Drawing a Dialogue: Recent Episodes
Cathy G. Johnson + e jackson
A podcast discussing comics in historical + educational contexts. Updates first Friday of every month, visit comicarted.com for more.
Episode 59: The students speak out! Cathy interviews the Boston University Visual Narrative MFA graduating class of 2025. George, Joy, Francis, Sam and Jade share what it’s like to be a student in a comic masters program, important lessons they learned, and what future comics students should know. And most importantly…what’s Cathy actually like as a teacher??
Citation: https://comicarted.com/blog/2025/6/6/drawing-a-dialogue-episode-59
Contact: Email, Instagram, Bluesky
I am proud to share that I will be the keynote speaker at the Rhode Island Library Association Conference 2025! My speech is titled “Comics are Liberation!,” and I’ll be addressing the incredible power of teaching comic book making to children. Register today!
Here are some sample images from my slideshow:
Last year I had the pleasure of teaching a 4 week-long comic drawing workshop series at the Providence Public Library, and I’m so happy to be returning again this year!
Young Creators: Comic Book Drawing WorkshopDo you love to draw? Tell stories? Create your own cool characters? Comic books are for you! In this comic book drawing workshop series, students will have fun playing silly drawing games, create new worlds, and learn all about the steps of creating their own comics. All levels of experience are welcome! The workshop will be run by Cathy G. Johnson of Comic Art Ed!, Providence-based writer and artist of the graphic novel THE BREAKAWAYS!
Registration is required and space is limited. This program is for ages 7 - 12. The workshops will be held in the Workshop on the Ground Floor. Participants are expected to attend all 4 workshops.
Saturday, April 26, 2025 - May 17, 2025
10:00am - 12:00pm
Register here!
Here are some pictures from last year’s comics camp! View fullsize
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As an art educator since 2012, I have written many iterations of my teaching philosophy. Spread throughout this website are my teaching philosophies when it comes to bringing comic book creation into the art classroom. Below I am happy to share a more generalized art education philosophy from me. This mindset is applicable to any classroom that I enter. It contains references to many important mentors that I’ve had, and has also been inspired by the many thousands of students that I’ve taught.
-Cathy G. Johnson
Art education is a liberatory practice. When I teach, I want my students to discover. Through their art materials, students are observing, deeply engaging with the world around them. My students are documenting every detail of their subject, to ultimately know the world on an intimate level. Creating is a living memory, chronicling our past with breathing images. Art making is also storytelling, images propelling us forward with bravery and sincerity. In my studio, students are developing new processes for their artistic voices that will stick with them for the rest of their lives. I believe art is a labor for community and oneself, to retrieve and discover new. Something magical happens in the art studio that is irreplicable in any other setting.
In my “Starting a Sketchbook: Techniques and Practice” course, we explore these various dimensions of drawing. I begin every meeting with a series of sketchbooking exercises, which are, as Whitney Sherman puts it: “calisthenics for your hands and mind, to help you break away from your norm to create a new way of thinking and mark making, and to give you permission to explore and make mistakes." Every week we explore different realms of drawing, including observation, memory, and storytelling. Students learn about new drawing materials through demonstrations with graphite, charcoal, ink, watercolor, and more. I provide examples by sharing other artists’ work as well as my own, to show how a dedication to drawing can evolve into a lifetime of artistic pursuit. We end our time together by developing new artistic processes for ourselves and sharing them with each other in our beloved community.
The studio is an equitable space. My teaching style uses the depths of process to produce the product. I teach through demonstration and exploration, introducing students to new concepts regularly, and asking them to build upon the previous day’s work. Students make discoveries for themselves through personal iteration. I am the concierge of their learning, guiding them on a personal artistic journey, one that will ultimately end in places no one could predict. Students are the center of my studio, and I believe in being a reliable conduit for their learning. My ultimate goal is for my students to leave my courses not only with a portfolio of work, but a clear direction to continue their practice forward.
I advance my field by sharing new scholarship in many different settings. Publishing articles is an important part of my practice, both through academic publication as well as my own blog and podcast. Attending conferences regularly throughout North America keeps me knowledgeable in my field and engaged with my students. I also continue to teach, not only at institutions like Boston University and the Center for Cartooning Studies, but throughout my community in public libraries and K-12 schools. I believe in making my research as community engaged as possible.
Reflecting upon my teaching career, the guiding principle has always been student empowerment and self-actualization. My CV reflects my eclectic background and dedication to principles. Artmaking is valuable no matter what age we are. What art teaches us is the value of letting go, of being brave, of being sincere with ourselves. The studio leads us to the discovery of our truest selves.
For the second year, I had the pleasure of teaching a wonderful group of grad students in Boston University’s new Visual Narrative MFA program! This year I taught Thesis and Concept Studio courses, so we worked together all year developing final thesis projects. All these incredible students developed graphic novels, created beautiful sample pages, and completed a final book pitch.
Below is the video for their final book talks, which showcase rich storytelling from these up-and-coming talents! Watch below!
Learn more about the program on our Instagram!
Episode 58: Cathy recently spoke at the Rhode Island state house in a press conference supporting the Freedom to Read Act in Rhode Island. The legislation is meant to address book bans and censorship for libraries, schools, readers and creators. On this episode of Drawing a Dialogue, remus and Cathy discuss the bill, its history, and its future.
Contact: Email, Instagram, Bluesky
Citation: https://comicarted.com/blog/2025/4/4/drawing-a-dialogue-episode-58
I recently spoke at a press conference in the Rhode Island statehouse to lend my voice in support of the Authors Against Book Bans Rhode Island chapter and the new legislation for the Freedom to Read in Rhode Island.
“The Freedom to Read Act (2025-H 5726, 2025-S 0238) seeks to protect libraries from partisan or doctrinal book-banning efforts and affirm the free speech rights of authors, publishers, and readers in Rhode Island. Representative David Morales (Democrat, District 8, Providence) and Senator Mark McKenney (Democrat, District 30, Warwick) have submitted the bills. An event, appropriately held in the Library of the Rhode Island State House, saw well over 200 people from various organizations advocating to pass the legislation.” -Steve Ahlquist
I am so grateful for the opportunity to tell my story.
Watch my speech here (I begin at 24:50, or here is a direct link):
My Speech:Hello, my name is Cathy G. Johnson. I am the author of The Breakaways, a middle school graphic novel. It is about a school soccer team and building friendships. My book was the 2019 winner of the local Rhode Island Dorry Award for Children’s Book of the Year. Publishers Weekly lauded it, saying the graphic novel "will resonate with readers who are figuring out who they are and where they belong."
The book was doing well. In 2021, imagine my surprise when I started getting contacted by reporters for CNN, ABC, NBC, the Associated Press, Fox News, and many more. It started in Texas, but I’ve been contacted by people in Missouri, Oklahoma, and Florida. The book was being banned. Why?
When I first moved to Rhode Island in my early 20’s I was teaching in Pawtucket elementary schools. These schools were filled with amazing children, all who had diverse backgrounds and diverse interests. I wanted to make a book for my students. I wanted to make a book where the children specifically of Rhode Island could see themselves and read about themselves.
According to the School Library Journal, in 2018, the year before my book came out, only 10% of children’s books had Black characters. 5% had Latino. At the time, 29% of Pawtucket students were Black, and 26% were Latino. It wasn’t fair. The Breakaways has 15 characters in it, there are a lot of players on a school soccer team! So, I could include a lot of diverse life experiences.
I was able to include other diversities, such as socio-economic status, body size, hair type, and gender expression. Yes, one of the students on the soccer team is Sammy, who, part way through the book, comes out as transgender. He's not a big part of the book. Sammy is a pretty minor character. The book is not a transgender story at all. It’s a story about the lives of children, and the many different identities of children who exist in this world. But because of Sammy in my book, the book gets challenged and banned.
I say all this to tell you that this book is Rhode Island. I made this book for Rhode Island children. I live down on the street, in the Mount Pleasant neighborhood. Me and David go to the same library.
And it’s at that library in 2019, when The Breakaways came out, where I taught a comic book drawing class. In my comic book classes I show children how to express themselves. Most of the time we're expressing ourselves with funny pictures, goofy monsters and silly drawing games. I've taught a similar class to much acclaim throughout Rhode Island. Woonsocket, Smithfield, Cumberland, North Kingstown, I could keep going. In these library classes I teach children to express who they are with creativity. In these classes magic happens. Children should always be able to express themselves. They should feel special and protected and they should feel safe. Books should reflect the real lives of children.
