How a great cartoonist does what he does

Did you know each cartoonist who freelances with The New Yorker, that storied magazine founded by Harold Ross in 1925, is required to submit 10 panels a week for consideration (nine of which typically get rejected)?

How do they do it? How do they come up with so many original jokes?

Well, thanks to Jeff Bercovici of Forbes, we know how one great cartoonist does it. In an interview with Matthew Diffee, who draws cartoons for The New Yorker and other media organisations, Bercovici draws out the essence of a cartoonist's light-bulb moment. We learn that Diffee parks himself at a table for the first hour or two of each day — however long it takes him to drink an entire pot of coffee — and forces himself to free-associate on a blank sheet of paper. That means writing, not drawing:

Diffee says his cartoons always start with words, not images. Typically, he’ll take a phrase that’s lodged in his mind and tweak it this way and that until he comes up with something funny or hits a mental dead end. By the time he fills up the paper, he usually has at least a couple workable ideas.

Here is a Diffee cartoon from a recent issue of The New Yorker:

“I’m sorry, Paige, but grades are based on the quality of the writing, not on your Klout score.”

Diffee also demonstrates how he does what he does in a brief (less than five minutes) video interview with Bercovici:

You can read the Forbes interview here: "New Yorker Cartoonist Matthew Diffee Shows How To Be Creative".

And take a look at a collection of New Yorker cartoons here.

• Additional reading: An insight into the ingredients of great writing from The New Yorker.

• Also read: "A man whose genius for cartooning matches his flair for wit" and "Hadi Farahani, the most brilliant illustrator and cartoonist I have met".

• Plus, meet the R.K. Laxman of England, Matt of The Daily Telegraph: "There’s no cartoonist like Matt. With his sharp humour and kind touch, he expertly captures the absurdities of everyday life. No wonder our readers start the day with a smile" — A tribute by Mick Brown.

"We get 40,564 emails per minute from people who want to be interns, and 40,553 of them are deleted before we've finished reading them."

That is obviously a wild exaggeration by Seattle newspaper editor Christopher Frizzelle, but the point is well made. If your subject line has typos, if your cover note is badly written, if you don't know how to spell the name of the publication you're applying to — bam!

So, first off, would you like some tips on how to write a cover note? Then Frizzelle is your man. Culling advice he has provided in a book co-authored by him, he suggests that if you really want a job in writing...

...you should just start writing — and publishing. Get a blog and make it good. Make it so good that an editor who reads it will be so jealous you're not writing for them that they'll hire you. Once you already have your own writing underway, sure, apply for an internship at the place you want to work. But make sure your cover letter doesn't make whomever ends up reading it want to die of embarrassment.

And then come a few tips (but not all — for that you will have to buy the book).

One important tip: "Cool it on the superlatives." To find out why, read Frizzelle's post here.

How is straightforward news coverage in a daily newspaper different from the content on the editorial and Op-Ed pages? How does a review differ from an editorial? Who is an Op-Ed contributor?

And other important questions that readers (must) have.

If such are the questions readers have, then the New York Times, one of the world's greatest newspapers, has the answers in the form of a very thoughtful Readers' Guide:

In its daily news pages, The Times presents both straightforward news coverage and other journalistic forms that provide additional perspective on events. These special forms — news analysis articles, columns and others — adhere to standards different from those of the editorial and Op-Ed pages. The news and editorial departments do not coordinate coverage and maintain a strict separation in staff and management.

All articles, columns, editorials and contributions in the newspaper are subject to the same requirements of factual accuracy.

This is followed by "descriptions of the various forms".

Excerpts:

IN THE DAILY NEWS SECTIONS

• News Analysis: A close examination of the ramifications of an important news situation. It includes thorough reporting, but also draws heavily on the expertise of the writer. The article helps the reader understand underlying causes or possible consequences of a news event, but does not reflect the writer's personal opinion.
• Appraisal: A broad evaluation, generally by a critic or a specialized writer, of the career and work of a major figure who has died. The article often accompanies the obituary.
• Review: A specialized critic's appraisal of works of creativity — movies, books, restaurants, fashion collections. Unlike other feature writers, critics are expected to render opinions in their areas of expertise.

