Quitting my day job -- which was years back now -- required a leap of faith. I didn't know a soul in the pro cartoonists "industry" when I started out.My routine was I'd draw up 20-30 cartoons a week, throw half of them away and then mail out the good stuff to the art director listed in the masthead of the magazine or newspaper I had targeted. Every week I would do the same. It was not that "creative," it was not "fun," but it was something that I thought I had a knack for.
And it was hard work. It took many months before I got my first sale.
"Did you ever think you'd get to your hundredth cartoon?" asked Bob Mankoff, leaning back in his chair. He was holding one of my cartoons, staring at a small, penciled 3-digit number in the corner. I was in his office, on one of those "look days," when invited cartoonists are allowed past the Conde Nast security phalanx, and get to have a sit down with the New Yorker's cartoon editor. I think I had drawn under a thousand cartoons at that point. Anyway, that penciled number was probably in the 500-700 range.
"Well, I knew I had ideas for maybe a dozen cartoons the first week I started drawing single panel gag cartoons, but that second week ... well, that was harder. And it's not gotten necessarily easier." I had been submitting for maybe 3 years when we had this conversation. And my visit with him ended like so many other visits to the New Yorker; with him holding some of my cartoons and inviting me to, "Come back next week."
And so I do. But so far, no sales at the New Yorker.
But my work sells to other markets, and so that's good.
I've always thought that my stuff sells because it's funny. I think that because there is no other reason to buy, right? That's what the editors want. Why would an editor buy without an eye to content?
Then again, I just got 15 cartoons rejected today -- 15 real good, rejected, homeless, non-money-making cartoons. Heck, one of them should have sold. At least one!!!
"How do you know for sure," asked a student cartoonist,"that they're even looking at your submissions?"
Well, you don't know. You just have to depend on the kindness of strangers, and have faith that your good work -- like the fizz of a Guinness -- will float to the top.
(Above: Our Sam the cat poses next to a couple of submissions packages to be mailed this day.)
-- The above was a rerun from February 2, 2007.
I tell people don't even think of being a cartoonis unless you can handle rejection.
ReplyDeleteIf I had a nickel for every rejection over the years, I'd be a wealthy man. I wouldn't need to be a cartoonist.
Mike, I am continuing to learn a lot about cartooning from your blog. Thanks so much for all the informative and fun filled blogs.
ReplyDeleteHow much time does a magazine typically take to respond to your submissions? I know New Yorker is very fast, but how about Reader's Digest? Do they take a month or two to respond, or longer? I would appreciate your response.
Thanks.
Mike,
ReplyDeleteI have a rather delicate question that has been floating in my head ever since I read, years ago, about how strip cartoonists are paid for their strip appearing in a newspaper. I was surprised at what I thought was a very low figure (was it $10.00 a month?). I think iI read this in Bill Watterson's book about his experiences. How much do the various magazines pay for a cartoon? Does the amount change if they've published some of yours before? Is The New Yorker the big ticket and other magazines low-end?
Just curious....
Dan, I agree: rejection is normal. That's the reason I recently blogged about Chester Gould's decade of rejections before he hit on DICK TRACY. Talent is cheap. Persistence is all.
ReplyDeleteGopi, magazines are changing all the time. I've had quick returns and then waits of up to 90 days to respond. I've also had batches of cartoons ignored. The best answer is to call the editor and ask, Did you receive my cartoons? That's what I do when I think I've waited long enough.
Dan, I agree: rejection is normal. That's the reason I recently blogged about Chester Gould's decade of rejections before he hit on DICK TRACY. Talent is cheap. Persistence is all.
Gopi, magazines are changing all the time. I've had quick returns and then waits of up to 90 days to respond. I've also had batches of cartoons ignored. The best answer is to call the editor and ask, Did you receive my cartoons? That's what I do when I think I've waited long enough.
RoB, I'm not sure where you read that. Heck, Mr. Watterson has been out of the comic strip game for a generation. Strip cartoonists receive between $5 and $100 per week per newspaper. The syndicate takes half. My educated guess is that these amounts are going down all the time since payment is based on circulation. Magazines pay anywhere between $100 and $1300 a cartoon. The higher end figure is for a beginning contract cartoonist with the New Yorker. More and more, professional publications are asking for free content for their Web sites, company blogs or corporate Facebook pages. I tell them no.
If someone wants to reprint a cartoon, then it all depends on where that reprint would appear. There are industry rates for use in textbooks, or if a magazine where your cartoon first appeared wants to reprint it. There is no blanket figure. These are called "secondary rights" and the amounts can vary.
Thanks Mike for your time and a prompt response to my question. I really appreciate it.
ReplyDeleteBest Wishes,
Gopi
Same here, Mike.
ReplyDeleteIt's fascinating to learn some of the behind the scenes facts of the business side of cartoons. I've always been interested, collecting New Yorker and Punch anthologies and Pogo books as a youngster in the '70s and doing a lot of drawing as a kid. It's fun to keep up with it as a hobby. Now that I'm a teacher (6th grade), I try to include drawing practice for the students as well as drawing little things to liven up the room, worksheets, etc. So I was excited to see that the Charles Schultz Museum in my home town (Santa Rosa) is offering a cartooning evening class. I plan to go, but I'm getting worried that there'll be a lot of talented people there to hone their skills and I'll look pathetic. But then again, maybe they'll just be there for the wine and beer. If you ever get the chance to come to the Schultz Museum, please let us know. I'd be able to bring at least several people to listen to you speak and draw.