Thank you for supporting the Freedom to Read Rhode Island legislation, supporting the growth of children to love themselves, however they identify. Books give children self-worth.
The 2021 National Survey on LGBTQ Youth Mental Health states that 70 percent of LGBTQ youth described their mental health as "poor." 42 percent of LGBTQ youth seriously considered attempting suicide. The survey says strategies to improve mental health and prevent self-harming behavior and suicide include: providing safe and supportive environments, and enacting legislation to protect the safety of LGBTQ youth.
I have been the victim of harassment from these book bans. I have received threats. But to me I am not the real victim here. It’s the readers, the children. You have the power to protect children’s ability to see themselves, feel heard, and be valued. Please do.
Articles:* The Providence Journal * RIFuture * “Anti-Censorship Legislation: The RI Freedom to Read Act,” radio show and podcast interview, Bartholomew Town
Episode 57: remus has just gotten back from their awesome fellowship with the Swann Foundation, which supports scholarly research and writing projects in the field of caricature and cartoon. remus shares their exploration the Library of Congress, where they gathered research in the SPX collection and Gale’s Archives of Sexuality and Gender. Join us!
Contact: Email, Instagram, Bluesky
Citation: https://comicarted.com/blog/2025/3/7/drawing-a-dialogue-episode-57
Karen Czap is an Ignatz Award-nominated cartoonist, author of Fütchi Perf and Four Years. Their coloring work can be found in The Breakaways, Freestyle, BUNT!, and more. Czap lives and works in Providence, RI as a member of the Binch Press / Queer Archive Works studio co-op. In this interview, we talk about the comics community, publishing with friends, conventions, and of course, the X-Men.
For episode citation: https://comicarted.com/blog/2025/2/7/drawing-a-dialogue-presents-episode-9
Thank you so much to the wonderful East Greenwich Free Library for having me visit! We had a very fun teen comic making workshop for ages 12-18. All students were so creative and dedicated!
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I only have a small collection of student work here to share, because I always ask artist permission before taking photos. But believe me when I say all the students were AWESOME.
Librarians applied for a grant to support teen writing programming to pay for this visit. If this is something you’re interested in, please reach out! I’m always happy to supply language and support to grant applications for my visits. Reach out here!
Digital flier…
…in real life!
I will be teaching two 4-week long workshop series aimed at guiding Rhode Island teenagers through the development, writing and drawing of their own comic book stories. These workshops were developed in collaboration with Write RI and School One in Providence, Rhode Island, and will be taught both virtually and in-person.
Students are invited to submit their final comic stories in a contest to be collected and printed into a state-wide anthology!
ScheduleWorkshop Series 1 (in-person): Saturday afternoons 1:00pm - 3:00pm, February 8, 15, 22 and March 1
Workshop Series 2 (virtual): Monday evenings 6:00 - 8:00pm, March 17, 24, 31, and April 7
Learn more at the Write RI website.
Are you a Rhode Island teacher who would like to participate?We have a handout and slideshow available for Rhode Island educators. Please feel free to reach out to Write RI to receive those materials!
Submit your comics here!
Dear Comic Student,It’s time. You are arriving at your final semester of comics school. Maybe you spent all winter break working on your comic. Or maybe you meant to, and it didn’t happen. Maybe you actually did do a lot of work and it just doesn’t feel like it. Maybe it feels like you should have gotten more work done than you did. Or maybe, maybe you really did do nothing. Maybe you slept in very late, everyday. You played video games. You watched a lot of TikToks. But what this accomplished was rest. You have rested. You have filled your gas tank. And now it’s time to really get started.
Something that is key to the mindset of being a cartoonist is having a healthy approach to labor. Comics are labor. They are physical labor and time-consuming. Labor isn’t a bad thing, it can be a very good thing. Labor for your career is a good thing. Labor for your education. Labor for your art. Labor for your goals. Labor for your freedom. This is all good. So it’s very important for you to have a healthy approach to getting your work done.
I know I say it again and again, but figure out healthy time management this semester. Keep track of your days. Keep a planner. Don’t rely on late nights, on grinding, on your youthful energy. We want you here for the long haul. We want you to make comics for years and years and years. And that will only happen if you approach it with healthy time management. Use your resources. Figure out what works for you.
Take hold of your career. While me and your other comics professors work as hard as we can to give you what you need, ultimately your career is in your hands. You need to guide it in the directions you want to take it. You need to put in the work. You need to build the connections. You need to find your weak points and address them. This is what will best serve you in your future. And it’s only possible with a healthy approach.
We are going to have an amazing semester together! Let’s get you to the finish line!
Best, Your Comics Teacher, Cathy G. Johnson
The Illustrated Storytelling Group at LitArts Rhode Island is a writing group for authors who use visual mediums to tell their stories. Focus will be on comics, graphic novels, and manga but we welcome all types of illustrated books!
We act as a monthly support group to creators that offers encouragement, critique and celebration. The goal of the group is to develop and support a local writing community for visual storytellers.
We meet on the 4th Tuesday of the month at 6pm, meeting monthly at LitArts RI. If you’d like to join us, you can become a member at the LitArts website and sign up.
Group Leaders: Cathy G. Johnson and Frank Coppa
Schedule:January 28, 2025:
February 25, 2025
March 25, 2025
April 22, 2025
May 27, 2025
Group Agreements: Privacy: Materials shared within the group may not be shared or discussed outside of the group without explicit consent from their creator. * Content Warnings: Please include appropriate content warnings for the materials you are sharing with the group. These warnings are in the interest of mutual respect and not censorship. * DEI:* We believe in diversity, equity, inclusion and civility. We must treat every individual with respect. Each of us is responsible for creating a safer, more inclusive environment.
Episode 56: Cathy and remus discuss their recent panel at Comic Arts Los Angeles. Cathy spoke with Silver Sprocket artists Yasmeen Abedifard, Connor B., Lonnie Garcia, and Nick Winn about why horror is a great genre to explore complicated relationships, first dates, and high school crushes in their new books.
Contact:Email, Instagram, Bluesky
Citation: https://comicarted.com/blog/2025/1/3/drawing-a-dialogue-episode-56
Episode 55: Cathy and remus catch up about life, teaching, and art practices. remus shares where they’re at with their PhD dissertation and talks about their exciting upcoming fellowship. Cathy talks about squaring the peg of their art and education practice. Topics include being mindful of audiences, the physiognomy of Pixar characters, Kenny makes an appearance, and more! Thanks for listening!
For episode citation: https://comicarted.com/blog/2024/12/6/drawing-a-dialogue-episode-55
Contact:Email, Instagram, Bluesky
Carta Monir is a performance artist, performer, and writer. She was a 2022 Tom of Finland Foundation artist in residence. Her work deals with her own transness, disability, and desire. She lives in Michigan. This interview is the fifth of our series supporting remus’ PhD dissertation work. Thank you for joining us! (Note: This episode is for mature audiences.)
For episode citation: https://comicarted.com/blog/2024/10/4/drawing-a-dialogue-presents-episode-8
higu rose is an illustrator, cartoonist, ethnographer, and local terror living in pittsburgh, PA. based in fiction and autobiography, higu’s work focuses on experiences of being Black, queer/trans, and a little bonkers. higu is currently working on YINZ CITY, a graphic novel series about a group of queer and trans people of color. This interview is the fourth of our exciting new series supporting remus’ PhD dissertation work. Thank you for joining us!
For episode citation: https://comicarted.com/blog/2024/6/7/drawing-a-dialogue-presents-episode-7
Episode 54: Cathy shares all about her first year teaching in the Visual Narrative MFA program at Boston University! She talks about her new higher ed teaching experiences, how the program is structured, and personal observations of teaching K-12 vs. higher ed. A good listen for current MFA students or people considering it!
For episode citation: https://comicarted.com/blog/2024/5/3/drawing-a-dialogue-episode-54
Contact: Email, Twitter, Instagram, Bluesky
I have had the pleasure of teaching a wonderful group of grad students this year in Boston University’s new Visual Narrative MFA program! The courses I teach are the thesis studios, so we worked together all year developing their final thesis projects. All these incredible students developed books and graphic novels, created beautiful sample pages, and completed a final book pitch.
The upcoming book talks are free and open to the public, so I hope you consider coming down and supporting the hard work all these incredible students achieved!
Learn more about the program on our Instagram!
