Young artist sketching a political cartoon on a tablet in a rainy city home studio.

Editorial Cartoonist Business: What to Know First

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As an editorial cartoonist, you use a single image — sharp lines, a pointed caption, and a telling caricature — to say what a thousand words of analysis sometimes can’t.

You distill a political moment, a social controversy, or a cultural absurdity into one visual punch that readers feel immediately.

Running an editorial cartoonist business means building that skill into a professional operation that earns a living.

That’s a genuine challenge. Staff cartoonist positions at newspapers have largely disappeared. The path to sustainable income runs through freelance commissions, content licensing, direct reader subscriptions, print sales, and corporate illustration work — often all at once.

This is still a career path that working cartoonists pursue and sustain. But it requires honest planning, a realistic understanding of the industry, and a diversified approach to income from the start.

Before you sketch out a studio or pitch your first editor, understand what you’re actually building.

The startup process for a creative services business like this one differs from launching a product company or a retail store. You’re selling a skill and a point of view. Your reputation and your portfolio are your inventory.

Can your household manage a period of variable income while you build that reputation?

Does your risk tolerance hold up when some months bring multiple commissions and others bring none?

These aren’t discouraging questions — they’re practical ones. Answer them before you spend anything on equipment or send a single pitch.

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Red Flags Before You Start

Some conditions should give you pause before committing to this business.

The traditional market for editorial cartooning has contracted structurally. Major newspaper chains have dropped editorial cartoons from their pages. Many publications that once commissioned freelancers now license from stock cartoon libraries instead.

This isn’t a temporary downturn — it’s a lasting shift in how journalism uses visual commentary.

If your plan depends primarily on newspaper commissions, reconsider the model before starting. A sustainable independent operation combines multiple income streams from day one.

Your portfolio has to be genuinely strong before you approach any client. Editors evaluate portfolios quickly, and a weak first impression closes doors that are hard to reopen.

If your drawing quality or concept strength isn’t at a professional level yet, building that skill before launching is a better use of your time than rushing to set up an LLC and a website.

Editorial cartoons carry real legal exposure. You’re depicting real public figures, making pointed satirical claims, and commenting on contested events.

Defamation, copyright infringement, and invasion of privacy are realistic risks — not hypothetical ones. If you’re not prepared to carry media liability insurance and manage your contracts carefully, this business model has a gap that can cost you significantly.

Income will be inconsistent at launch — and possibly for a long time. Per-cartoon freelance fees from smaller and regional publications are modest.

Building enough revenue to cover your living expenses takes time and requires combining multiple income streams simultaneously.

Running out of operating capital before your income base stabilizes is the most common failure point in freelance creative businesses. Plan reserves before you open.

Pricing pressure from stock cartoon libraries is real. Publications that want generic editorial imagery can license it cheaply from a stock library.

What differentiates a commissioned cartoonist is a recognizable voice, local relevance, and subject-matter depth. If your work doesn’t offer a clear reason to commission you specifically, clients will choose the cheaper option.

Step 1: Honestly Assess Your Fit and Skills

Two distinct abilities have to be present before this business makes sense: drawing skill and conceptual strength.

You need to produce clean, expressive, publication-quality cartoons consistently — and on deadline.

Many aspiring cartoonists can draw well. Fewer can also generate strong, original ideas reliably, distill a complex issue into one image, and do it again the next day.

Be honest about which of those is your actual weakness, because both matter equally to editors.

Talk to working editorial cartoonists and freelance illustrators you won’t compete with directly — people in different markets or niches. Ask how they built their client base, what income mix they rely on, how long it took to reach sustainable earnings, and what they wish they had known before starting.

Prepare your questions before those conversations. Their experience is genuinely useful even though every cartoonist’s path is different.

Also think through the lifestyle realities. This work involves heavy reading and news consumption daily, generating ideas under time pressure, and delivering finished artwork on tight deadlines.

Do you have the discipline for that rhythm as a solo operator, without the structure of a newsroom?

Step 2: Decide on Your Business Model and Revenue Mix

Before you set up any equipment or build a website, decide how you’ll actually earn money. This decision changes almost every other setup choice you’ll make.

Independent editorial cartoonists typically combine several income streams rather than relying on any single one. The right combination depends on your drawing style, your topic focus, and how you want to spend your time.

