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I had the seeds of ideas and was writing down plot points. I started working on this book in the summer of 2018. I could do a narrative in carpet, but then if someone were to read it and then just be done with the piece or kind of get the idea and walk away, that would not feel successful to me.ĭid you start working on this book during the pandemic? I like making things that are a little bit more ambiguous so that people can interpret them, based in part on their own life experience or the material decisions. Whereas, if I were working in carpet, the only way I could think to do it-to make an overt statement about an idea-it becomes didactic and not interesting to engage with. You can be a lot more direct in a narrative. So, there are these themes that come up across the work, but fundamentally I believe that comics communicate differently than studio work or visual art. It’s something I’ve tried to address, but this is the first time I’m head-on addressing that world. That’s something that has informed my worldview and life experience a lot. I grew up in this culty kind of Evangelical Church. There are certain themes that I’m eternally drawn to, like gendered discrimination. When you get an idea, how do you know that it makes sense as a book versus something you want to explore in a carpet painting series? I was drawn to the layout and the moments where you zoom out and see a larger scene. But that process just didn’t work for me as well. I think they’re both some of the best working cartoonists today. They just put their pen on the paper, maybe have a vague idea of what’s going to happen and start drawing. Script writing allowed for this other layer of editing and working out issues like pacing, dialogue, and plot There are other cartoonists like Lynda Barry and Chris Ware who don’t do either of those things. You have to add in multiple pages and redraw things. Editing comics is very difficult, particularly once the book has been drawn, because you can’t just go back and add a panel in here and there. The drawing can then become kind of less crucial to the storytelling, which is not something that I wanted because otherwise why work in comics? But it really helped me. I decided to copy them and write a script, which I’d been reticent to do because I think that can prioritize the writing over the drawing.

I’d read Nick Drnaso’s book Sabrina and spoken to my friend Anya Davidson, who’s another cartoonist, about a comic she did, called Lovers in the Garden, which is really excellent. Then I moved right into thumbnails, kind of story-boarding, but I felt like the pacing in that book was not right. For that book, I had a general outline of what would happen.

The other two books are different from one another because one’s kind of single page, gag images, and the second book was more of a graphic novel narrative. What’s your process for putting a book together?