IN THE OPINION PAGES

• Editorial: A sharply written, generally brief article about any issue of public interest. Editorials are written by the editorial board of The Times, which includes the editorial page editor, the deputy and assistant editors, and a group of writers with expertise in a variety of fields. While the writers' opinions are of great importance, the editorials also reflect the longtime core beliefs of the page. Unlike the editors of the news sections, the editorial page editor not only reports to the publisher, but consults with him on the page's positions. Editorials are based on reporting, often original and in-depth, but they are not intended to give a balanced look at both sides of a debate. Rather, they offer clear opinion and distinct positions.
• Op-Ed Column: An essay by a columnist on the staff of The Times, reflecting the opinions of the writer on any topic. Columnists are expected to do original reporting. Some travel extensively. Op-Ed columns are edited only for style and usage, not for content. Columnists do not submit their topics for approval, and are free to agree or disagree with editorial positions.
• Op-Ed Contribution: An article by a person not on the staff of The Times, reflecting opinions about a topic on which the author is an expert or has provocative and well-reasoned ideas. These articles, most of which are solicited by the editors, are not intended to reflect the positions of the editorial board. Indeed, the Op-Ed page is seen as a forum to air diverse and challenging viewpoints.

Study the Readers' Guide in its entirety here.

WHY YOU SHOULD READ MINT'S CODE OF CONDUCT
As far as I know there are not many newspapers in India that make it easy for readers to grasp the finer nuances of journalistic terms. Of the ones that do, Mint has possibly the most comprehensive Code of Conduct. The Code explains, among other things, the newspaper's journalistic standards and discusses in detail the rules Mint journalists follow when it comes to attribution, quotations, the use of anonymous sources, and the use of graphics and images.

Under the rubric "Attribution", we learn the definitions of, for instance,"on the record", "off the record", and "deep background" (those who have watched All the President's Men will be able to link "deep background" with Deep Throat).

There will be many readers, by the way, who may be surprised to learn that Mint has very strict rules against altering or manipulating the content of a photograph in any way:

The content of a photograph must not be altered in PhotoShop or by any other means. No element should be digitally added to or subtracted from any photograph. The faces or identities of individuals must not be obscured by PhotoShop or any other editing tool. Only retouching or the use of the cloning tool to eliminate dust and scratches are acceptable.

Minor adjustments in PhotoShop are acceptable. These include cropping, dodging and burning, conversion into grayscale, and normal toning and color adjustments that should be limited to those minimally necessary for clear and accurate reproduction (analogous to the burning and dodging often used in darkroom processing of images) and that restore the authentic nature of the photograph. Changes in density, contrast, color and saturation levels that substantially alter the original scene are not acceptable. Backgrounds should not be digitally blurred or eliminated by burning down or by aggressive toning. When an employee has questions about the use of such methods or Mint requirements and limitations on photo editing, he or she should contact the photo editor/art director prior to the use of any image.

Two more paragraphs follow. Haven't all bases been covered? I would say yes.

In addition to spelling out journalistic standards, the Code also provides specifics on issues related to integrity as well as professional conduct, political and civic activities as well as personal conduct. It deals, too, with accounting and finances, employment, and environmental concerns.

Read Mint's Code of Conduct in its entirety here. Be an informed reader. Demand more of your newspaper.

• Also read: "The inviolable line between news and advertising at Mint".

"TREAT WRITING AS A JOB"

Treat writing as a job. Be disciplined.

Lots of writers get a bit OCD-ish about this. Graham Greene famously wrote 500 words a day. Jean Plaidy managed 5,000 before lunch, then spent the afternoon answering fan mail.

My minimum is 1,000 words a day — which is sometimes easy to achieve, and is sometimes, frankly, like shitting a brick, but I will make myself stay at my desk until I've got there, because I know that by doing that I am inching the book forward.

Those 1,000 words might well be rubbish — they often are. But then, it is always easier to return to rubbish words at a later date and make them better.

~ SARAH WATERS, award-winning, bestselling author of five novels to date: Tipping the Velvet, Affinity, Fingersmith, The Night Watch and her latest title, The Little Stranger.

Who says film reviews have to be text-centric?

Not Sahil Rizwan, a 24-year-old freelance writer and creator of "The Vigil Idiot". Under that rubric, Rizwan "reviews" Bollywood films on the "Mumbai Boss" blog. Of course, "reviews" is a misnomer; what Rizwan does is give us his take in the form of a graphic novella with stick figures for characters.

Here is the first panel of Rizwan's broadside against Madhur Bhandarkar's latest offering, Heroine:

Laugh your way through all the panels here: "The Vigil Idiot: Heroine".

Eat your heart out, Rajeev Masand!

• Thank you, Medini Mangala, for that Facebook alert!

V.S. Naipaul's advice for beginner writers

One of the first things I tell my students is that it helps to follow a formula when you are starting out as a writer.

For example, when aspiring journalists try their hand at writing a news report, they should keep in mind the inverted pyramid structure and divide (loosely) their story structure into intro, explanation, corroboration, and qualification.