The main income paths to consider:

  • Freelance commissions — newspapers, magazines, digital outlets, and corporate clients hire you directly for specific projects
  • Syndication — a syndicate (Andrews McMeel, Creators Syndicate, King Features, Counterpoint) distributes your work to publications; under most syndication contracts, you receive roughly half of the revenue; syndicates are highly selective, and this path typically takes years to pursue
  • Self-syndication — you handle distribution and client outreach directly, keeping the full fee but doing more relationship management yourself
  • Direct licensing — placing work in cartoon libraries for publications to license on a per-use or subscription basis
  • Audience subscription platforms — Patreon (membership-style, suited to visual artists) and Substack (newsletter-based, suited to writing-integrated content) both allow recurring income from readers who support your work directly
  • Print and original art sales — signed prints, limited editions, or original drawings sold through your website or print-on-demand platforms
  • Corporate and branded illustration — editorial-style cartoons for corporate communications, HR training, educational campaigns, nonprofit outreach, and internal publications; this segment often offers steadier project income than editorial publishing

Which combination you choose changes your startup costs, your equipment needs, your contract structure, and how you present yourself to clients.

A cartoonist focused on direct reader subscriptions via Substack needs a strong newsletter writing voice and consistent posting discipline.

One focused on corporate illustration clients needs a different portfolio emphasis and a more formal project-delivery process.

Map this out before you build anything else.

Most editorial cartoonists build their practice independently from scratch. If an established freelance practice is for sale in your area, weigh the asking price against the time it would take to build a comparable client list yourself. That comparison shapes whether buying makes sense.

Step 3: Validate Demand Before You Commit

Even in a freelance creative business, confirm there’s a market before investing in a full studio setup.

Research which publications in your area — regional newspapers, alternative weeklies, digital news outlets, trade magazines — actively commission freelance editorial cartoons versus licensing from syndicates or stock libraries.

Talk to editorial art directors and editors. Ask directly: do they commission freelancers? What style of work are they looking for? What topics matter most to their readers?

This is market validation, not marketing — it’s a go/no-go research step.

Also research your corporate market. Communications directors, HR departments, and nonprofit organizations sometimes commission editorial-style illustration for internal use. That segment doesn’t require newspaper industry connections, which makes it a useful early-income channel.

Use local supply and demand research to understand whether your target client types are active buyers — or whether you’ll spend most of your early time educating the market on why they should commission a cartoonist at all.

Step 4: Build Your Portfolio Before Approaching Anyone

Your portfolio is your primary sales tool. Without strong published or portfolio-quality work, client outreach is premature.

Develop a body of at least 10 to 20 polished, finished cartoons that demonstrate your style, your concept strength, and your ability to comment on real events or issues.

If you don’t have published clips yet, create portfolio pieces on timely or evergreen topics that show what you can do.

What makes a portfolio work for clients:

  • A clearly recognizable visual voice — clients hire a specific style and perspective, not a generic imitator
  • Strong concepts, not just good draftsmanship — editors care as much about the idea as the drawing
  • Consistent production quality — every piece should look like finished, deliverable work
  • Relevance to your target clients — if you’re pitching business publications, include cartoons on business topics

Decide at this stage whether you’ll work digitally, in traditional media, or in a hybrid workflow. Most professional editorial cartoonists produce final artwork in digital format for publication.

A digital-only workflow eliminates recurring material costs after you’ve invested in hardware. A traditional or hybrid workflow adds ongoing supply costs but may suit your creative process better.

Step 5: Choose Your Business Structure and Complete Legal Setup

Two main structures apply to most independent editorial cartoonists: a sole proprietorship or a limited liability company (LLC).

A sole proprietorship is simpler and less expensive to set up. An LLC separates your personal assets from your business — a meaningful protection when your published work can attract defamation or copyright claims.

That liability separation matters more in editorial cartooning than in many other creative businesses. Given the realistic legal exposure in this field, the LLC is worth serious consideration even for a solo operator.

To compare the options, see this guide on LLC vs. sole proprietorship.

If you operate under a studio or business name different from your legal name, you’ll need to register a DBA (doing business as). Check with your county clerk or state business registration office for requirements.

Obtain an Employer Identification Number (EIN) from the IRS if you form an LLC or want to open a business bank account under a business name. You can apply at IRS.gov at no charge.

Check whether your city or county requires a general business license for freelance creative services. Requirements vary — verify with your local business licensing office.