Seosamh aka Joe is a butch trans painter, a hypertext enthusiast, and author of dark, surreal, and intimate worlds of denim, leather, and gloss. Among other projects, he and his partner Anka are proud co-authors of the ongoing sci-fi comic, SUPERPOSE. This interview is the third of our exciting new series supporting remus’ PhD dissertation work. Thank you for joining us!
For episode citation: https://comicarted.com/blog/2024/4/5/drawing-a-dialogue-presents-episode-6
Artwork: https://images.squarespace-cdn.com/content/v1/59e3e9facd39c3fc494e810e/1df71cad-7033-4e0e-93d8-afdce6a6b21d/joe4.png?format=2500w
Sunmi is a cartoonist whose body of work explores emotional distances and gender deviant fantasies, within a framework of queer + Korean histories and mythologies. This interview is the second of our exciting new series supporting remus’ PhD dissertation work. Thank you for joining us!
For episode citation: https://comicarted.com/blog/2024/3/1/drawing-a-dialogue-presents-episode-5
Artwork: https://images.squarespace-cdn.com/content/v1/59e3e9facd39c3fc494e810e/54285abf-325a-4a50-842d-14a4f1004c19/DAD_sunmi.png?format=2500w
This page is not a “how to” but more of a “you can do it!”
I will start this topic with a disclaimer: I am not a financial planner. I’m not a tax preparer or an accountant. But as an independent artist, I work for myself, and in the eyes of the IRS, I have my own business. And if you’re an artist, you should too. Taxes are purposely kind of scary in the United States of America, but I want to empower you to learn about them. I want to empower you to learn about your money and taking care of it. Artists work very hard, but because our work is undervalued, many of us think we aren’t capable. But you are! You are very, very capable.
Below, you won’t get any specifics, because I am not qualified to do that. But what I will do here is do everything in my power to encourage you to empower yourself. You are an artist and you can do it.
How do I make money?My biggest advice is try to earn money in many different ways. I have another blog post, titled Comic Jobs, where I’ve created an ever-updating list of things cartoonists can do to make money. I personally have a very diversified working life; selling artwork, illustrations, commissions, grants, workshops, teaching, publishing, etc etc. All those things get me money in different ways and in different rates, and come together to be a living wage. They also all have an individual ebb and flow. Some seasons workshops are very popular, and some seasons there are a lot of illustration clients. I encourage you to try a lot of different things. See what works and what you like, and if you really enjoy something, throw yourself more into it. If you don’t like something, wean yourself off of it. We are building independent careers here, so having a variety of incomes in many different spaces is a plus, and it also builds our name and networking in the world. We get to be versatile.
Stay OrganizedAs you do different jobs, document it in some way. I keep all my jobs in a spreadsheet. I keep track of who I’m talking to, the details of what they are looking for, how much they are paying me, if I’ve invoiced them, if they’ve paid, and any other useful information. Keeping track of your jobs not only makes you more professional in the eyes of your clients, but it also makes taxes much easier.
Protect yourself as much as possible with contracts and proper invoices. I recommend all independent artists get themselves a copy of the the Graphic Artists Guild handbook. It has all the information you may need on what to charge, how to invoice, and contracts. Don’t do work without a contract that protects you if things go south.
Expect ebb and flow…When you are an independent artist, there will be feast and famine. Some seasons you may work a lot, and some seasons you may work little. During the little work seasons, that doesn’t mean you have nothing to do. You can do independent work that doesn’t need a client: make your own artwork, build your website, apply to grants, collaborate with other artists, etc. There are many opportunities that you can make for yourself, that can not only make you some money, but build your networking so you get future work.
…and prepare for it.Try to put away some money in a savings account. This way you’ll have cash during lean months. If you want actual concrete numbers, I always put 10% of all my independently earned income into a retirement account. Depending on the type of retirement account you have, this can save you money off your taxes. If you can’t afford to lock your money into a retirement account, start with the savings account. If 10% is too much, try 6%, 5%, something. Start your savings as early as you can. Any little bit you can put away will help you in the future, either with retirement, purchasing a home, or life emergencies. Do what you can to prevent yourself from working paycheck-to-paycheck, because as a freelance artist, sometimes those paychecks don’t arrive at reliable times.
Okay, so taxes.I can’t actually help you with your taxes. But what I am going to do is tell you, you should learn about it, because it is worth it. It’s worth making business deductions. It saves you money. It’s worth it. And it’s not as scary as society makes it out to be. You can do it. I believe in you.
Here’s a little bit of generalized advice: Put away about 20-30% of your art business income into a savings account to pay your taxes with at the end of the year. I know it seems like a lot, but you could need it, and it’s better to be safe than sorry. Additionally, here are some resources that can help you learn more about money and taxes. I’ll add more to this list as I find them.
Taxes:* Sunlight Tax * Fox Tax * Art Prof
Contracts and Invoices:* The Graphic Artists Guild
Last updated: April 26, 2024
ConclusionI’m an art educator, not a financial planner. I want you to go to someone more qualified than me to learn about it. But being an artist means not being afraid of money, and facing it head-on. We are not starving artists. I want to empower you to face your finances head-on and with pride. It’s nothing to be afraid of. You can do it.
More Resources Posts:
So, you want to publish a book…This is a question I get a lot from new cartoonists: How do I get publishers interested in my work?
First, let’s put this question into perspective: Publishing is a method of distribution. There are many other methods of distributing your work that I encourage you to take on: self-publishing, zines, digital methods, etc. Philosophically and professionally, I think it’s a really good call to try publishing your comics on your own, especially at the beginning. There are so many benefits to distributing your stuff on your own. It helps publishers, critics and readers notice your work. You are also much more free to do whatever you would like with your comics, instead of trying to make a book that would be competitive in sales. Being an independent artist has many benefits.
All that being said, this page is specifically geared to cartoonists who are interested in how to traditionally publish. I’m going to attempt to answer as many questions as I can. Also, a disclaimer: I am a cartoonist, and not a person who works at a publishing house. This is all written from the perspective of the cartoonist.
It’s a business.The first thing I want you to know as we wade into traditional publishing is to never ever ever take anything personally. Publishing gets emotional very quickly for authors, because oftentimes your book is very important to you. As well it should be! Our books are our babies! However, publishing is a business. When publishers make choices, it’s from the perspective of money. They are thinking about market trends, and what they will be able to represent well and sell well. Selling your book will be their job if they take it on, and it’s a tall task. An editor could really love your book, but if they don’t think they can sell it, they won’t buy it. There are many factors that go into purchasing a book.
I encourage all creators to put publishing into perspective. Having perspective will help protect your emotions as you start this process. Making artwork is very personal, and being personal helps us create good artwork. It’s good to be emotional. However, I encourage you to understand that rejection is not a rejection of you. It just means it was not the right place at the right time. It’s okay. Artists are rejected all the time, and it’s okay. You can continue to work and to pitch and make good books. Continue to believe in yourself, and if publishing is what you want to do, stay focused on the goal.
The PitchA book pitch is a document that presents your book in a succinct way so a publishing professional can quickly understand it. A good pitch quickly communicates the important information, story and visuals of your comic book. There is a lot of advice out there about how to make a good book pitch, and I’m only one cartoonist with one perspective. Keep doing more research after reading this to find other perspectives on book pitches.
I recommend having a few things in your book pitch:
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Overview
- A one-page summary of your story from beginning to end. This includes your elevator pitch, plot summary, and other details about the book including target audience, page count, and comparison titles.
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Characters
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Descriptions of the most important characters in your story, including drawings.
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Synopsis / Chapter Outline
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A longer beat-by-beat plot outline. Include every important event that takes place in your book.
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Sample Pages
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10-15 finished comic pages that represent what the final art of your comic book will look like.
If it will help your book pitch, you can also include:
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Environment / Setting
- The environment in which your comic takes place, including art and a description.
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Development Art
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Artwork that shares your artistic process.
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Creator Bio
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Who are you? Include your experience and credentials, other projects you’ve done, anything that will help support why you would be a good person to work with as well as knowledgable about the book you are proposing. Remember, a book pitch isn’t just selling your book, but you are also selling yourself as a collaborator.
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Sample Script
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Some editors may like to see how you write scripts so they know what they will be receiving in the work-in-progress stage of your book. Do you type a script? Thumbnail? Include some sample of this.
You can also include additional materials, which can be included not in the book pitch itself, but as an extra PDF. Things like a full script, a detailed synopsis if it lasts for many pages, thumbnails, etc. It’s good to strike a balance of not holding back what you have available, but also not overwhelming who you are pitching to. Creating additional PDFs will help people to know that you have a succinct pitch, as well as additional materials they could look over if they’d like more information.
