We recently connected with Dan Misdea and have shared our conversation below.
Dan, appreciate you joining us today. It’s always helpful to hear about times when someone’s had to take a risk – how did they think through the decision, why did they take the risk, and what ended up happening. We’d love to hear about a risk you’ve taken.
The biggest risk I’ve taken in my life was quitting my job to focus on cartooning and illustration.
After graduating with an Economics degree, I spent several years working in accounting in finance. I was making comics in my spare time while trying to advance my career, but it started to feel like I was burning the candle at both ends. It got to the point where I had to either sink my teeth into my career or explore a passion that needed my full attention.
I was nervous about quitting my job, but I had a ton of support from family, friends, and coworkers. Things started falling into place after I found my niche with single-panel cartoons and began submitting to The New Yorker. It’s been quite a journey, but I’ve been lucky enough to find some success.
Dan, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?
I’m a cartoonist and illustrator from New Jersey. I’ve contributed cartoons to The New Yorker since 2021 and have appeared in other publications such as Air Mail, The Times, Narrative, Weekly Humorist, The Golfer’s Journal, and elsewhere. I’m the author of the children’s book, The Light Inside (2023, Penguin Workshop), and co-author of CD@M? And Other Gramograms (2024, Union Square). I also collaborate with businesses to create custom cartoons and illustrations for their brands.
I started cartooning as a kid when I was inspired by my uncle, Patrick McDonnell, the creator of the comic strip Mutts. I always felt like I’d become a cartoonist, but I didn’t permit myself to do so until much later in life.
As a cartoonist for The New Yorker, I submit a batch of 8-10 cartoons every Tuesday to the cartoon editors. If I’m lucky, they’ll buy one, and the rejected cartoons will be sent to other magazines. I may also contribute drawings for their Daily Cartoon feature, which provides commentary on current events, politics, and more.
When I’m not working on my batch, I focus most of my time on commissions and book projects. Currently, I’m preparing for the release of my first children’s book, The Light Inside, a graphic novel that follows a timid jack-o’-lantern’s journey to find its missing toy.
The best cartoons are more than just funny. They tell a story, hold a mirror up to society, and connect with people on a personal level. I strive to do that with my cartoons while also having some fun.
We’d love to hear a story of resilience from your journey.
Submitting to The New Yorker will test anyone’s resilience, and I commend anyone who tries their hand at it.
I submitted ten cartoons each month for over a year until I was lucky enough to sell one. During that time, I worked on honing my skills: I developed a creative process, studied the work of my favorite cartoonists, and tried to understand the elements of a good cartoon.
I got a little better with each rejection letter, but there were certainly moments of doubt.
Are there any books, videos, essays or other resources that have significantly impacted your management and entrepreneurial thinking and philosophy?
The War of Art by Steven Pressfield changed how I approach my work. Most of the book centers around adopting the mindset of a professional and combatting resistance, which consists of forces that stand in the way of pursuing your calling. The War of Art motivated me to finally pick up my pencil and tackle a blank piece of paper. I still refer to it from time to time. 
Contact Info:
- Website: danmisdea.com
- Instagram: @dan_misdea
- Twitter: @danmisdea
- Link to The Light Inside: https://www.amazon.com/Light-Inside-Dan-Misdea-ebook/dp/B0BLTWSQVZ
Image Credits
“Originally published in The New Yorker” should accompany Seasonal Styles of Gene and Luggage In Cabo