As a self-employed operator, you’re responsible for self-employment tax — covering both the employer and employee portions of Social Security and Medicare — plus quarterly estimated tax payments and an annual Schedule C filing. Engage a tax professional early. This is not an area to figure out on your own in your first year.

Step 6: Establish Copyright and Contract Practices Before Any Client Work

Copyright and contract management are not administrative afterthoughts in this business. They’re core to how you protect and monetize your work.

Under U.S. copyright law, your cartoons are protected from the moment you create them. Registration with the U.S. Copyright Office is not required for that protection to exist — but registering key works significantly strengthens your enforcement rights and enables statutory damages if someone infringes your work. Register at copyright.gov.

The most important contract distinction to understand before you take any paid work: licensing versus work for hire.

When you license a cartoon, you’re granting the client the right to use it under defined terms — for a set time period, in specified publications, for a specific purpose. You retain the copyright.

That means you can license the same cartoon to additional outlets and build long-term value in your catalog.

When you sign a work-for-hire agreement in writing, the client owns the copyright entirely. You have no right to reuse or re-license that work — ever. Full copyright transfer should command significantly higher compensation than a limited license.

Without a written agreement of any kind, copyright stays with you by default. But ambiguity creates disputes. Use a written contract on every project.

Watch for rights-grab contract language — clauses that assign all rights to the client without additional compensation, or that demand “all media, perpetual, worldwide” rights when the project only calls for a one-time editorial publication. Read every contract carefully before signing.

Your client contract template should cover: project scope, usage rights granted, license duration, payment terms, revision limits, a deposit requirement, a kill fee for cancelled projects, and a portfolio rights clause allowing you to display the finished work.

Have an attorney review your initial contract template. That investment pays off across every future project.

Step 7: Set Up Your Workspace and Production Tools

Most independent editorial cartoonists work from a home studio. You don’t need a public-facing location — clients receive finished digital files by email or download link, not by visiting your drawing table.

Your workspace setup directly affects the quality and consistency of your output. A poorly lit, cramped, or ergonomically poor drawing environment leads to fatigue and inconsistent work during high-deadline periods.

If you plan to work from home, first confirm your local zoning rules don’t restrict this type of business activity. Some municipalities require a home-occupation permit even for businesses with no employee or client traffic.

Check with your local planning or zoning department before you set up. This step costs nothing but a phone call — and it avoids a compliance problem later.

If you choose to lease commercial studio space instead, verify that the zoning permits the use, confirm a certificate of occupancy is in place, and factor the ongoing rent into your break-even calculation before signing.

Paying for more space than you need is a common early mistake in studio-based businesses. Don’t sign a lease until you have a clear picture of your income.

Core equipment for a digital or hybrid editorial cartooning setup:

  • Graphics tablet or pen display (Wacom Intuos Pro, Wacom Cintiq, Huion, XP-Pen, or Apple iPad Pro with Apple Pencil are commonly used options)
  • Desktop or laptop computer with adequate RAM and storage for large graphic files
  • Color-calibrated display monitor — accurate color matters for work destined for both print and digital publication
  • Drawing software: Adobe Photoshop and Illustrator for raster and vector work; Procreate for iPad users; Clip Studio Paint for comics-focused line art; CorelDRAW and Affinity Designer as alternative vector options
  • Scanner, if your workflow involves pencil sketches on paper before digital inking
  • External hard drive and cloud backup — client files and original works need reliable redundancy
  • Ergonomic chair, adjustable desk or drawing table, and good task lighting

If you use a traditional or hybrid ink-on-paper workflow, add: graphite pencils in multiple grades, a mechanical pencil or lead holder, dip pens or brush pens, fine-liner technical pens, heavyweight smooth drawing paper, kneaded and vinyl erasers, a lightbox, and a portable drawing board.

File delivery for editorial clients typically means high-resolution files — 300 dpi is standard for print — in JPEG, PSD, or EPS format depending on the publication’s requirements. Confirm file specs with each client before you start the project. Delivering the wrong format wastes time and makes a poor first impression.

Step 8: Plan Costs, Set Pricing, and Build Your Financial Foundation

Map out your startup and ongoing costs before you take on a single client. Knowing your numbers lets you make intelligent decisions about pricing, capacity, and how long your reserves need to last.