Overall, keep in mind that while there may be rules to pitches, there also aren’t rules. Make a pitch that best represents your project. The most important part is to make it clear and succinct at this stage. Communicate what your book is all about as quickly as possible.
Note on publicly sharing pitches: Some publishers, editors and agents are okay with you sharing what your pitch is all about on social media, and some won’t be. I’m of the belief that I prefer to not share works-in-progress until they are sold, and I have explicit permission from a publisher to share materials. Some agents think it helps sell books if authors share work on social media. I would think a lot about what you are interested in and make this decision for yourself, and if you do get an agent, make sure to talk with them about social media.
Cover LettersA cover letter quickly introduces yourself, why you are writing to someone specifically, shares the elevator pitch for your book, and thanks a person for their time. Also include any personal connection you may have with the person you are writing, if you have any. In my experience, the text of your cover letter is in the email body you send a publishing professional, but some people may prefer the cover letter be an attachment. You can either attach your book pitch as a PDF directly to this email, or include a link to the pitch through a hosting website like Google Drive or Dropbox (make sure the link is public). Be mindful of how large your attachment is, because some emails won’t go through if an attachment is too big. I am not including sample cover letters here, but feel free to look up some after you are done reading this.
- Introduction
- Why you are writing / personal connection
- Elevator pitch
- PDF to full book pitch
- Thank you
The most important thing to remember when emailing someone is that they are very busy. Write your emails politely, quickly delivering the information you are trying to share, and thank them for their time. Keep emails short and simple. Attach or link all important materials in the first email. And then, be extremely patient. Do not bother them. Give people at least 1-2 months before reminding them of your email, and do so extremely politely, and also in any nudging email remind them again who you are and why you are emailing them. Remember they are very busy, and any time they offer you is a favor, and not a requirement on their part. I can’t emphasize this enough: Be so, so, so extremely polite.
A caveat to attaching PDFs and nudging etc is this: When reaching out to people, make sure to follow whatever methods they request of you on their websites. Many agents and editors will have instructions of how they like to be contacted and if they like to be nudged on their websites. Follow these instructions exactly. People will have different instructions, and you should always adapt your pitch to what they ask of you.
Now that you have a pitch and cover letter, who do you send it to?…
Literary AgentsAgents are the first people you send your book pitch to. A literary agent’s job is to find a publisher for your book, and to negotiate your contract on your behalf. It will be rare for a large publisher to look at your pitch without agent representation. The reason for this is publishers get a lot of unsolicited pitches, and it’s a lot of work to look through everything. If you already have an agent, that means your pitch has already been vetted, and publishers are more willing to give your pitch the time it takes to look it over.
When looking for agents to pitch to, look at their websites and find explicitly if an agent is looking for graphic novels. Look for agents that are looking for what your book pitch has to offer.
I do not have a list of literary agents who represent graphic novels, because it is an ever-changing group of people, and it isn’t exactly what I do. I encourage you to do your own research on literary agent websites to find people currently looking.
Once a literary agent is interested in you, you should then contact their other clients and ask how they enjoy working with this agent. All reputable agents should be comfortable with you approaching their other clients. If they tell you not to do this, it is a scam, and you should politely turn them down. Also, while we’re here, you do not pay agents or publishers. The way it works is publishers send all the money to your agent, who will then take a small percentage (15%) as their fee, and then send you the rest of the money. You should not be paying anyone at this stage. If someone claiming to be an agent or a publisher asks you for money, it is a scam.
Publishers and EditorsAs I said before, I encourage you to start with sending your book pitch to literary agents. However, it’s never a bad idea to keep a list of publishers and editors who may be interested in your book. You can also pitch directly to them, or keep the list handy as suggestions for your future agent.
My first recommendation is to go to your local bookstore or comic book shop and finding comics that you like. Look at who published it, and who the editor was. Look for books that have recently come out. Keep a list. Not all editors are interested in books that are exactly the same as something they’ve already published, as this could be competition, but if some books have similar themes, target audiences or art styles, they could help sell each other. Seeing what an editor likes will help you see if your book is a good match for them. (This is also a good thing to include in your cover letter.) If an editor really likes historical figures, and your book is about a historical figure, you may be a good match!
I also suggest going to comic book conventions and meeting people. Be tactful, however; don’t approach people with only yourself in mind. But don’t feel like you can’t network at places like this. Be interested in what publishers have put out, buy books, ask questions. Be genuinely interested in the answers. This all goes into research for a future relationship. People enjoy working with people they like to talk to, and who are polite. It’s okay to share your artwork if it’s appropriate and kind, but no one, I repeat, no one will buy a book pitch immediately at a comic book convention. They will need to go back to their offices and settle in. I recommend meeting people at a comic book convention, have a short chat, and then after a few days emailing them your book pitch and mention where you met. This is a polite way of sharing your pitch without putting them in an awkward social situation. People go to conventions for many reasons, but professional connections are one of those reasons. It’s okay to introduce yourself to people briefly and politely. Be polite, be professional, and be chill. You can do it.
Next steps…Selling a book can take a very long time. Stay positive. If someone rejects you but offers to talk with you about why your pitch was rejected, take that opportunity to make a connection. It’s a gift whenever someone gives you their time to talk about your book, so set your feelings aside and accept the gift. Oftentimes, if you follow their advice, you can then submit a future pitch to the same person, and they’ll remember the conversation they had with you. This personal connection automatically gives you a leg up. Everything can be beneficial for your career, even rejection. (On the flip side, if their suggestions don’t feel right to you, you do not have to take them. It just means you are not the right author for them. You should still be polite.)
If you have a lot of rejection, you can reevaluate your pitch and your story. See if there’s anything you can adjust that will make it more engaging to readers. Share your pitch with your family, friends, your teachers, anyone who may have a new perspective and help you look at your pitch with fresh eyes. Be patient, stay strong, stay polite, and it will happen for you.
If an agent accepts your book pitch, you then sign with them. They will then pitch your book on your behalf to publishers. This process can also take time, so be patient. Once you do sell your book, congratulations! If you sold it directly to an editor, you can now pitch it to agents and say you already have an offer from a publisher. I would always suggest getting an agent to look over contracts, or at least hire a lawyer, because you always want a good contract. It is not egotistical to protect yourself legally, it’s your right. Take the time to read over your contracts with a professional to know what you are signing. Don’t feel pressured to sign anything you are uncomfortable with, it’s okay to keep looking.
Once you’ve signed your contract, then you make your book! Your agent and editor will tell you all about the next steps to being published. This is where this article stops. I believe in you, your takeaways from this article should be: stay polite, stay professional, and stay confident. You can do it.
IntroductionSo, you want to make comic books. Congratulations! It’s amazing to know what you want to do!
I want to start by saying, comics do not have to be your job. They can be your hobby, your passion, your life’s work, but they don’t need to be your job. Jobs are how people “make a living,” but they don’t need to be the reason you’re alive. Comics can give you life without giving you money.
That being said, it’s also rare to make a full living on comic books, or in the arts in any form. It takes a lot of luck that is oftentimes out of people’s control. You could work very very hard and make incredible comic books, but without a lot of luck, it may be impossible to make it your only income. Professional artists often piece together a living through a lot of different gigs. You deserve happiness and it is not your fault if you are unable to make a living in the arts.
I also want to say, there is no shame in having a day job. No shame in working at a restaurant and making comics in your free time. This can in fact help cartoonists not burn out, and keep making work they are proud of. I personally have a day job that makes me very happy.
There is a lot of philosophy to this that we won’t be getting too deeply into, but I’d like to touch on it, especially in the context of this pedagogical website. We live under a capitalist system that lies to us, saying success is dictated by how much money we make at something. That is simply not true. You are a successful cartoonist when you complete your comic book. That in itself is the success. The purpose of Comic Art Ed! is to highlight the value of comics in an educational setting; comics offer a lot to growing minds, and that will always be a valuable thing to pursue whether or not it offers us money. However, I understand that capitalism is the reality of our lives, and therefore we should find our happiness as best we can, do the most good that we can, and help each other along the way.
Comic and Comic-Adjacent JobsAll that being said, here is a list of comic and comic-adjacent jobs. The purpose of this list is to help cartoonists expand their minds and expectations of themselves, and to understand that making comics has given cartoonists useful and transferable skills that can be applied in other industries.
