How to Be a New Yorker Cartoonist

[@peripheralneuropathysuppor8948]

Guy talked about squeezing the most context from the least number of lines. I immediately thought of the S. Gross “Special Today: Frog legs” cartoon. He then mentioned that creation as the best example he could think of. That cartoon is at least 50 years old! The extraordinary long life of a single panel gag.

[@Cmdtheartist]

Years ago, I had a giant collection of NYer rejection slips, and I always blamed the old guys in charge for it. Finally, I got a phone call from someone at the NYer telling me I should send my stuff directly to them. I did and didn't hear back from him for months, and then all the stuff I sent just came back in the self-addressed stamped envelope I included with my work. I never heard back from him (he was one of the regular cartoonists), and I sort of gave up. No one told me that was what they did. It's so insular, they make almost no attempt to help people. I still try every now and then. Maybe the new editor will be better.

[@TheSubwaysurfer]

Me and my artist friends would try out to get into the New Yorker and we’re appalled and entertain. By the way they would insult you when reviewing your work it became a joke to help us deal with the rejection. You never knew New York wanted you show your best work to them only to have them shoes a cartoon that look like it was drawn in the 1950s. I had someone look over my stuff and he was saying boring no good not exciting before hate it. Thank you.