Luckily, my limited attention span is well suited to the velocity of the news cycles. There's an assault of stories coming at you on even a slow-ish news day, but certain things just tend to stick out. Certain stories just seem to have an odd sort of electricity. It does get tricky when you're pitching an image that won't hit the newsstands for another week. Not only can other, bigger stories break in the mean time, but other daily cartoonists, can also come up with the same idea - this is the most depressing thing - and put it out there so yours looks old by the time it's published.

I do a lot of pivoting. There was one cover I did of Donald Trump, after he won Iowa, it seemed like it was over for him at the beginning of the primary process. I was given the go-ahead on it right away. I drew it and he won the next primary, and suddenly, the cover didn't make any sense. And then, after the Democratic National Convention, it seemed like he was finished, Hillary Clinton seemed to be gaining strength, so the cover ran then. So it seemed like you can come up with an idea and it can be rendered useless two days later and then all of a sudden it's relevant again.

If you're asking me what I love, it's that point where I'm just scribbling and trying to make myself laugh and trying to outrage myself. Getting in that frame of mind where the more you laugh the more you laugh - I think that's what I'm attempting to do.

I'm, like, not overly into labels. I've been referred to that way, but I tend to think of political cartoonists as constantly at it, producing more work than I do. I do, what, six or eight covers a year, maybe, and a bunch of illustrations as well, but how many do you create a year? I'm in awe of that, and I think the term implies being at it every day or at least weekly.

All my drawings always sort of looked funny even if I was trying to do serious stuff and express myself about grim situations. It was always cartoony.

I've been thinking of trying to de-caricaturize Donald Trump. I thought it would be fun to try and, since he's already a caricature, to make him normal looking.

If you can learn to convey what you express in the first rough sketch, you're really saying what you need to say in that.