot of them will be published without having appeared on my blog. Which is kind of a little bit, not harrowing, but makes me a little nervous because I'm used to that instant feedback and knowing right away, “Okay. Does my audience respond to it? Is it a dud? Is it good?” And having to trust my own instinct plus that of my editor and my first readers will be kind of a new thing.

Mike Rhode: How do you get feedback? Do people post on your various social media sites?

Grant Snider: Yeah, mainly people commenting on like Twitter or Instagram or Facebook. You can see this is something people respond to, or maybe they didn't get it, or maybe there's something that made people mad that I didn't anticipate. That doesn't happen too often. I try not to take a whole bunch of stock into comments, but I do appreciate when something resonates and sometimes I'll get emails from readers. The people whose opinions I value the most probably are my first readers, my wife, Kayla, and my brother, Gavin. They're the ones I show my strips to before I publish them. I know if both of them thinks something's pretty good or working well, then chances are other people outside the family will think so too.

part 1 of the comic
Mike Rhode: What do you do if you're in a rut, or you have writer's block?  You said you have two set times a week to draw. What happens if nothing's flowing in one of those two set times?

Grant Snider: You know, invariably that happens at least once a week. [laughs] I always have my old sketchbooks on hand, so I don't necessarily have the pressure to create something fully formed from nothing. I have a bunch of strips I've kind of jotted down or have the ideas for. It's more just a matter of settling on which one to pursue. So I don't get writer's block in the sense that like “I'm not going to make anything ever again,” it's more like, “Hey, this, this comic's not coming as easy as I thought it would; let me change course and find something different that's working and maybe come back to it a little bit later.” I posted a strip today Still Life (March 11, 2022) that I had almost thrown away and luckily just saved the scraps of it. Reworked a month or so later, it turned out just fine.

Mike Rhode: You work in traditional sketchbooks then?


Grant Snider:  Yep. I find the cheapest spiral-bound, portable sketchbook that I'll have no qualms about drawing badly in. I try to carry it most places. I am pretty unpretentious about it because I feel like if I got a sketchbook that was really nice or designer-y, I would never put a line down.

Mike Rhode: Yes, be paralyzed. Have you ever visited DC? This is my local question.

Grant Snider:  Yes, but not since dental school. I went there when I won the college cartoonist award. I got to go to the National Press Club and give a little five minute speech and I got to meet Snoopy. Mine was a Charles M. Schulz award. None of the other serious journalists there got to meet Snoopy, but it was a really cool experience. And I think that was the last time I visited DC.

Mike Rhode: Was there anything else that struck you about the city that you would like to come back and revisit?

Grant Snider: Just the huge amount of visual inspiration, the architecture, the museums, all the history. It's a great place. It would be a great place to go and spend a week with a sketchbook. And my mom’s family's from there originally, but I rarely ever get out of the state.

Mike Rhode: Wrapping up, how has the COVID-19 outbreak affected you personally and professionally?


Grant Snider: Personally, like most parents, there was a lot of time with the kids. With their school routine disrupted, we home-schooled for a year. They were obviously home the times where schools were not open, so that was challenging, and fun in some ways. Creatively, it was interesting to try to find the time and space to work when everybody's at home all the time, but we got to go to parks and sketch and draw outdoors. That was pretty rewarding. I think it's definitely my focus. I've been a little bit lucky in that I've been able to go into my day job almost the entire time of the pandemic and my work hasn't really changed there. But cartooning-wise, it's caused me to step back a little bit and think about, “Okay, why am I doing this? What subjects do I want to tackle? What's meaningful to me?” Because it just seems like a little bit darker of a time to be alive. I don't know. And to just make some dumb joke and put it on the Internet? I'm mean there's probably some value to that, but that's not been my primary focus of the work I'm doing.

Mike Rhode: Would you say that the fact that you were able to have enough material to do a mindfulness book now is an outgrowth of part of the pandemic's cartoon?

Grant Snider: Yes, I think that definitely informed it. Now, when I had pitched the book and had the book signed up, I believe it was pre-pandemic. So it was more inspired by an experience of going on a writer's retreat and then giving up a lot of things for Lent one year. But the pandemic did really make about half the book into what it is today.

Mike Rhode: Were all the cartoons in it published already, or is there new material just for the book?


Grant Snider:  Some of the spot illustrations that cover the organization were new, but all of the cartoons have previously appeared elsewhere.

Mike Rhode: I much prefer the permanence of a book.

Grant Snider: I initially had hang-ups about it, but then I realized, “Okay, there's maybe four or five readers out there who have every single strip I post online memorized and, and taken to heart,” but most people have either not encountered my work online before, or saw I quickly on their phone, liked it and forgot about it. If you can get it in a more permanent form in a book, that's an amazing thing.

