Hippos on Unicycles, Tortuous Compromises

Here’s five things from the week that was:

It’s cover making time for JUST JELLY, my forthcoming big five debut as author illustrator. I’ve seen the cover in my head since it first got sold and I’m delighted that the HarperCollins team gave me a thumbs up after sending the rough. The whole book is blue like the sea with turquoises and purples pushing and pulling. The title text and byline (is that what we call it for books?) might look best as a contrasting bright pink. The goal is the jump off the shelf and capture some eyeballs.

I’m having so much fun and can’t wait to share the whole thing and the lessons I’ve learned along the way.

Working alone in a studio on a creative journey can be isolating! I know, I’ve done it for many years. Joy and inspiration can be found in hearing that you’re not alone. I’ve heard stories from fellow authors and illustrators that this newsletter feels like sharing a studio. I’m proud to provide a bit of that alongside my patented bad analogies and silly stories. I’d love to have you become a subscriber to the free or paid tiers of Drawing a Blank. Thank you for your support!

At the same time, there’s no need to fear learning too much theory. It won’t undermine the pure expression of your voice. If you don’t let it. Having the knowledge won’t hurt the work. How you use the knowledge may. You have new tools. You don’t have to use them.

— From The Creative Act: A Way of Being by Rick Rubin

I have to admit something. I sometimes feel an urge to not learn some skill or technique or theory because I feel like it might undermine the uniqueness of my art. If I get better at drawing it will change the style I live in and aspire to? Or in the writing world, if I get better at writing in this way will it muzzle my own voice too much?

I think I’m coming around to the idea that this is mostly bunk. In every instance, growth has led to clarity of voice and style. Getting better opens new doors to being more myself artistically. Is there a danger in changing too much? Maybe. But as Mr. Rubin notes above, it’s a choice.

Money Thoughts are like an annoying roommate who keeps odd hours and lives an unpredictable lifestyle. Sometimes, they’re fast asleep, or gone for a bit on some excursion. In their absence, you get to revel in a peaceful, quiet calm. The experience is momentary, you never know how long it will last.

Anna Brones wrestles with a topic that almost all artists are overly familiar with: how to make a living and make art. The idea that Money Thoughts are an obnoxious roommate that we need to do our best to cordon off to make anything of value absolutely resonates. She continues:

You want to be an artist? In this economy?

I would argue: yes. The more that I circle these questions, the more awful that the state of the world feels, the more I think to myself you might as well be an artist. Even amongst my friends who have what I call “real adult jobs” there are struggles, whether it’s because base costs have gotten so exorbitantly expensive or because an actual comfortable paycheck often comes with significant corporate burnout.

Perhaps, in these times this line captures my mindset the best:

Everything feels precarious right now. Might as well be making art.

Anna mentions a book that Mason Currey1 has written titled Making Art and Making a Living: Adventures in Funding a Creative Life. I’d much rather test out a new brush or draw a hippo with a monocle riding a unicycle than invite MORE MONEY THOUGHTS, but Mason is a hell of writer.

I get the sense that it’s less “here’s sure fire solutions” and more “this is normal, you’ll be ok.” I’m here for that.

Making Art and Making a Living is an entertaining and thought-provoking examination of the collision of creative ambitions with real-world necessities and of the messy, glorious, torturous compromises that gifted individuals have patched together when facing the eternal dilemma of an artistic life.

“Tortuous compromises,” “patched together” and “eternal dilemma” all sound familiar to these ears.

How do you know when your kidlit project is ready to be pitched to your agent or editor? Divination? Throwing bones in a fire?2 I shared my list in this week’s deep dive for paid subscribers:

Should I Pitch This Kidlit Project?

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Jul 8

On my way home from vacation at the lake, my wife and I listened to an interview Matthew Winner conducted with my literary agent, Jen Rofé. It’s a good quick listen with 20 years of agenting and publishing tales woven throughout. And Jen is a delight, of course!

I also added a “Made with Human Intelligence” 8x10 print to the perk section of Drawing a Blank just for paid subscribers.3

Rooting you on!

Best,
Jacob