Comics Production* Artist / Author * Writer * Penciler * Inker * Flatter * Colorist * Letterer
Independent Artist* Freelance Cartoonist for Newspapers / Magazines * Commissions * Portrait Artist * Artist Grants and Residencies * You can sell your own artwork at:
+ Comic Conventions
+ Craft Fairs
+ Online / E-commerce Websites
+ Galleries
Publishing* Designer * Literary Agent * Editor * Assistant Editor * Marketing / PR
Illustration* Freelance Illustrator * In-House Illustrator * Medical Illustration * Graphic Designer
Video Games* Freelance Artist * Concept Artist * Script Writer * Designer * Development
Animation* Screenwriter * Storyboard Artist * Character Designer * Location Designer * Prop Designer * Animator * Layout Artist
Film* Storyboarding
Galleries* Attendant * Assistant * Sales * Customer Service * Curator
Museums* Attendant * Registrar * Curator * Collections Care Specialist
Teaching* K-12 Educator * College and University Positions
+ Professor, Adjunct and Lecturer
+ Continuing Education
+ Office Worker
- Library, Museum and Community Center Workshop Educator
- Adult Education
- Librarian
Other* Life Model * Arts Supplies Store Employee * Studio Manager
I will keep adding jobs this list. Last updated: April 26, 2024
Next StepsIf any of these jobs look interesting to you, your next step is research. Put together a portfolio and a resume. Volunteer. Find entry-level positions to apply to. I personally am unable to give further advice beyond this list, but I want you to have the confidence that you can do it. Making comics is a valuable skill that helps us achieve new heights, and I believe in you all.
Emma Jayne is an Ignatz and Prism Award-winning cartoonist. This interview is the first of our exciting new series supporting remus’ PhD dissertation work. Thank you for joining us! (Note: This episode is for mature audiences.)
For episode citation: https://comicarted.com/blog/2023/12/11/drawing-a-dialogue-presents-episode-4
Episode 53: On this exciting episode of Drawing a Dissertation, remus introduces our new series where we interview trans cartoonists from the DIY scene! remus shares their PhD dissertation work, their approach to research, and drops the news of our exciting new DaD Presents project. We hope you join us!
For episode citation: https://comicarted.com/blog/2023/12/8/drawing-a-dialogue-episode-53
Contact: Email, Twitter, Instagram, Bluesky
Episode 52: Using Calmer Con in Massachusetts as a case study, Cathy and remus discuss accessibility at comic conventions. Cathy shares details about the event and the superhero costume workshops she taught. What is the difference between providing accommodations for disabled people, versus building something accessible from the start?
For episode citation: https://comicarted.com/blog/2023/11/3/drawing-a-dialogue-episode-52
Contact: Email, Twitter, Instagram, Bluesky
On October 21, 2023, I had the pleasure of teaching two workshops at Calmer Con, which is a sensory-friendly comics and pop culture convention designed to accommodate the needs of autistic attendees and those with sensory processing and anxiety concerns. I wanted to design a class with accessibility in mind, as well as gain the experience in an accommodating space. After talking with the director of the convention, I chose to adapt an activity I developed on my YouTube channel.
You can learn more about this event and workshop in the November 2023 episode of my podcast, Drawing a Dialogue.
Lesson PlanIn this all-ages workshop, students will have the opportunity to brainstorm their own superhero identity, design a symbol, then create a simple cardboard + paper costume.
Materials* Cardboard * Markers * Scissors * Pencils * Colored Paper * String or Yarn * Gluestick or Bottle Glue * Holepunch
StepsStep 1: Brainstorm Your Own Superhero (worksheet) * On a worksheet, brainstorm your own superhero identity by answering the questions.
+ Powers?
+ Colors?
+ Name?
+ Shape?
+ Backstory?
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Example 1: Spiderman
- Powers of the spider, colors red and blue, name Spiderman, shape is a circle/spider, backstory is he was bitten by a spider.
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Example 2: Batman
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Powers are intellect and martial arts, colors black and yellow, name Batman, shape is an oval/bat, backstory is he is a detective seeking justice.
Step 2: Design your symbol * Superheroes wear symbols that represent them on their chest. In the blank space on your worksheet, sketch your ideas for a symbol for your character. * Can be a picture, shape or letters!
+ Start with your shape.
+ Add onto it with drawing, letter or both.
Step 3: Cardboard* Now that we brainstormed our new superhero, we are going to start making our costume. We will start with a piece of cardboard that will become a symbol we will wear around our necks. * Freehand draw your shape on the cardboard. Start towards the edge, making it as big as the cardboard piece (about the size of a regular piece of paper). * Cut out the cardboard shape. You may have help from an adult.
Step 4: Colored Paper* Trace cardboard shape on colored paper * Draw the picture, shape or letters from your symbol design on the colored paper. * Cut out your colored paper design. * Keep decorating! Draw on your shape. Pencil sketch first, then marker details. * At the end of this step, glue your colored paper to your cardboard shape.
Step 5: String* Cut two diagonal slits into the top of the cardboard. * Tie the end of your string together (string should be at least a yard long). * Now you can wear your symbol around your neck!
Step 6: More costume pieces!* Using the materials we have, what are other fun things you can make for your costume? * Ideas include:
+ Wrist cuffs
+ Eye masks
+ Headband
A full classroom!
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Here is the original video this activity was modified from!
Episode 51: On this episode, remus tells us all about open access archives! What are they, why do they exist, and how can we use them? Also, Cathy and remus recap the Small Press Expo (SPX) 2023 and talk about their experiences with indie comic book conventions in a “post” pandemic world.
For episode citation: https://comicarted.com/blog/2023/10/6/drawing-a-dialogue-episode-51
Contact: Email, Twitter, Instagram, Bluesky
Episode 50: In celebration of our 50th episode and our 6th anniversary, let’s go to the movies! remus and Cathy discuss movies about cartoonists; not comic book movies, but movies where cartoonists themselves are the protagonist. Funny Pages, Chasing Amy, Monkeybone, and more!
For episode citation: https://comicarted.com/blog/2023/7/7/drawing-a-dialogue-episode-50
Contact: Email, Twitter, Instagram
A young adult graphic novel about high school wallflower Belle Hawkins, who ends up in a love triangle after tutoring the girlfriend of her crush. A charming representation of lesbian identity.
Episode 49: Inspired by a recent situation, Cathy and remus talk about what it’s like being an award judge behind the scenes, the differences between censorship and criticism, and challenge future judges to reconsider what’s important.
Contact: Email, Twitter, Instagram
For episode citation: https://comicarted.com/blog/2023/6/2/drawing-a-dialogue-episode-49
I love libraries! I’ve been very lucky to get invited to a few recently to do author visits and comic drawing workshops. Here are a few photos and graphics from those events! We had a really wonderful time and I can’t wait to come back.
If you’d like me to visit your school or library, please check out my Visits page to learn more!
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Book a visit!
Episode 48: In this episode, Cathy and remus discuss the on-going teacher shortage in the United States. We discuss various theories on why teachers to leave the profession, such as burnout, student behavior, and moral disagreement. What is the shortage, where is it happening, and why?
(Note: There are occasional audio hiccups in this episode, sorry about that, my microphone is dying. It’s not you, it’s me.)
Contact: Email, Twitter, Instagram
For episode citation: https://comicarted.com/blog/2022/2/3/drawing-a-dialogue-episode-48
Episode 47: In this episode, Cathy shares her newly published book chapter, Comic Art Ed! Making Comics is for Everyone! She discusses the art education approach to K-12 comic book lesson development through five different pedagogical values: teamwork, ideation, literacy, self-actualization, and fun. Cartooning combines drawing and writing into its own unique learning and creating form. This chapter synthesizes the past decade of Cathy’s work helping develop the pedagogical field of making comics in the art classroom!
For episode citation: https://comicarted.com/blog/2022/12/2/drawing-a-dialogue-episode-47
Episode 46: What is the PhD process like? In this episode, remus updates us on their PhD progress, specifically sharing how the qualifying exam goes and how dissertations are written. Cathy shares why she stopped at a master’s degree. Why get a PHD? What is it for? Let’s talk about it!
For episode citation: https://comicarted.com/blog/2022/11/4/drawing-a-dialogue-episode-46
Very honored to share that I have been published in a textbook! I wrote a chapter for Teaching with Comics, edited by Robert Aman and Lars Wallner, published by Palgrave Macmillan. My chapter is titled "Comic Art Ed: Making Comics Is for Everyone!" discussing the pedagogical values of kids drawing comics. Much of this chapter is an expansion of work shared on this very website! I am so thankful to Lars and Robert for including me.