Mike Rhode: Any closing thoughts? Is there anything I missed that you'd like to get on the record?

Grant Snider: I think that the biggest joy of any cartoonist is when somebody sees their drawings or their art and says, “Oh, man, I want to put pen to paper and draw, or write something on my own.” If my drawings can inspire younger readers, or even older readers, to pick up a pen and start cartooning, I think that'd be the biggest compliment of all.

Comics Research Bibliography citations update, 3/13/22

 

 

Introducing cartoonist Wes Rowell

Friday, Mar 11, 2022

https://www.durangoherald.com/articles/introducing-cartoonist-wes-rowell/

 

Interview: Ibrahim Moustafa Gives Historical Perspective in 'Retroactive'

Interview by Troy-Jeffrey Allen

Mar 08, 2022

https://previewsworld.com/Article/257770-Interview-Ibrahim-Moustafa-Gives-Historical-Perspective-in-Retroactive

 

Richard Linklater on Return to Animation: "I Felt Like I Was Making a Marvel Movie"

Having applied his signature indie aesthetic to the '70s, the '80s and — perhaps most memorably — the '90s, the director now revisits the warts-and-all '60s of his Texas youth.

Mia Galuppo

March 13, 2022

This story first appeared in the March 9 issue of The Hollywood Reporter magazine.

https://www.hollywoodreporter.com/movies/movie-features/richard-linklater-interview-animation-apollo-1235106618/

 

'The Mitchells vs. the Machines' Wins Big at Annie Awards

The movie collected eight awards including best animated feature, direction and writing. 'Arcane' topped the TV competition.

Carolyn Giardina

March 12, 2022

https://www.hollywoodreporter.com/movies/movie-news/annie-awards-2022-winners-list-1235109740/

 

Known Unknowns (And A Little Nostalgia, Too)

By Graeme McMillan • Issue #20

March 11 2022

https://www.getrevue.co/profile/ComicsFYI/issues/known-unknowns-and-a-little-nostalgia-too-1077614

Why isn't Comixology making more of its change in leadership? Plus: A Milestone Milestone, and Watchmen is somehow still being mined for DC Universe stories.

 

Disney's $5,000 Star Wars hotel and line-cutting fees: Some fans say the 'magic's gone' [in print as The Unaffordable World of Disney]

Frustrated fans are voicing disenchantment over price hikes and fees on services that were once free

By Hannah Sampson

March 7, 2022 p G1-2

online at https://www.washingtonpost.com/travel/2022/03/07/disney-world-disneyland-ticket-prices-fees/

 

 

Middle Grade Fiction That Sees the Forest for the Trees [WINGBEARER By Marjorie Liu and Teny Aida Issakhania]

By Maggie Stiefvater

    A version of this article appears in print on March 13, 2022, Page 18 of the Sunday Book Review with the headline: Seeing the Forest for the Trees.

    https://www.nytimes.com/2022/03/05/books/review/marjorie-liu-wingbearer-ben-okri-every-leaf-a-hallelujah-pam-munoz-ryan-solimar.html

 

New York Times Book Review March 6, 2022, Page 9

Ice Picked.

By Sarah Lyall

https://www.nytimes.com/2022/03/02/books/review/new-thriller-novels.html

 

Alex Segura's wittily original SECRET IDENTITY (Flatiron, 368 pp., $27.99)

 

 

Eventually We All Talk About Bruno [Encanto]

By Sam Anderson

https://www.nytimes.com/interactive/2022/03/11/magazine/we-dont-talk-about-bruno.html

 

Marvel's New Comic Princess Is Racist As Hell | The Amber Ruffin Show [King Conan]

Mar 11, 2022

The Amber Ruffin Show

https://www.youtube.com/watch?v=eG2FbfqGnhk

 

Celebrating MOEBIUS with Guest Host GEOF DARROW! The LONG TOMORROW, the Birth of CYBERPUNK

Ed Piskor and Jim Rugg

Mar 11, 2022

Cartoonist Kayfabe

https://www.youtube.com/watch?v=AbADiVK64lY

 

Disney's queer characters won't hide its funding of real villains

Florida's "Don't Say Gay" bill has passed in the Senate

By Charles Pulliam-Moore Mar 10, 2022,

https://www.theverge.com/2022/3/10/22967765/disney-dont-say-gay-bill-chapek-florida-hrc

 

How David Sipress went from the Boston Phoenix to The New Yorker, and got ghosted by the Red Sox

By Peter Chianca         

March 8, 2022

https://www.boston.com/culture/arts/2022/03/08/how-david-sipress-went-from-the-boston-phoenix-to-the-new-yorker-and-got-ghosted-by-the-red-sox/