Startup cost categories to build your list from:

  • Drawing hardware (tablet, pen display, or iPad — new vs. refurbished makes a significant difference)
  • Computer hardware, if your current setup can’t handle large graphic files
  • Software licenses and subscriptions
  • Portfolio website setup, domain registration, and hosting
  • Legal entity formation (LLC filing fees vary by state — verify with your state’s Secretary of State)
  • Copyright registration for key portfolio works
  • Attorney review of your initial client contract template
  • Business bank account setup
  • Invoicing software
  • Studio furniture and ergonomic setup
  • Media liability insurance and any other applicable coverage
  • Professional development and association fees

The biggest cost variables are whether you already own suitable drawing hardware and whether you work from home or lease studio space.

Home-based setup significantly reduces ongoing fixed costs — and home studio expenses may qualify for the IRS home office deduction.

Income in editorial cartooning is inconsistent, especially at launch. Commissions cluster around news cycles. Some months bring several projects; others may bring none.

Calculate what you need each month to cover personal living expenses, business operating costs, and self-employment taxes.

Then honestly assess whether your income plan can reach that number within a realistic timeline. If the gap is wide and your reserves are thin, shore up your financial position before leaving other income behind.

Pricing editorial cartoon work depends on several factors: client size and publication circulation, usage rights requested, complexity of the cartoon, turnaround time, and your experience level.

Usage rights drive pricing more than most new cartoonists expect. A one-time print-only license commands a lower fee than a full digital-and-print license with extended or unlimited use. A full copyright transfer — work for hire — should command substantially more than a limited license.

Rush projects — same-day or 48-hour turnaround — typically carry a 25–50% surcharge above your standard rate. Build that into your pricing structure from the start.

For benchmarked rate guidance, the Graphic Artists Guild Handbook: Pricing & Ethical Standards is an industry reference worth consulting before you set your rates.

Open a dedicated business bank account before you invoice your first client. Keeping business and personal finances separate is essential for tax reporting and — if you’ve formed an LLC — for maintaining the liability separation that makes the structure meaningful.

Set up invoicing and payment processing before you deliver any work. Your invoice template should state your payment terms, late fees, and preferred payment method clearly.

Include a deposit requirement in every client contract — typically 25–50% up front — along with a kill fee for projects cancelled after work is underway.

Step 9: Build Your Business Identity and Online Presence

Before you approach any client, a professional identity needs to be in place.

Your portfolio website is the single most important piece. Clients and editors will look at it before they respond to a pitch, before they return a call, and before they assign a project.

The work has to be front and center — visually clean, mobile-responsive, and easy to navigate.

What your website needs before you launch:

  • A portfolio displaying your strongest work prominently
  • A clear description of what you offer and how clients can commission or license work from you
  • Contact information and an easy inquiry path
  • Your rights licensing model explained in plain language
  • A print shop or sales section if you plan to sell prints

Your business name should be verified — search your state’s business name database and run a basic trademark search to confirm it isn’t already in use.

Then secure a matching domain name and a professional email address under that domain. A generic email address undercuts the professional impression your portfolio is trying to create.

Step 10: Prepare Your Launch-Stage Client Outreach

At launch, your most realistic first clients are the ones most likely to commission a freelance cartoonist with a strong but new portfolio.

Your most likely early clients include:

  • Regional newspapers and alternative weeklies without a staff cartoonist
  • Digital news outlets and online magazines that commission editorial illustration
  • Trade publications covering topics you have subject knowledge in — business, healthcare, technology, finance
  • Corporate communications and HR departments that want editorial-style illustration for internal use
  • Nonprofit organizations with communications budgets

Clients choose a specific cartoonist over a stock library because of local relevance, a distinctive voice, or specific subject expertise. Know what yours is before you pitch.

Prepare a pitch package before you contact anyone: a short description of your style, a link to your portfolio, samples relevant to the client’s subject area, and a brief explanation of your licensing terms.

Direct reader platforms like Patreon and Substack let you build an audience before traditional commissions are established. Building a small paying subscriber base early provides income that doesn’t depend on individual publication budgets — and that changes your financial risk profile meaningfully.

Once your work is regularly published in a recognized outlet, look into joining the Association of American Editorial Cartoonists (AAEC). Membership connects you with the professional community, provides industry resources, and adds credibility. Check eligibility requirements at editorialcartoonists.com before applying.

Step 11: Get Risk Coverage Before Any Client Work

Insurance is not optional in editorial cartooning — it’s a practical necessity given what you publish.