Here’s a link to the textbook!
And here’s a link to my chapter!
I will be sharing work from this chapter on this blog in the future, so stay tuned!
Comic Art Ed: Making Comics Is for Everyone!AbstractThis chapter discusses the art education approach to K-12 comic book lesson development through five different pedagogical values: teamwork, ideation, literacy, self-actualization, and fun. The art education approach puts making comics into the hands of students. Cartooning combines drawing and writing into its own unique learning and creating form. Practical approaches to teaching are discussed, including drawing games, character creation, story brainstorming, drawing finished comics, and publishing books together, in order to show how an arts education approach to teaching comics promotes pedagogical values. This paper offers practice-based examples with comics in the classroom, including student artwork and experiences, while encouraging other K-12 educators to do the same.
Keywords* Comics * Art education * Pedagogy * Cartooning * Comics making
Notes1. 1.
https://www.ComicArtEd.com. 2. 2.
I want to directly credit my Providence, RI teaching colleagues who acted as mentors, confidants, and friends—Dailen Williams, Mimi Chrzanowski, Walker Mettling, and Julia Guiltieri. I was introduced to teaching comics by Walker and the Providence Comics Consortium. Collaboration and discussion, ideas for activities and projects, comics in education developed as a zeitgeist in Providence. Much of my teaching practice is influenced by my wonderful friends and colleagues, listed here and beyond. Much like the pedagogical values I am going to discuss in this article, education itself is greatly influenced by teamwork, ideation, and fun. 3. 3.
If you want to know more about Providence Comics Consortium, visit their blog at https://providencecomicsconsortium.tumblr.com.
References Barry, L. (2015a). What It Is (8th ed.). Drawn & Quarterly. * Barry, L. (2015b). Syllabus (2nd ed.). Drawn & Quarterly. * Barry, L. (2020). Making Comics (5th ed.). Drawn & Quarterly. * Bishop, R. S. (2015, January 3). Mirrors, windows, and sliding glass doors.https://scenicregional.org/wp-content/uploads/2017/08/Mirrors-Windows-and-Sliding-Glass-Doors.pdf. Reprinted from Perspectives: Choosing and Using Books for the Classroom, 6(3), 1990. * Brunetti, I. (2011). Cartooning: Philosophy and practice. Yale University Press. * Johnson, C. G. (2017). Developing the cartooning mind: The history, theory, benefit and practice of comic books in visual arts education (Unpublished Master’s thesis). Rhode Island School of Design. * Johnson, C. G. (2019). The Breakaways. First Second. * Telgemeier, R. (2019). Share your smile: Raina’s guide to telling your own story*. Graphix.
Here’s a link to my chapter!
I will be sharing work from this chapter on this blog in the future, so stay tuned!
Episode 45: How can a drawing be transgender? Cathy and remus are joined by special guest Fi Stewart-Taylor to talk about the representation of transgender people in comics. Fi talks about what representation and inclusion is, including research into early webcomic trans representation before “the transgender tipping point.”
For episode citation: https://comicarted.com/blog/2022/9/2/drawing-a-dialogue-episode-45
Episode 44: In this episode, remus discusses the way queer AIDS activists used art and comics as part of their activism during the the 1980s-1990s. They specifically talk about four art projects: the AIDS memorial quilt, work by activist group Gran Fury, the comics anthologies “Strip AIDS” and “Strip AIDS USA,” and David Wojnaworicz's “7 Miles A Second.”
For episode citation: https://comicarted.com/blog/2022/8/5/drawing-a-dialogue-episode-44
I was recently invited by the Grafton Public Library in Massachusetts to teach a Teen Zine Workshop. It was so much fun! Description of Workshop: Learn about the history of zines and then create your own! From political activism, fan comics, to punk rock and Star Trek, you can make a zine about almost anything!
Episode 43: The common definition of BL, the acronym for Boys Love, is “a genre consisting of male-male romantic fictions created by women and for women in Japan, previously known as yaoi.” But is it only women? Cathy and remus discuss the history, contemporary status, and transformative power of BL manga for queer representation, using the awesome expert panel hosted by The Japan Foundation NY as citation: “Boys' Love: The History and Transformation of BL in Asia.” Join us!
For episode citation: https://comicarted.com/blog/2022/7/1/drawing-a-dialogue-episode-43
Episode 42: A chatty episode, remus and Cathy have a conversation catching up about life! remus shares where they are in regards to academia, new jobs and healing, and Cathy talks about finding balance. Also, are they making comics right now or what?!
For episode citation: https://comicarted.com/blog/2022/6/3/drawing-a-dialogue-episode-42
Episode 41: In this episode, Cathy shares her graphic novels of the year! Cathy served as a judge for the LA Times Book Prize in the Graphic Novel/Comics category, and will be talking about the nominees and winner, as well as a few other favorites that didn’t make the list. Let’s talk about some good comics!
For episode citation: https://comicarted.com/blog/2022/5/6/drawing-a-dialogue-episode-41
Episode 40: In this episode, remus shares how to do your own research! Learn best research practices, what’s up with academic publishing, and where to get your information… for free heheh.
For episode citation: https://comicarted.com/blog/2022/4/1/drawing-a-dialogue-episode-40
Episode 39: Special guest Ross Hernandez join Cathy and remus to talk about how capitalism shapes the creation of comic books. We learn about different forms of labor, art’s relationship to capitalism, and how the comic book industry mashes these worlds together. Where are we right now, and what are our next steps forward? Capitalism is dying, and we should let it die.
For episode citation: https://comicarted.com/blog/2022/3/4/drawing-a-dialogue-episode-39
Episode 38: In this episode, remus and Cathy introduce and discuss queer theory. remus shares the history of queer theory and how it can be used as a framework for thinking about comics and beyond!
For episode citation: https://comicarted.com/blog/2022/2/4/drawing-a-dialogue-episode-38
Episode 37: Spurred by the recent media attention for the ban of her graphic novel The Breakaways, Cathy leads a discussion with remus on the value of sports in K-12 schools, House Bill 25 in Texas, and the rights of transgender student athletes.
For episode citation: https://comicarted.com/blog/2021/12/3/drawing-a-dialogue-episode-37
Episode 36: In this episode, remus and Cathy discuss how ableism manifests in comics culture and shapes all our lives. Definitions of accessibility versus accommodations are shared, as well as discussion about disability justice in comics and schools.
For episode citation: https://comicarted.com/blog/2021/11/5/drawing-a-dialogue-episode-36
Episode 35: In this episode, Cathy and remus use the work of scholar Tema Okun to look at how white supremacy culture has imbedded itself in our everyday lives, and share how together we can antidote and circumvent its characteristics with anti-racism work.
For episode citation: https://comicarted.com/blog/2021/10/1/drawing-a-dialogue-episode-35
Episode 34: Cathy + remus are back! They talk about teaching during the pandemic, and the past, present and exciting future for Drawing a Dialogue. Thank you for your patience!
For episode citation: https://comicarted.com/blog/2021/9/3/drawing-a-dialogue-episode-34
Here is a fun comic art activity that gets students thinking and sharing about their past, present and future! I created this project for my art enrichment after school students. I wanted students to think about their goals and their future, particularly with a hopeful attitude, since the pandemic has been harsh and difficult on developing kids.
Episode 33: Cathy + remus share their favorite comics that influenced their own art. Cathy talks about 2000s zines + indie comics. remus talks about manga + Homestuck. Additionally, they both touch upon the stresses of being an educator during a pandemic.
For episode citation: https://comicarted.com/blog/2020/10/23/drawing-a-dialogue-episode-33
An electric and reverent slice-of-life sports story about female adolescence, A Map to the Sun is a powerful graphic novel for older teens. Ren, Luna, Jetta, Anella and So-young are fiercely independent teenagers living in a beautiful beachside town. Difficulties young adults face such as drug + alcohol use, sexual harassment and self-harm influence the girls’ lives. Together they decide to build something new just for themselves at school: a basketball team.
Episode 32: Cathy + remus talk about the way propaganda has historically shaped the dominate United States way of thinking. remus discusses the propagandistic role of comics and superheroes in proliferating violent vigilanteism. Cathy discusses how history was taught with propagandistic intention, + shares ways the art classroom can illuminate historical context.