I also tell my students that there are a million ways to say the same thing so, once they become confident about their writing, they should experiment, and break the rules if necessary. The only thing that matters, I try to impress upon them, is the reader. As long as the reader is hooked, it does not matter what formula has been used.

A WAY WITH WORDS: V.S. NAIPAUL

Now here's some advice for beginner writers from Nobel laureate V.S. Naipaul. He may have novelists in mind, rather than journalists, but this list, which was compiled at Tehelka's request, contains advice that media novices will benefit from, too:

1. Do not write long sentences. A sentence should not have more than ten or twelve words.

2. Each sentence should make a clear statement. It should add to the statement that went before. A good paragraph is a series of clear, linked statements.

3. Do not use big words. If your computer tells you that your average word is more than five letters long, there is something wrong. The use of small words compels you to think about what you are writing. Even difficult ideas can be broken down into small words.

4. Never use words whose meaning you are not sure of. If you break this rule you should look for other work.

5. The beginner should avoid using adjectives, except those of colour, size and number. Use as few adverbs as possible.

6. Avoid the abstract. Always go for the concrete.

7. Every day, for six months at least, practise writing in this way. Small words; short, clear, concrete sentences. It may be awkward, but it’s training you in the use of language. It may even be getting rid of the bad language habits you picked up at the university. You may go beyond these rules after you have thoroughly understood and mastered them.

• I discovered this list when I was going through India Uncut, the blog published by novelist and journalist Amit Varma.

What journalism is really about...

...can be discerned from this "wanted ad" being circulated via social media and e-mail by Sudha Pillai, features editor of Bangalore Mirror:

I'm looking for a features reporter. Mail me your resume if you have 2-4 years experience; you are working in the print medium; you are from Bangalore; you know the city and its people well;

...you have an inquisitive mind; you are curious about everything and everyone around you;

...you are someone who doesn't think that she is god's gift to journalism; you are someone who does not think that you know it all and there is nothing more to learn;

...you are someone who does not think that journalism is all about having five ready-made questions, which you will ask anyone from the prime minister to the office boy;

...you are someone who does not think that all a journalist needs is a phone and e-mail;

...you actually like going out and meeting people; you are someone who will go out and find your own stories and not regurgitate something that has already been regurgitated;

...that you are not someone who will ever call up a theatre company and say you are a journalist and that you want free tickets; you are someone who does not think that having a free meal at a restaurant, getting a free spa experience and other freebies are legitimate perks of being a journalist;

...you are someone who is willing to learn, explore, laugh, work REALLY, REALLY HARD and have fun on the job then...

...I promise you I will teach you all that I know; you will write some of the most fascinating stories and have some memorable experiences in life. I am a tough boss.

If you are willing to take a chance send me an e-mail: sudha@sudhapillai.com.

Are YOUR PowerPoint slides doing more harm than good?

PowerPoint is ubiquitous. Not only in boardrooms and conferences rooms but also in classrooms (yes, I use it, too, and so do my students when they make in-class presentations).

As Bob Parks writes in a recent issue of Bloomberg Businessweek, "No matter what your line of work, it’s only getting harder to avoid death by PowerPoint."

The article continues:

Since Microsoft launched the slide show program 22 years ago, it’s been installed on no fewer than 1 billion computers; an estimated 350 PowerPoint presentations are given each second across the globe; the software’s users continue to prove that no field of human endeavour can defy its facility for reducing complexity and nuance to bullet points and big ideas to tacky clip art. (italics mine)

Ouch!

There's more in the same vein:

As with anything so ubiquitous and relied upon, PowerPoint has bred its share of contempt. Plug the name into Twitter and you’ll see workers bashing the soporific software in Korean, Arabic, Spanish, and English as each region starts its business day. Part of this venting may stem from a lack of credible competition...

Microsoft’s other ubiquitous products, such as Word and Excel, don’t draw the same widescale ire. As PowerPoint’s sole function — unlike word processing and arithmetic — is grounded in visual arts, its slides do more harm than good. They bore audiences with amateurish, antiquated animation and typefaces and distract speakers from focusing on the underlying structure of their creators’ speeches.

Double ouch!

If you use PowerPoint (and who doesn't?), you will want to read this article in its entirety and then rethink your own slide-presentation strategy: "Death to PowerPoint!".

• Also read: Helpful advice on making better PowerPoint presentations.

• Related reading: "Four ways to quiet your presentation anxiety". 

• Cartoon courtesy: CartoonStock

The incredible story of how a documentary, "Kony 2012", went viral and helped raise millions of dollars for the NGO that made it

Headlined "Guerrilla marketing" (great title, that), a five-page feature in a recent issue of Bloomberg Businessweek has re-focused the spotlight on a 30-minute film about the heinous acts of an African warlord.

