
Pizza Hut’s BOOK IT! club and the stickers that came with blank VHS tapes. Great big waves of nostalgia washing over me.


Pizza Hut’s BOOK IT! club and the stickers that came with blank VHS tapes. Great big waves of nostalgia washing over me.


A lot of the questions I get asked during Q&As have to do with the feelings and emotions around creative work. Questions about fear, imposter syndrome, jealousy, etc.
For years, I dodged, or tried to dodge these questions. “Eh, you just have to work!” “Show up!” While in the back of my mind, I’d be thinking, welcome to the club, friendo, or worse, Get over it!
Part of the trouble is that I’m not a particularly feeling person. I write to know what I think, and I make art to actually know what I feel.
I’ve been thinking lately about how many of the feelings and emotions creative people are trying to deal with are just symptoms that they’re, well, human.
In other words: I’d be more worried about you if you weren’t feeling some of these emotions.
Feelings and emotions are a form of information.

The question is what you do with information.
What’s handy, as an artist, is you can find a way to channel these feelings into the making of the work.
Fear, for example, is often just the imagination getting out of control: you can imagine every single thing that can go wrong. But on the flip side, if you can imagine the worst, you can train yourself to imagine the best.
Imposter syndrome is a sign of extreme humility: we know we’re really not that good, especially to the people we look up to and idolize! (“Some sort of self-deception is necessary simply in order to start.”) But if you turn it the right way, extreme humility is good: it means you can learn to play the fool and learn what you need to know to get to the next thing.
And jealousy, even, though it can eat you up if you let it, can be also tell you what you really want.

People often ask me how I got the courage to put my work into the world.
I’m not sure I have any courage, but I do have rage.
This may come as a surprise to readers of my books, who tell me they’re rather helpful and upbeat. (Not words my friends and family might necessarily use to describe me!)
My secret is: the books are positive because I take a negative approach: First, I see something I feel negatively about, something that aggravates me, something that pisses me off, something that infuriates me, and then I spend some time trying to articulate an alternative vision. (I’m angry, but I’m curious.)
This negative process seems to be infinitely repeatable for someone like me.
Whenever you are out of ideas, there’s someone, somewhere, with bad ideas that need to be corrected. But you don’t necessarily have to talk about the bad ideas, or take them on directly, you can just articulate the good ideas that cancel them out. (See: Identifying poison vs. seeking nourishment.)
A lot of people I know right now are angry or furious or enraged. And rightly so!
“Fatigue and outrage are appropriate emotions,” Sarah Smarsh wrote in a recent op-ed, “What to Do With Our Covid Rage. “But those feelings, if not properly channeled, can themselves take a heavy toll. What do we do with our anger?”
Anger is a contagious energy that jumps quickly from one person to the next. It will seize your mind and body as its host. If allowed to explode, it will hurt others. If allowed to implode, it will hurt you. I had to learn early how to transmute it for the sake of my own survival. I found that it can be the source of a powerful alchemy. If we are up to the task, it could help us create something good together…
I’ll give the last word to The Clash: “Let fury have the hour / anger can be power / did you know that you can use it?”

Last night my wife and I re-watched Harry Potter and the Prisoner of Azkaban. The movie deals with time: how a prisoner does his time, how time brings back old wounds, and how we can use time to rewrite our stories. One device director Alfonso Caurón uses to show the passage of time is shots of the Whomping Willow in each season. (Stitched together in the image above.)
For me, the Harry Potter movies (I’ve only actually read book 7) have always been the story of going to school. The story starts when the summer is ending, and the story ends when summer begins again. Growing up, I was always like Harry: my life tied to the school year, I dreaded the summer and couldn’t wait for fall to come. The death of summer = the hope of new adventures. (Books, girls, etc.)
Before I went to bed last night, I came across this perfect passage in Patricia Lockwood’s Priestdaddy:
I have lived for the last eight years in seasonless places, where things do not die, but revolve in a constant tropic sun. I had forgotten how the fall sharpens pencils, gray and colored ones. I had forgotten that when you pay attention to the seasons, you are returned to school and all its feelings, the freedom of three o’clock and the nameless dread of Sunday night, when the sky looms over you like the deadline of some paper you haven’t even started. I want to drink cocoa out of a thermos; I want to go to a high school football game.
School is about to start here in Texas, but summer will continue to blaze for at least another two months. I wonder what time feels like to people who grew up here. I’ve lived in this seasonless place for over a decade — for 11 years I’ve lived in a constant state of seasonal disorientation. (And deprivation.) I want to feel that feeling again, of how “fall sharpens pencils.”

Hey y’all,
Here are 10 things I thought were worth sharing this week:
Thanks for reading! If you like this newsletter and want to support it, buy a book or a piece of art or just forward this email it to a friend.
xoxo,
Austin
PS. Pieces from my show at Mule Gallery are now for sale online!
The July 20th issue of Publisher’s Weekly featured a piece I wrote about book tour, bookselling, and my newfound love for indie bookstores. Read it here or below.

I had a professor in college who told me, “the only reward you get from being an artist is that you get to make art.”
No matter what, it always comes back to the work.

After two blog posts, I was suddenly an expert on tea drawing, so a nice gal from the American Botanical Council interviewed me about the tea bag doodles:
Austin Kleon, a writer/artist based in Austin, TX, uses tea to create sketches that jump- start his creative juices.
“Tea is for when I want to smoothly sail through the day,” he said (e-mail, July 14, 2009). “Coffee is for when I want to hack through the jungle.”
On the mornings that Kleon opts for tea, he waits until his cup of tea has brewed, and then drops the tea bag on an index card, which produces an unexpected variety of blobs, blurs, and smears. He then hunts for images in the tea stains and creates sketches using a black Sharpie® felt pen. He got the idea from a fellow writer/artist, who got the idea from Dave Gray, the founder of the consulting and design firm XPLANE.
“I really love the color, honestly,” said Kleon. “And it lends a kind of earthy, organic feel to line drawings.”
Many of Kleon’s tea sketches end up depicting light-hearted scenes, such as a “fat kid dancing,” or another with people floating away in hot air balloons. Sometimes he will incorporate a process he learned from another artist’s blog, which involves dividing the piece of paper or note card into a grid of panels, which he then uses to creative cartoon narratives.
“Not-knowing what image will show up is part of the game,” said Kleon. “You get to let your subconscious take over. It’s like a Rorschach inkblot test. You could show the tea stain to 100 different people, and they’d see 100 different images.”
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