Im pretty adept with computers and Photoshop for my blog, and I found my style with a conversational voice and an image-ready column.

While the end-of-the-world scenario will be rife with unimaginable horrors, we believe that the pre-end period will be filled with unprecedented opportunities for profit.

We have to know cognitively what another mind is thinking and also empathically what they're feeling. And of course, in general, that's always the case, but it's often very generic. Like with Leo Cullum's doctor, it's just the fact that people in general are cruel and insensitive. But in the Barbara Smaller cartoon, we understand it's this particular person or this specific sub-class of person and her particular needs and desires, and that's different than a pun cartoon in which it's just semantic.

I'm very fond of the strictly visual cartoons I did when I was breaking in in the 1970's. Over time I migrated to a more verbal approach.

I have been married three times and it just keeps better and better, but I'm going to stop here.

I was the founder of the Cartoon Bank in the 90s. I was interested in finding ways for cartoonists to supplement their incomes.

Cartoons, often, that you do for the New Yorker don't appear for months afterwards, and the record for that is a cartoon that was bought by James Stevenson in 1987 and didn't appear until 2000.