Andrew Coltrin is a writer, comics artist, and disabilities advocate when not at the day job as a paraeducator for a large urban school district.

For decades Andrew thought he was just weird, anxious and unexplainably broken until the DSM finally had an update that caught up with lived experience. Andrew was diagnosed as autistic at the age of 37, and informally diagnosed with ADHD by his brother in 2023 (“your DHD is Advanced”).

Andrew’s previous works include the glossary zine A is for Autistic, and the zine Ability: Emerging from the Social Constraints on Neurodivergence and Disability. Andrew has also led staff trainings about neurodiversity and has spoken on panels at the Interdisciplinary Autism Research Festival (2021) and the Tucson Zine Fest (2023).

Thanks for listening!

Sam Henderson is an American cartoonist, writer, storyboard director, and expert on American comedy history.

From Sam:

“Technically, I started doing [mini-comics] at 12 in 1982. When I went to art school in the late eighties I got other students (including a young Tom Hart) into doing them. But I guess for this you'd say 1991. I did a bunch with different titles but did MAGIC WHISTLE as a regular series in 1993. All the while I was starting to sell work professionally and had an alt-weekly strip for a few years, doing MW as a minicomic until 1998 when it became a "real" comic (i.e. a minicomic with a slightly higher circulation and better production values). Most of my 90s minicomics were collected in a book called HUMOR CAN BE FUNNY.”

Our very last episode of The Terrible Anvil (Season One) was recorded this week! With Tom and Jess together in the same room!

We tried to tie a bow around the business of comics by offering ideas on HOW TO KEEP GOING (FOREVER), AKA making your own sustainable comics practice amidst inner/outer turmoil and also remembering to wash the dishes.

A big takeaway from this episode: CELEBRATE SMALL WINS!

This week we recorded the penultimate episode of THE TERRIBLE ANVIL, this time discussing scripts, dialogue, and writing for comics!

The words we use and how they are arranged on the page can guide readers' understanding of our comics and influence how they feel about a story and its characters. But how do you pick the right words? How much is too much dialogue? How can you make sure readers understand your text the way you intend?

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?

It was a privilege to have cartoonist Carl Antonowicz speak at the Sequential Artists Workshop about his journey through comics and performance art, among his many other creative endeavors!

ABOUT CARL:

Carl Antonowicz is a Tulsa-based illustrator, performer, writer, director, cartoonist, and calligrapher. He dabbles in medieval history, the occult, theatre, and any of a number of other enterprises. He is currently enjoying his third year in the Tulsa Artist Fellowship.

Carl earned his Master's of Fine Arts in Cartooning at the Center for Cartoon Studies in 2011, and his Bachelor of Arts in Studio Arts and English Literature from Austin College in 2008. He recommends both institutions highly.

This week we talked all about creative collaboration!

Comics can often be a solitary endeavor, but you'll find lots of ways to collaborate with other people—be it editors, writers, artists, colorists, copy editors, designers, publishers or co-creators!

Collaboration in any art form can be a great way to breathe new life into the creative process. They can be scary or uncomfortable if you're used to having total control over your creative projects, or this shared control might feel liberating.

Either way, there's lots to gain from working with others on a shared project, from morale boosts and accountability systems, to practical knowledge sharing and the creative alchemy of multiple minds coming together.

But how do collaborations happen? How do you make them successful? How can you maximize fun and minimize pain in the process?

There's lots of advice in this episode, but the core of it is to establish clear communication and boundaries and to have a shared goal with your collaborators.

This week on The Terrible Anvil, we talked about BACKGROUNDS!

We talked about the link between last week's topic, EXPECTATIONS and backgrounds—what we THINK backgrounds should look like, as well as what readers might expect…

This week we got rather philosophical here at the Terrible Anvil podcast!

We tackled lots of big ideas, but circled back again and again to finding joy in the hard parts of comics (and within the confines of capitalist markets).

We also discussed drawing inspiration from the world around us—zooming out can get us out of our heads and give our work room to breathe.

But our power to tell stories comes from within us too!

We go over ways to tap into our own creative energy, even when we've reached a state of burnout. Finding ways to reignite the joy of our creative process can lead us to more sustainable art practices—especially when we're working on dark, heavy topics.