For episode citation: https://comicarted.com/blog/2020/7/10/drawing-a-dialogue-episode-32
“Refugee camps are supposed to be a temporary place to stay until it’s safe to go back home. I guess no one expected the war to last so long, though, because Hassan and I have been here for 7 years.” (from the back of the book)
Episode 31: In this episode, Cathy + remus talk about police abolition, and what comics are capable (and NOT capable) of doing. Comics as an activist tool are discussed, as well as ways educators can work to eliminate police presence in schools. Solidarity forever. Black lives matter.
For episode citation: https://comicarted.com/blog/2020/6/3/drawing-a-dialogue-episode-31
I have been conducting virtual comics making workshops, which have been so much fun! So much of their success has been thanks to the collaboration with amazing libraries, and the thoughtful and goofy ideas from kids.
Episode 30: In this episode, Cathy + remus document the teaching + learning transition to distance learning due to the COVID-19 pandemic. Public university, private school + public school approaches are discussed based on public statements + personal impact. remus presents mutual aid pedagogy work + possibilities for disability justice, + Cathy provides updates on the Providence Public School state takeover + their pandemic response.
For episode citation: https://comicarted.com/blog/2020/5/8/drawing-a-dialogue-episode-30
Episode 29: Cathy + remus discuss the contemporary role libraries play in the popularity of young adult graphic novels. remus discusses how libraries have changed their attitudes toward comics, moving from crusaders to advocates. Cathy talks about the new graphic memoirs Fights by Joel Christian Gill and Gender Queer by Maia Kobabe. She discusses the possibilities these books hold for educators + young adult readers, + using comics as a tool to approach difficult topics.
For episode citation: https://comicarted.com/blog/2020/4/3/drawing-a-dialogue-episode-29
Episode 28: On this episode, Cathy + remus discuss public libraries in the United States. remus presents the history of libraries, their purpose for the public + the American Library Association (ALA). Cathy discusses the current services libraries offer the public, including family support, youth services + addressing poverty + homelessness. Cathy also introduces a new segment to Drawing a Dialogue called “Schools Are The Community,” to discuss the current state takeover of Providence Public Schools.
For episode citation: https://comicarted.com/blog/2020/2/14/drawing-a-dialogue-episode-28
“Eating around other people is a struggle for salaryman Yutaka, despite his talent for cooking. All that changes when he meets Minoru and Tane — two brothers, many years apart in age — who ask him to teach them how to make his delicious food! It’s not long before Yutaka finds himself falling hard for the meals they share together — and falling in love!” (from the back of the book)
Episode 27: Continuing from last episode, Cathy + remus further their discussion of the museum by examining decolonization efforts. remus offers real case studies of what museums are currently doing to address colonial pasts. Cathy shares lesson plans that complicate the use of museums in classrooms. The two discuss what decolonizing is, can look like, what is being done, + address the problematic idea that institutions should be saved.
For episode citation: https://comicarted.com/blog/2020/1/3/drawing-a-dialogue-episode-27
Episode 26: Cathy + remus discuss the history of the art museum + museum education. remus discusses museums as an Enlightenment era outgrowth, moving into the display of art in the museum + its purpose. Cathy talks about the history of art museum education + the underlying theories, + how museums can be used in art education today. Both hosts discuss the colonial histories + cultural responsibilities of all museums, + how we can move forward.
For episode citation: https://comicarted.com/blog/2019/12/13/drawing-a-dialogue-episode-26
Cathy + remus talk about transmasculinity + gender development in children. remus discusses masculinity through two different trans memoir comics by Higu Rose + Victor Martins, placing the narratives into a new historical canon. Cathy shares the latest in transgender child development research, focusing on younger children, including statistics, books + lesson plans.
For episode citation: https://comicarted.com/blog/2019/11/8/drawing-a-dialogue-episode-25
Cathy + remus talk about grading in schools + universities. What is the history of giving students grades? What is their purpose + pitfalls? Cathy + remus discuss how all grades are subjective, talk about different standards that can be used + share various approaches and methods.
For episode citation: https://comicarted.com/blog/2019/9/13/drawing-a-dialogue-episode-24
This summer I decided to take the plunge and put together a classroom comics library. It has been amazingly successful! Here is what I learned, and how you can do it, too!
Cathy + e talk about Restorative / Transformative Justice practices + how they interact with comics, schools + communities. e defines RJ/TJ, why it’s important, + discusses ways to remove policing from our communities. Cathy talks about educational uses of RJ/TJ + how schools are microcosms of our larger world.
For episode citation: https://comicarted.com/blog/2019/8/2/drawing-a-dialogue-episode-23
Priscilla Carrion is a visual artist, educator + member of many group collectives + non-profits in Providence with a focus on art + social justice. Priscilla discusses her history building community within collectives, starting out as a student + moving towards volunteer, staff + board positions. We discuss local groups Ecas Theater, Sista Fire, New Urban Arts + Girls Rock! Rhode Island.
For episode citation: https://comicarted.com/blog/2019/07/5/drawing-a-dialogue-presents-episode-3
Cathy + e talk about Young Adult (YA) books + readers! e starts out by sharing the history of the YA genre, how books began to be marketed to an adolescent audience, + who is actually reading them. Cathy then talks about young adults in classrooms, including reading habits, new technologies + how comics can be used to teach a broader understanding of literacy.
For episode citation: https://comicarted.com/blog/2019/6/7/drawing-a-dialogue-episode-22
“Where do ideas come from?” Ideation is something that can stump many art students. We never want to tell students what they should make! On the flip side, doodling is spontaneous, free, and unrestrained drawing. Every student, no matter their artistic skill or background, can doodle. How can the power of doodling be harnessed to help students create, develop, and feel confident in their original ideas?
Happy May Day! Cathy + e talk about labor and comics. They begin by defining what capitalism and commodification is. e goes over the history of attempts by cartoonists to unionize, then Cathy discusses theory about why we should make art as a community. We are stronger together!
For episode citation: https://comicarted.com/blog/2019/5/3/drawing-a-dialogue-episode-21
It is deeply important for us to be engaging with children of all ages in topics that have to do with LGBTQQIA people. In this post, I am going to offer my thoughts on why it is appropriate for all ages and how we can approach the subject with young people in our life.
On Drawing a Dialogue’s 20th episode, Cathy + e share their personal histories as working cartoonists in academic settings. Cathy talks about her new graphic novel “The Breakaways,” and how her work as an artist + educator informed the book. e talks about their current research + scholarship practice as a University of Florida PhD student.
For episode citation: https://comicarted.com/blog/2019/4/5/drawing-a-dialogue-episode-20
Cathy + e discuss GIRLS! e talks about the history of Grrrl zines, including Riot Grrrl, zine culture + canonization. Cathy discusses the history of the education of women and girls in the United States, the feminization of teaching, + the benefits of programs focused on marginalized genders, such as Girl Scouts + the Girls Rock Camp Alliance.
For episode citation: https://comicarted.com/blog/2019/3/8/drawing-a-dialogue-episode-19
In this episode, Cathy + e discuss the social role of masculinity. e presents the definitions of masculinity and its feminist origins, the theories of sociologist Raewyn Connell, + moves into the theory of today. Comics discussion moves beyond the image into social relations + how production can be gendered. Cathy discusses masculinity in adolescence, the violence of it being taken to the extreme, and how art education + comics has a role in the gendered lives of students.
For episode citation: https://comicarted.com/blog/2019/2/1/drawing-a-dialogue-episode-18
Satoko is a Japanese student studying in America, and she gets a surprise when meeting her new roommate, Nada! Nada is also an international student but from Saudi Arabia, and she’s Muslim. Satoko and Nada is a wonderful comic about cultural similarities and differences, and keeping an open mind about new friendships!
Cathy + e discuss how trans memoirists document their experiences, + have an in-depth analysis on the current school climate for trans students within the United States. e talks about the history of whose stories are categorized as autobiography, and how the trans memoir has evolved throughout time. Cathy talks about the current school climate for transgender and gender non-conforming students, including bathroom access, the legalities under Title IX, and “safe spaces” in schools.
For episode citation: https://comicarted.com/blog/2018/12/7/drawing-a-dialogue-episode-17
In this episode, Cathy + e discuss the history of incarceration, the school-to-prison pipeline, and how prison art + writing are tools of radical resistance. e discusses the development of mass incarceration, the history of prison writing, + how imprisoned radical intellectuals resist the carceral system. They look at the ABO Comix anthology as an example of this resistance. Cathy presents the school-to-prison pipeline, how discriminatory discipline practices perpetuate the system, + the history of juvenile court.