Media liability insurance — also called errors and omissions insurance or media perils coverage — protects against claims of defamation (libel), copyright infringement, invasion of privacy, and plagiarism. These risks are built into the work. Obtain coverage before you deliver your first paid cartoon to a client.

Some clients’ publications cover freelancers under their own policy. Many do not. Never assume you’re covered — ask directly, in writing, before you start.

Media liability policies are claims-made, which means the policy must be active both when the work is created and when a claim is filed. Understand that term before selecting a policy, and don’t let coverage lapse.

If you meet with clients in a studio space, general liability insurance is also worth considering — and may be required by a landlord. Equipment and business property insurance covers your hardware and studio contents against theft or damage.

To compare insurance options, see this overview of business insurance for small operators.

Business Plan

A business plan for an editorial cartoonist business doesn’t need to be lengthy — but it does need to capture the decisions that affect whether the business can survive its first year.

Start with your income model. Write down the specific revenue streams you’re building — freelance commissions, subscriptions, print sales, licensing, corporate illustration, or some combination — and estimate realistically how long each one will take to generate meaningful income.

Then calculate your break-even point. Add up your personal living expenses, monthly business costs (software, insurance, any studio rent), and self-employment taxes.

That total is the minimum you need the business to produce each month before you can consider it viable.

Compare that against your income timeline. If the gap is wide and your reserves can’t bridge it, that’s the most important thing your business plan tells you — and it should shape whether and when you launch.

Income in this business is genuinely inconsistent, particularly at the start. Commissions cluster around news cycles. Slow months are predictable. Plan for them explicitly rather than hoping they won’t happen.

Document your startup cost list — every equipment purchase, software subscription, legal setup cost, insurance premium, and website expense. Price each item based on your actual choices: new versus refurbished hardware, home studio versus leased space, sole proprietorship versus LLC.

The most accurate startup estimate comes from pricing your specific list, not from any industry average.

Your plan should also address pricing: which types of projects you’ll take, what your standard rate structure looks like, how you’ll handle rush requests, and what rights you’ll offer at what price points.

Include a section on client acquisition: who your first targets are, how you’ll reach them, and what differentiates your work from stock licensing.

That’s not a marketing plan — it’s a reality check on whether your intended audience is reachable before you invest in a full launch.

For help structuring the planning process, see this guide on writing a business plan.

Opening-Day Red Flags

Before you deliver your first paid cartoon, confirm the following are in place.

Your client contract is signed and on file. Never start work on a paid project without a signed agreement covering project scope, usage rights, payment terms, revision limits, deposit, and kill fee. Delivering work without a contract — even to a client you trust — removes every protection you have.

Your deposit has been collected. Collecting a portion of the project fee before you start protects you if a client goes quiet mid-project or cancels after you’ve committed time to the concept.

File delivery specs are confirmed. Ask for the client’s required file format, resolution, and color profile before you begin. Delivering a file in the wrong format on deadline is an avoidable poor first impression.

Media liability insurance is active. If coverage isn’t in place, don’t deliver the work until it is. This is not a step to defer.

Your invoicing system is set up and tested. Send a test invoice to yourself. Confirm the payment link works, the terms are correct, and the formatting is professional.

Your backup system is running. Before your first client file touches your hard drive, confirm that local and cloud backup are both active. Losing a completed cartoon to a hardware failure on deadline is a damaging first impression for a new client.

Your business bank account is open and separate from personal finances. Don’t accept your first payment into a personal account. The separation matters for taxes, for liability protection if you’ve formed an LLC, and for your own clarity about how the business is performing.

Frequently Asked Questions

Do I need a formal art degree to start an editorial cartoonist business?

No formal degree is required. What editors and clients evaluate is your portfolio — the quality of your drawing, the strength of your concepts, and the clarity of your visual storytelling.

Formal training in illustration or fine arts can develop technical skills. But self-taught cartoonists regularly build professional careers. The work in your portfolio is what opens or closes doors.

How do syndicates work, and should I pursue syndication at launch?

A syndicate distributes your cartoons to publications and handles client relationships on your behalf. Under most syndication contracts, you receive roughly half of the revenue; the syndicate retains the rest.

Syndicates are highly selective and receive large numbers of submissions. Building a track record of publication in smaller outlets first is typically a prerequisite. Treat syndication as a medium-to-long-term goal — not a launch strategy.