Kony 2012 was launched on YouTube by the US-based NGO Invisible Children in March — Facebook and Twitter users will remember the many "shares" and "likes" the link gathered on the way to becoming a worldwide sensation — and its popularity resulted in, according to the article, nearly two million people visiting the donation page of Invisible Children within the first few weeks of the campaign.

JOSEPH KONY

Bloomberg Businessweek staff writer Claire Suddath, who has clearly done an enormous amount of research for this story, tells us that Invisible Children co-founder Jason Russell designed Kony 2012 to do two seemingly incompatible things:

1) explain a protracted international conflict happening very far away; and 2) be as popular as a Buzzfeed list. Russell did away with much of Kony’s back story and focused instead on the target audience: teenagers and twentysomethings browsing Facebook (FB) and Twitter.

He added some feel-good philosophy about the interconnectedness of society, scored the film with a dubstep song, and shortened it to 29 minutes and 59 seconds because a timestamp starting with a 2 looked less daunting than one with a 3.

Russell also put his young son Gavin in the film because, as Invisible Children’s director of idea development, Jedidiah Jenkins, explains, “if you want to get something watched online, you either have to put funny cats in it or little kids.”

What a terrific lesson that is about how to engage your target audience. Now you know why I think "Guerrilla Marketing" is such a wonderful headline for this piece.

There's more in the article in terms of marketing wisdom — as well as human interest. I was intensely moved, for instance, by the description of Russell's plight today:

He couldn’t be interviewed because he’s recovering from the “brief reactive psychosis” — a psychotic episode often caused by stress — he suffered after the release of the video, according to Invisible Children. He hasn’t returned to work. In an e-mail, his wife described his recovery process as “building invisible fences around what’s sacred [and] getting back to life.”

And why was Russell stressed out? Because, Suddath writes, the backlash against Kony 2012 was as swift as the video's spread.

At the height of the criticism this spring, 10 days after Kony 2012’s release, police found him naked and shouting in a residential San Diego neighbourhood, apparently suffering a nervous breakdown. Footage of the incident quickly appeared on TMZ and Gawker.

Why was there a backlash? What was the criticism about? Read "Guerrilla Marketing" here to know more. Also read: "Five Reasons the Kony Video Went Viral".

• Claire Suddath is a superlative writer by any measure. Learn from her "How to write a gripping article on office lunch thieves (yes, you read that right)".

• Photographs courtesy: Bloomberg Businessweek

• As far back as March 1998, The New Yorker, one of the most cerebral magazines in the world, had published a report on the atrocities committed by Joseph Kony. Read it here: "Letter from Uganda".

UPDATE (July 30, 2018): Read this BBC News profile of Joseph Kony: Child kidnapper, warlord, 'prophet'.

The most intelligent comment I have read on the Aseem Trivedi controversy

COURTESY: AJIT NINAN/ToI

There have been many reports and editorial comments on the arrest in Mumbai last week of cartoonist Aseem Trivedi. But it is veteran journalist Salil Tripathi, whose writing I admire, who has put the whole issue in perspective.

And the issue, he writes in his column in Mint is not whether Trivedi's humour is juvenile or witty. That is irrelevant.

To be sure, the cartoons for which Trivedi landed in trouble are neither great works of art, nor are they necessarily funny. Like graffiti, some of his cartoons remind one of teenage toilet humour ...  But... his right to express himself is fundamental, even if it is a rant ... For the Constitution recognizes his right to express himself, without preaching violence. And he aims to taunt and ridicule, even if he may end up irritating and disgusting some. But that’s the point of the law.

And look how Tripathi treats the person who filed the case against Trivedi in the first place:

When the laws are wrong and the defendant acts to exercise his freedom, what is the state to do? Err on the side of freedom. And yet, unfortunately, from the police who registered the complaint of a random busybody (who shall remain nameless here, to deny him the oxygen of publicity he craves), and the prosecutor who decided to argue the case, and the magistrate, who thought it fit to admit the case, the state has capitulated again to the hypersensitive, insecure among us.

This is commentary of the highest order. Read the column in its entirety here: "Aseem Trivedi vs the State".

COURTESY: RAJNEESH KAPOOR

Also read:

• "Cartoons, politics and hypocrisy", by another Mint columnist, P.N. Vasanti, who is the director of the Centre for Media Studies.

• And here are two of Salil Tripathi's columns that I have referred to in the Reading Room earlier: A critique of Arundhati Roy's Outlook essay and A tribute to Soumitra Chatterjee.