 

Episode 29, David Sipress

Strip Search

https://traffic.libsyn.com/secure/forcedn/stripsearch/SS_0322_Sipress.mp3

 

Ventura artist displayed among legends at National Baseball Hall of Fame [Daniel Horine]

Cytlalli Salgado

Ventura County Star March 9 2022

https://www.vcstar.com/story/news/local/communities/county/2022/03/09/ventura-artist-daniel-horine-baseball-legends-hall-of-fame-cooperstown/6980861001/

 

The Great Unknown And The Unknown Great: Comic strips as vehicles of social and political commentary

by Greg Robinson, Nichi Bei March 3, 2022

https://www.nichibei.org/2022/03/the-great-unknown-and-the-unknown-great-comic-strips-as-vehicles-of-social-and-political-commentary/

 

'Where's My Timbrel?' Our new comic strip draws on artist's Bay Area Jewish life [Rebecca Schuchat]

By Emma Goss

Jewish News of Northern California March 10, 2022

https://www.jweekly.com/2022/03/10/wheres-my-timbrel-our-new-comic-strip-draws-on-artists-bay-area-jewish-life/

 

The Muhammad cartoons and humor research: A collection of essays

Paul Lewis (ed), giselinde kuipers,Christie Davies, Rod Martin, Ellott Oring and Victor Raskin. In HUMOR International Journal of Humor Research 2004.Publisher: reference-global.comPublication Date: Jan 1, 2008

https://www.academia.edu/1166955/The_Muhammad_cartoons_and_humor_research_A_collection_of_essays

 

Is Scott Adams Divorced Now? Scott Adam's Wife Kristina Basham Shares Cryptic Tweet

Stephanie Scott

Mar 11, 2022

https://thealtweb.com/entertainment/is-scott-adams-divorced/

 

Cartoonist Alison Bechdel brings humor, insights on human condition to BABEL

    Mark Sommer

    Mar 10, 2022

    https://buffalonews.com/entertainment/cartoonist-bechdel-brings-humor-insights-on-human-condition-to-babel/article_eda40516-9b05-11ec-b928-d7740977b8bb.html

 

PW Comics World: More To Come

More To Come 508: Joe Illidge Interview

Calvin Reid

on 03/11/2022

https://www.publishersweekly.com/pw/podcasts/index.html?channel=2&podcast=1188

 

Introducing Moon Knight Featurette | Marvel Studio' Moon Knight | Disney+

Mar 10, 2022

Marvel Entertainment

https://www.youtube.com/watch?v=YodHqxovMAU

 

Revisitor: On the Admirable Insanity of D.G. Chichester and Scott McDaniel's Big Swing in Daredevil #317-318

By David Harper

March 8, 2022

https://sktchd.com/column/revisitor-daredevil-317-318/

 

[Just want to take a moment to share our condolences to the family of Lou Tramontano

It Came From The Radio

March 9 2022

https://www.facebook.com/154137884609062/posts/5175111062511694/?d=n

 

[We here at the Guild are saddened to hear of the passing of one of our first and longest tenured members of our community @lou_tom_tram Lou Tramontano. ]

The Comic Collectors Guild

March 9 2022

https://www.facebook.com/comiccollectorsguild/posts/377318504397098

 

 

 

 

 

 

Sunday, March 13, 2022

The Post on Disney theme park price gouging

Disney's $5,000 Star Wars hotel and line-cutting fees: Some fans say the 'magic's gone' [in print as The Unaffordable World of Disney]

Frustrated fans are voicing disenchantment over price hikes and fees on services that were once free


Troy-Jeffrey Allen interviews Ibrahim Moustafa

Interview: Ibrahim Moustafa Gives Historical Perspective in 'Retroactive'

Interview by Troy-Jeffrey Allen

Mar 08, 2022

https://previewsworld.com/Article/257770-Interview-Ibrahim-Moustafa-Gives-Historical-Perspective-in-Retroactive

Comics Research Bibliography citations update, 3/12/22

 

'Deadpool 3': Shawn Levy to Direct Ryan Reynolds in Marvel Movie (Exclusive)

Ryan Parker

Screenwriters Rhett Reese and Paul Wernick are returning to the franchise after working on the first two.

March 11, 2022

https://www.hollywoodreporter.com/movies/movie-news/deadpool-3-ryan-reynolds-shawn-levy-marvel-1235109465/

 

Pixar Employees Make Stunning Accusation: Disney Censors The Studio's Films

Amid Amidi | 03/10/2022

https://www.cartoonbrew.com/feature-film/pixar-employees-make-stunning-accusation-disney-censors-the-studios-films-214105.html

 

Inside Disney's Chaotic "Don't Say Gay" Bill Response

Abbey White

 

Disney is "established as being a place safe for children, inspiring for children and accepting of children. This goes against all of that," one TV animation writer told The Hollywood Reporter amid the ongoing controversy over the company's actions as the Florida bill moved through the statehouse.