When you do approach syndicates, read submission guidelines carefully; some require digital submissions only.

Who owns the copyright to a cartoon I create for a client?

Under U.S. copyright law, you retain copyright to work you create as an independent contractor — unless a written work-for-hire agreement transfers ownership to the client.

Without a written agreement, copyright stays with you by default. If you sign a work-for-hire contract, the client owns the copyright completely and you have no right to reuse or re-license that work.

Always review client contracts carefully for rights-transfer language before signing.

What is media liability insurance, and do I really need it?

Media liability insurance covers claims of defamation, copyright infringement, invasion of privacy, and plagiarism arising from content you create and publish.

These are realistic risks for any cartoonist publishing work about public figures and current events. The coverage isn’t legally required, but it’s strongly advisable — and some client contracts will require proof of it.

Check whether the publication you’re contributing to covers freelancers under its own policy. Many do not.

Can I work from a home studio, and is it tax-deductible?

Yes. Most independent editorial cartoonists work from a home studio and don’t need a public-facing location.

The IRS home office deduction allows you to deduct a portion of your housing costs based on the percentage of your home used exclusively and regularly for business.

Check your local zoning rules first — some municipalities require a home-occupation permit even for businesses with no client visits or employees.

What is a kill fee, and should I include one in my contracts?

A kill fee is a payment you receive when a client cancels a project after you’ve begun work but before final delivery. It protects you against losing time and income when clients change direction mid-project.

Most professional freelance contracts specify a kill fee as a percentage of the agreed project rate — commonly 25–50% depending on how far the project has progressed. Include a kill fee clause in every contract from the start.

Can I realistically earn a living as an independent editorial cartoonist?

It’s possible, but it’s genuinely difficult — and the income path is rarely fast or linear. Cartoonists who build sustainable full-time incomes typically combine freelance commissions, direct reader subscriptions, print and original art sales, licensing, and sometimes corporate illustration work.

Very few editorial cartoonists generate sufficient income from newspaper commissions alone. Entering with adequate personal savings and realistic income projections matters significantly.

Should I form an LLC or operate as a sole proprietor?

Both are viable, but an LLC offers meaningful advantages worth considering. It separates your personal assets from your business — a practical protection when your published work can attract defamation or copyright claims.

A sole proprietorship is simpler and less expensive to set up but provides no liability separation. Consult a business attorney or accountant familiar with your state’s requirements before deciding.

For a side-by-side comparison, see this guide on LLC vs. sole proprietorship.

Lessons From Professional Political and Editorial Cartoonists

These interviews share practical insight from working cartoonists on finding ideas, shaping a point of view, dealing with editors, building a portfolio, and understanding how political and editorial cartoons reach readers.

Before starting an editorial cartoonist business, readers can use these interviews to study the creative process, compare different career paths, and think through the realities of publishing, audience fit, criticism, and steady idea generation.

“Things Have Shifted”: An Interview with Liza Donnelly

This interview covers Liza Donnelly’s move into political and editorial cartooning, her publishing experience, and how the internet changed opportunities for cartoonists.

It is useful for someone starting this business because it shows how a cartoonist can build a distinct voice instead of trying to fit one old model of editorial cartooning.

Ethics Talk: Politics, Policy, and COVID Cartoons

This video and audio interview with Matt Wuerker explains how he approaches cartoons about public policy, politics, and complex health issues.

It is useful for someone starting this business because it shows the importance of research, timing, clarity, and responsible commentary when turning news into visual opinion.

Cartoons as a Tool for Democracy: A Conversation with Stellina Chen

This interview covers Stellina Chen’s path into political cartooning, her use of satire, and her shift from local topics to international audiences.

It is useful for someone starting this business because it shows how audience knowledge, cultural references, and subject research affect whether a cartoon communicates clearly.

An Interview With Cartoonist Tjeerd Royaards

This interview covers Tjeerd Royaards’ path from political science into professional cartooning and his work with Cartoon Movement.

It is useful for someone starting this business because it shows how a strong interest in politics, publishing networks, and international exposure can shape a cartooning career.

An Interview with Patrick Shiplett

This interview covers Patrick Shiplett’s cartooning process, New Yorker submission experience, and direct advice for aspiring cartoonists.

It is useful for someone starting this business because it gives practical reminders about building writing and drawing skills, creating a portfolio, and researching suitable outlets.

 

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