For episode citation: https://comicarted.com/blog/2018/11/2/drawing-a-dialogue-episode-16
In this episode, Cathy + e create a biography for Jackie Ormes. Born in 1911, Ormes was a cartoonist, reporter, fashion designer and community organizer during an important century of American history. Cathy + e discuss the seminal role Ormes had in the black press during a pre-civil rights movement America, notably challenging derogatory caricatures of black women of the time.
For episode citation: https://comicarted.com/blog/2018/10/5/drawing-a-dialogue-episode-15
In this episode, Cathy + e explore how the multimodal experience of comics is ripe with possibilities for engaging with neurodiversity. e discusses disability theories applied to reading and creating comics. Cathy talks about the educational applications through Social-Emotional Learning.
For episode citation: https://comicarted.com/blog/2018/9/7/drawing-a-dialogue-episode-14
Noshiro and Sanada are your typical high school students, except there are rumors that Sanada might be gay. That Blue Sky Feeling is a slice-of-life comic with a wonderful and sensitive depiction of the insecurities teenagers can feel about sexual orientation.
Feelings Faces, an Elementary Social-Emotional Arts Activity. The idea of this activity was to use the facial expression of cartooning to help build students' empathy, and to create tangible images for their intangible feelings.
Cathy + e discuss the history of fatphobia and how fat-negative bias was developed in North America. They talk about repercussions in the media + how it still affects us today, including how children develop their sense of self + others.
For episode citation: https://comicarted.com/blog/2018/7/6/drawing-a-dialogue-episode-13
6-Panel Stories, a Collaborative Comic Art Activity. At a local middle school, I had the pleasure of teaching a 5-week after school comics club. In this activity, students each have the opportunity to contribute to a 6-panel comic story.
Malana Krongelb is the librarian at the Sarah Doyle Women’s Center and the founder and curator of Brown University’s first zine collection. Started in 2016, the collection focuses on sharing and preserving zines by marginalized creators and consists of titles from 1974-2018.
For episode citation: https://comicarted.com/blog/2018/06/1/drawing-a-dialogue-presents-episode-2
In the longest episode yet, Cathy + e present research on how racism affected the development of the visual language of cartooning. Spanning the 1700s to today, this episode explores the history of art education, caricature and how-to-draw books, and maps the history of minstrelsy in America, creating connections that informed early cartooning. In-depth research offers multiple samples of primary sources, including the art of “physiognomy,” the pseudoscience of judging character from facial features.
For episode citation: https://comicarted.com/blog/2018/5/11/drawing-a-dialogue-episode-12
The Prince and the Dressmaker is about fashion, self-expression, and the creative spirit. Sebastian and Frances have dreams, but there are so many roadblocks in their way!
In this episode, Cathy + e look at the history of queer comics in the American underground and build a biography for the cartoonist + illustrator Jeffrey Catherine Jones. Queer erasure is examined while a history is looked at, researched, and built.
For episode citation: https://comicarted.com/blog/2018/4/6/drawing-a-dialogue-episode-11
In this episode, Cathy + e examine the art historical idea of “the canon.” They discuss definitions of the word, the history of the practice, canonization’s criticisms, and how comics are understood within the framework.
For episode citation: https://comicarted.com/blog/2018/3/9/drawing-a-dialogue-episode-10
Cathy + e take a look at censorship, banned books, and why some things are deemed appropriate for kids and some things aren’t. e looks at the history of obscenity and how societal censorship suppresses marginalized voices. Cathy examines children’s learning development in reading and art, how graphic novels get categorized, and why.
For episode citation: https://comicarted.com/blog/2018/2/9/drawing-a-dialogue-episode-9
Figure drawing is a well-known art exercise for students of all ages, and can be approached in many different ways. The excitement and joy of cartooning is not the precision of drawing, but the communication through marks and forms. Therefore, my approach to figure drawing with my students is not about capturing the perfect form, but instead capturing the emotion that the figure is conveying.
Historically, mass-produced media is monickered as “low culture,” while fine art is “high.” Where does this dichotomy come from, how are comics treated in this binary, and how can educators take advantage of it? In this episode we dissect the history of accessible media and how comics in the classroom can benefit. Live from Comic Arts Los Angeles!
For episode citation: https://comicarted.com/blog/2018/1/5/drawing-a-dialogue-episode-8
Walker Mettling is the co-founder of the Providence Comics Consortium, which is a series of comics classes taught in Providence Community Libraries. Mettling and his collaborators have produced over 25 books of kids' and adults' comics over the past 7 years.
For episode citation: https://comicarted.com/blog/2017/12/1/drawing-a-dialogue-presents-episode-1
The Comic Warriors were 12 mighty young people, ages 5 - 13. Here you will find their class anthology, collecting all 12 stories, drawn + printed in August 7 - 11, 2017.
Cathy + e examine the aesthetics of violence, its depictions in comics, + look at research on how media violence affects its viewers. e examines the ways comics are uniquely suited to depict traumatic memories + violent acts; Cathy talks about the ways the art classroom can address school violence.
For episode citation: https://comicarted.com/blog/2017/11/3/drawing-a-dialogue-episode-7
Jumping off of the last episode, Cathy + e complicate their discussion about ‘the gaze.’ They revisit Laura Mulvey’s original ‘male gaze’ definition + its criticisms. Lesbian, black, female, transgender, imperial + medical gaze theories are discussed, which broaden the conversation + offer resistance.
For episode citation: https://comicarted.com/blog/2017/10/6/drawing-a-dialogue-episode-6
In this episode, Cathy + e talk about the critical theory 'the gaze.' They recount the gaze's history, its applications in comics culture, and how the theory can be used in art education to teach students how to critically engage with their role as a viewer.
For episode citation: https://comicarted.com/blog/2017/9/8/drawing-a-dialogue-episode-5
Love and the supernatural intermingle in this exciting graphic novel. Taproot is a beautiful comic, swirling warm colors and lush environment contributing to the mystery and romance.
Infamously known as the author of the 1954 book 'Seduction of the Innocent' + blamed for the demise of the Golden Age of comics, German psychiatrist Fredric Wertham is more than a censorship scapegoat. Cathy + e discuss his career as a medical psychiatrist, advocate for African American mental healthcare, + talk about the biases + legitimacies behind this controversial figure.
For episode citation: https://comicarted.com/blog/2017/8/18/drawing-a-dialogue-episode-4
When teaching in an art classroom with younger kids, maintaining a positive and inclusive environment can be tricky. Children can spend a large portion of their time growing up in mainstream settings...
Using the graphic novel 'My Lesbian Experience with Loneliness' as a jumping off point, Cathy + e talk about recent memoir comics + build a context through political performance art + social justice in art education. (This episode discusses human sexuality + uses some mature language.)
For episode citation: https://comicarted.com/blog/2017/8/4/drawing-a-dialogue-episode-3
Cathy + e talk about the evolution of high culture, Clement Greenberg (that guy!), how the Arts keeps the average person at arm’s length, and how comics can combat it.
For episode citation: https://comicarted.com/blog/2017/7/21/drawing-a-dialogue-episode-2
Introduction episode! Cathy + e talk about how comics have been defined throughout history, how + why comics were adopted into English classrooms, + the “reluctant reader” idea.
For episode citation: https://comicarted.com/blog/2017/7/7/drawing-a-dialogue-episode-1
Hello! Earlier this month I earned my masters degree from the Rhode Island School of Design. I was in the Teaching + Learning in Art + Design department, where I completed by thesis...
A slice-of-life fiction narrative, My Brother's Husband is a story about family, cultural differences, and what gets said and goes unsaid. Mike is an out gay man, which is uncomfortable and confusing for Yaichi at first...
Agents of the Realm: Volume 1 by Mildred Louis is a take on the magical girls genre, which originates in Japanese manga and anime. Featuring a team of super-powered college students, Agents is action-packed...
Every Spring Break I get to teach a one-day workshop with students ages 6-13. This community center time is a great opportunity for students to explore creativity outside of school hours....
A historical graphic novel and memoir of John Lewis and the Civil Rights movement in the United States between the years 1963 - 65. Lewis' account is woven throughout historical events of the time...
Reindeer Boy is a charming high school romantic comedy with a magical realism flavor. Don't let this Christmas-themed comic put you off, it's a fun read any time of the year!...
Katie O'Neill's Princess Princess Ever After is a coming-of-age story for two princesses trying to find their own paths in life. It's an all-ages fantasy comic, complete with unicorns, princes, castles and magic...