HOW TO DEAL WITH CRITICISM IN COMICS
This week on the Terrible Anvil we talked about CRITICISM!
Criticism and rejection are inevitable parts of the creative process—so how can we make them more bearable?
LISTEN ON:
Here's a few gems from the call & chat:
On Receiving/Asking for Feedback on Work in a Classroom
Nancy Mastronardi: "The world is scary and negative enough, I just gently need to know how to improve"
Sarah Aziz mentioned that offering what you'd like feedback on is "Helpful for the person providing the critique to know what your actual goals are also"
Carole McKee Armen said "Beth’s workshop strongly suggests that our feedback names 3 possibilities, 3 positives and 3 places of concern where the comic is confusing."
On Rejection
From Sarah Aziz: "If you're more scared of success than obscurity, then the possibility of rejection sometimes is quite comforting because if you DO get through it means someone else is putting their reputation on the line to vouch for you and you don't have to take full responsibility for inflicting your work on the world”
On Working With Your Inner Critic
Jennifer Mitton shared "I invite that critic to give help, Tom!
And then take a back seat for a while...."Tom Hart shared an imaginary conversation, a Q and A with his inner critic, where the inner critic was the 'asker' and Tom was the interviewee. He did this exercise more than once and wrote about it twice. He read the first one on the call, but here's the second iteration which he says is EVEN BETTER (you know we love a sequel around here!)
Tom's Inner Critic Interviews
Here is an example of an exercise from Tom’s Inner Critic Recovery Program: Training Our Critic. He notes that "YOU are in charge. This is a taming exercise. We are training your inner critic. YOUR CRITIC'S QUESTIONS MUST BE NEUTRAL. Don't let the questions be like, "We know you're a jerk, can you tell us more about that?"
No one likes you.
That's not true. I have friends. Anyway, I'm a part of creation remember?
Oh yes, that idea. Yes it's true. But maybe you shouldn't do comics anymore. Maybe get a job or go back to school.
I have a job, washing dishes. It lets me make more comics, which gives me pleasure. I love making things.
You should make better comics.
I told you to only use neutral language.
My comics will be better or match my aspirations more as I practice more. I feel that if I make them honest, that people will recognize something true about them.
Don't make them honest! People will know about you.
Know about me?
Yeah, how weird and gross and dumb you are and how much you don't fit in.
First of all, use neutral language. I will only answer the "weird" and "not fitting in" part.
Anyway, I've been reading a lot about how everyone feels like they're weird and that they don't fit in. Cat's out of the bag, critic. This isn't the 1950s, you know.
It's true. I was much more appreciated in the 50s.
We can put you to work. You can help me make these comics better. How about I make them, and you make suggestions at the end of how to make the next ones better. Remember, neutral language!
Ok, I'll have to be trained. Can you read me more books and show me more art?
Yes good idea. Let's spend the day tomorrow at the museum and reading.
Yeah but your memory sucks and you'll forget everything you read.
Neutral language. Will you remember to bring a notebook and help me write everything down?
Yes, I'm on it. Maybe we can make a really amazing, impressive beautiful sketchbook everyone will love.
I'm not interested in that. I just want to note the things that excite me so we can try to mimic some of it later. Can you help with that? We need a system for making things clear.
Ok, we can do that. Let's make sure we put the date on every page, and note who did what and people will be really impressed by our escapades when they find our notebook in 100 years.
Ok sure, whatever. You do that part and my part will be when I am drawing and writing, to pull from these resources.
Everyone will love to know how amazing we are cause we went to the museum and read amazing books.
You're getting out of control again. What's 100-62?
38.
Good, what's 200-161?
Um, 49, 39! I'm really good with numbers subtracted from 100s places.
Yes, yes you are, critic. Thank you. Let's go for a walk.
Ok.
And after that I'm drawing this page I sketched yesterday.
Ok. 200-161 is 39. Nailed it!
Some finAl Musings from the call:
Find ways to negotiate feedback from your inner critic so that the info might be useful and less draining
Invite criticism from friends and collaborators whose opinion you respect. Filter out the rest of the unsolicited feedback
Don't read the comments section
Surround yourself with people who know what you’re going for (bonus: surround yourself with ppl who are smarter and more patient or possess qualities you'd like to emulate, ha!)
There's more from the call, so check it out!
A join us next week for our episode on MEDIUM in comics!
WATCH THE FULL FINALE FOR MORE TIPS AND ENCOURAGEMENT!
WANT TO MAKE AND READ MORE COMICS?
Do you have a story inside you that’s just itching to come out, but want some guidance to help push it out?
Learn more about intensive comics learning with teachers at SAW by checking out SAW’s Year-Long Intensive Program and our Six-Month Graphic Novel Intensive.
Be sure to also check out our Online Courses, some courses are offered year-round and are always enrolling while others are limited in space and come around only once a year!
Our Graphic Memoir Intensive runs year round and is always enrolling. It includes access to a vibrant working community, twice-monthly live online check-ins, weekly prompts, and access to SAW’s Monthly Pro Calls!
Our Comics Flow Group, or SAW FLOW MEMBERSHIP, is also year-round and always enrolling and is SAW's MOST AFFORDABLE course option with access to Monthly Pro-Calls!
And, of course, come see what we’re all up to on SAW's Mighty Network anytime!
