"I don't want to write, I'd rather draw"
About this Quote
A cartoonist confessing he "doesn't want to write" is less a renunciation than a power move: a reminder that in comics, language is supposed to be optional, even suspect. Eddie Campbell has spent a career proving that the line can carry what prose usually claims as its territory: mood, pacing, implication, the little moral weather systems that hang over a scene. So the complaint lands with a wink. He can write; he just resents having to.
The intent is pragmatic and quietly ideological. Writing is obligation, architecture, the part of storytelling that feels like paperwork. Drawing is the act itself: immediate, bodily, where decisions happen at the speed of seeing. Campbell is pushing against a hierarchy that still treats images as decoration for "real" literature. By framing writing as something he would rather avoid, he flips the prestige economy. If a drawing can do the heavy lifting, why translate thought into sentences first?
The subtext also points to a comics-maker's daily friction. Writers can pretend their work is finished when the draft is done; artists still have to produce hundreds of tiny performances panel by panel. Campbell's line carries that fatigue, but also a defense of craft: the argument that narrative isn't just what characters say, it's what a hand can suggest with a shadow, a slouch, a skipped background.
Context matters because Campbell emerged from a scene that prized the handmade and the anti-literary: British small press, then the long-form graphic novel era where comics fought for cultural legitimacy. The quote refuses the usual respectability bid. It insists comics don't need to become writing to become art.
The intent is pragmatic and quietly ideological. Writing is obligation, architecture, the part of storytelling that feels like paperwork. Drawing is the act itself: immediate, bodily, where decisions happen at the speed of seeing. Campbell is pushing against a hierarchy that still treats images as decoration for "real" literature. By framing writing as something he would rather avoid, he flips the prestige economy. If a drawing can do the heavy lifting, why translate thought into sentences first?
The subtext also points to a comics-maker's daily friction. Writers can pretend their work is finished when the draft is done; artists still have to produce hundreds of tiny performances panel by panel. Campbell's line carries that fatigue, but also a defense of craft: the argument that narrative isn't just what characters say, it's what a hand can suggest with a shadow, a slouch, a skipped background.
Context matters because Campbell emerged from a scene that prized the handmade and the anti-literary: British small press, then the long-form graphic novel era where comics fought for cultural legitimacy. The quote refuses the usual respectability bid. It insists comics don't need to become writing to become art.
Quote Details
| Topic | Art |
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