(wow) Words Of Wonders Level 986 Answers – “I have always understood that being both a parent and an artist is a bit of a balancing act, but passion, dedication, determination and artistic single-mindedness are the keys to success.” ~Josh Neufeld, AD Author: New Orleans After the Flood (Pantheon) PP: Describe your life in the context of writing, parenting, and other pursuits?
JN: What does “nonfiction cartoonist” mean? )) and being a stay at home dad. That being said, I spend 30% researching, 30% researching/writing/painting, 15% teaching (at the college/grad level) – with 25% left over for my other personal and family “life”. . thing! The work / parenting ratio may change as my son enters high school and becomes more independent – I hope to spend more time at the computer / drawing desk. I’m glad that I keep the same teaching load – I find that teaching, even more than parenting, takes me away from creating new work.
(wow) Words Of Wonders Level 986 Answers
JN: We live in the Prospect Heights area of Brooklyn, New York. We have a very large two-room apartment, which is nice, but with two artists in the family—my novelist wife, Sari Wilson—we barely have room for two home offices/studios.
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My schedule changes depending on projects and what else is going on in our lives as a family. My wife, who works as an editor three or four days a week, is the full-time breadwinner, and at times my freelance income is scarce. That’s when I was mostly involved in parenting – taking my daughter to school, cooking, etc. There were other times, like when I was a guest lecturer at a local university, when I made more money, but my class schedule was so set that I had to give up on my creative projects. But usually, on my freelance days, I’m busy with reporting, writing, advertising/social media, etc. I deal with painting in the morning and evening (and in the evening, I can be strong). It’s really hard for me to draw effectively before lunch…
I make comics, so I write with pictures and I draw with words. I’ve learned over the years that the uniqueness of the comic form is a dual experience
. But while the experience of reading a comic book is unified, when I make a comic book, I separate my creative tasks into two separate parts: the writer and the artist. Both stages use different parts of my brain and both allow me to edit and revise my work as I go along.
I started writing stories in prose form, always aiming to reveal as much as possible through action and dialogue. Then I turn the text into key moments of the narrative, which become individual comic panels. The final script includes a sentence that briefly explains what happens in each panel-instructions and instructions for my “self-artist” – as well as all character dialogue, narration or captions, voiceovers, and sound effects. It looks like a script.
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When the script was finished, I walked away from the computer and went to the drawing table. I create a script, break it into sketchy sketches, use minimal details, just enough to block out word bubbles and character placement. With sketches, I measure the pace of the story, check the pace, and see how it moves from panel to panel and page to page. At this stage, I often find ways to intensify elements or, on the contrary, create a certain scene.
Next comes the pencil, the most time-consuming part of the comic book creation process. That’s when I enlarged my sketches to full size, drawing panel borders, characters, backgrounds, and lettering elements on tabloid-sized paper. On a good day I can draw a full page from start to finish. The ink is the most fun part of the process for me. When I turn the pencil to the finished art, the story finally comes into focus. I love the physical movement of the ink: the gentle pressure of the brush on the page and the little aesthetic choices that come with each stroke.
Not every cartoonist works like I do; many have a much looser system, and some make their work completely organically, literally writing and drawing stories at the same time. And sometimes I find a way to skip steps along the way. But this “two-headed monster” approach worked for me, helping me turn what often seemed like a daunting task into manageable steps—turning the indescribable images in my head into concrete visual form.
JN: Becoming a parent has brought a lot of joy and inspiration in my life, so it cannot be denied that this new experience has been incorporated into my life as an artist. As a cartoonist myself, I can always draw for my daughter’s pleasure and enjoyment, and it’s great to see her trying to make comics as well. As he grew older and became an avid reader of prose and comics, he was intrigued and impressed that both his mother and I were published authors. So it’s definitely an ego boost for “fans” of your work to live with you!
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JN: My best supporter and always has been my wife. We have been together as a couple since our early twenties and have watched each other’s businesses grow and develop over the years ( dare we say decades?). Each of us has our own specialty, but each of us has learned a lot from each other. (For example, at the same time, Sari had a series of writing fellowships, one at Stanford and one at Provincetown, so I benefited from all the lessons she learned through the osmosis of creative forms.) For years, we in fiction and nonfiction Comics. become closer through collaboration and co-editing prose and comic flash fiction books (
). I often say that the way I create non-fiction stories is very much about my creative writing skills, and Sari says that the clarity and clarity of writing for comics has helped her prose. As two working artists, we can always count on our partner to support the hours spent on our craft, even if the “payoff” is years away.
I must also say that as a single mother with the child of a successful (now) artist, I have always understood that being a parent and an artist is a balancing act, but it is passion, dedication, determination. , and artistic single-mindedness – all this is the key to success.
JN: Before becoming a parent, I worked myself to the bone, feeling the need to use every free second “effectively”. Since Sari is also a creative person, we often spend our evenings and even weekends working on projects instead of going out or interacting with other people. But being a responsible parent requires finding a better balance between work and personal life. There are times when you have to put down the pencils and brushes and pick up the Frisbee or Lego box! And once I started to realize that I could still be as effective a mother as I was before my daughter was born—on a good and useful page—it became easier to find the “right” balance.
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JN: The hardest thing about being a creative parent in the beginning was adjusting my routine to my baby’s needs. I’ve always been a late worker, sometimes feeling most productive between 10 p.m. and 1 or 2 a.m. The flip side of this is that I wake up late and sleep comfortably until 9-10 a.m. (Being a home-based freelancer gives me that freedom.) So having a baby forces me to change my creative routine, which I can do. I still pull out late at night when my wife wakes up in the morning with our daughter. But the challenge that comes with this new schedule is knowing that at any moment my “creative flow” – whether it’s picking up my daughter from school, cooking dinner, or dropping her off – can stop. in bed Those uninterrupted moments or hours of total immersion in a project are always when I make the best work. So as immersive moments become harder to watch, there’s more pressure to make them really pay off.
JN: My husband and I have another side to being artists, which is that sometimes our needs as artists conflict with our roles as parents. Sometimes we resort to this type of horse trading