March 11, 2022

https://www.hollywoodreporter.com/business/business-news/disney-lgbtq-animation-industry-bob-chapek-dont-say-gay-bill-1235108485/

 

Disney to Pause Florida Political Donations as CEO Tells Staff "I Am Sorry" Over "Don't Say Gay" Bill Response

"You needed me to be a stronger ally in the fight for equal rights and I let you down. I am sorry," Bob Chapek told employees Friday.

Alex Weprin

March 11, 2022

https://www.hollywoodreporter.com/business/business-news/disney-ceo-bob-chapek-apologizes-florida-donation-pause-1235109345/

 

Disney TV Animation, Distribution Staffers Criticize CEO's Response to "Don't Say Gay" Bill in Letters

Abbey White

The animation group called Bob Chapek's response "tone-deaf at best and incredibly dangerous at worst."

March 10, 2022

https://www.hollywoodreporter.com/tv/tv-news/disney-tv-animation-bob-chapek-dont-say-gay-bill-1235108612/

 

Ramy Youssef Sets Animated Comedy at Amazon

The 'Ramy' Emmy winner has also signed a first-look deal with the streamer after previously being based at A24.

Lesley Goldberg

March 10, 2022

https://www.hollywoodreporter.com/tv/tv-news/ramy-youssef-sets-animated-comedy-at-amazon-1235108583/

 

'Lion King' Animator Ruben Aquino Looks Back at the Inspirations Behind His Design of SimbaThe Annie Awards career achievement honoree and Disney veteran remembers visiting the L.A. Zoo and Tippi Hedren's Shambala reserve as research while designing the character and how he gave him a "heroic" look.         

Carolyn Giardina

March 11, 2022 

This story first appeared in the March 9 issue of The Hollywood Reporter magazine. https://www.hollywoodreporter.com/movies/movie-features/lion-king-animator-interview-simba-design-1235106624/

 

 

It's Time To Give Voice Acting Legend Frank Welker A Star On The Hollywood Walk Of Fame

By Amid Amidi | 03/10/2022

https://www.cartoonbrew.com/voice-acting/its-time-to-give-voice-acting-legend-frank-welker-a-star-on-the-hollywood-walk-of-fame-214131.html

 

Image and BOOM top Diamond's January sales charts

Spawn, Saga and James Tynion led the way in January

Heidi MacDonald

03/11/2022

https://www.comicsbeat.com/image-and-boom-top-diamonds-january-sales-charts/

 

Moms often disappeared in animated Disney movies. Now they're increasingly front and center. [in print as The vitality of Disney moms; Turning Red].

By Michael Cavna

Washington Post March 12 2022 p C1-2

online at https://www.washingtonpost.com/arts-entertainment/2022/03/11/turning-red-disney-plus-mothers/

OPINION/EDITORIAL: Did you know 'Washashores' cartoon has reached a milestone? [John Andert]

Wicked Local Provincetown Banner March 7 2022

https://www.wickedlocal.com/story/provincetown-banner/2022/03/07/john-anderts-washashores-cartoon-provincetown-banner/9389745002/

 

The Real-World Horror Behind 'The Batman'

Matt Reeves redefines classic characters for modern-day America, one in which cops are infrequently heroes, political change does not occur without revolution, and the fairy-tale narrative attached to wealthy orphans no longer carries the weight it once did.

Richard Newby

March 9, 2022

https://www.hollywoodreporter.com/movies/movie-news/the-batman-ending-riddler-plan-1235106230/

 

New Yorker cartoonist David Sipress smiles through the pain in a new memoir

By Andrew Silow-Carroll

New York Jewish Week via JTA  March 8, 2022

https://www.jta.org/2022/03/08/ny/new-yorker-cartoonist-david-sipress-smiles-through-the-pain-in-a-new-memoir

 

March 8, 2022 

What Decades of Being a Cartoonist Taught David Sipress About Writing

Sipress has been a staff cartoonist at "The New Yorker" since 1998 and has published nearly 700 cartoons in the magazine

By Evan Bleier

https://www.insidehook.com/article/books/decades-cartoonist-taught-david-sipress-writing-book

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Saturday, March 12, 2022

Cavna on the Disney (actually Pixar) mother, as seen in Turning Red

Moms often disappeared in animated Disney movies. Now they're increasingly front and center. [in print as The vitality of Disney moms; Turning Red].