Tagged: Job

John Ostrander: Freelancers Live Without A Net

Ostrander Art 130106As the comics world knows, writer Peter David recently had a stroke. I’ve known Peter for a long time and I both respect and often envy his talent, skill and the breadth of his work. Peter has health insurance but there are plenty of bills that just won’t get covered and, as pointed out here on ComicMix, fans who want to show financial support can do so by purchasing his work at Crazy 8 Press. That’s incredibly easy; not only do your help Peter and his family but will probably get a damn fine read out of it at the same time. Like I said, Peter is a very talented writer.

Peter’s better prepared (as far as anyone can be prepared for something like this) than many in the field; he has health insurance and most other freelancers – including myself – don’t. It’s hard to get, and harder to afford, health insurance when you’re a freelancer. By it’s very nature, a freelancer’s life is precarious.

Take for example, job security. There isn’t any. Beyond your current contract (if you have one), there’s no guarantee you’ll have a job when it ends. You may be on a title for a long time, but that always ends. I had a “continuity contract” at one time with DC which guaranteed me so much work (and health insurance) within a given time frame, but that is long since gone. I don’t know if it’s offered any more. It was difficult for me to get a mortgage back when I bought my house (which I no longer own) and I dare say it’s tougher now if you’re a freelancer.

When you’re a freelancer, you only get paid for the work you actually do. There’s no sick pay, there’s no paid holidays, there’s no paid vacation. You sometimes get royalties ( or “participation” or whatever term a given company chooses to call it) and that’s nice. Amanda Waller’s “participation” in the Green Lantern movie sent me some nice bucks that were sorely needed at the time but that’s like finding an extra twenty in your jeans that you forgot you had. You never know when it’s coming and you can’t rely on it.

In some cases, you can’t even be sure you’ll get the check. The major companies are reliable but the smaller ones can be iffy. One company went into bankruptcy owing me thousands of dollars that I never saw. As I grow older, I continuously worry about getting work. For the past ten years I’ve done Star Wars comics over at Dark Horse but, with the sale of LucasFilm to Disney, that could change. (And, no, I don’t know any more about that than you do.) Will I be able to get other work? I’m going to be 64 this year and haven’t worked in an office for maybe 35 years. What office would hire me now?

When I was just out of college and aiming for a life in theater (another financially iffy occupation), my mother really wanted me to get a master’s degree in English. That way, I might be able to teach, have something to fall back on. My problem was – and is – that I know that if I had something to fall back on, I’d fall back on it. I had to work without a net, I felt, if I was going to make it at all.

Right now, it feels like I’m on the high trapeze and all the lights are out. At some point I’m going to have to let go of the bar and soar into the darkness and hope there’s another trapeze for me to grab. I have no pension, I have no life insurance or health insurance, I have no net.

This is not a pity plea. This is my life and I’ve chosen it. I’ve made my decisions and I live with them as best I can. I wish I had followed Peter’s example and branched out more into other media. I’m happy with some decisions I’ve made and regretful of others. That’s life.

What I’m doing is issuing a warning. There are many, many young writers and artists out there who want a career in comics. Very, very few can make a living off of it and, in many cases, that living only lasts a while. Some, like my fellow ComicMix columnist Marc Alan Fishman and his cohorts at Unshaven Comics, work day jobs while doing their comics work in their increasingly disappearing spare time. Once they’ve created the work, the Unshaven Comics crew also takes to the road, selling their comics at conventions. Ask them how tough that gets.

If you want to make comics a career, go for it. But you should understand what you’re getting into. I love my job and feel fortunate to have been able to do it for as long as I have. However, a freelancer’s life – whatever field – is precarious at best. It can be very scary.

If you want to try to make a living as a freelancer, just make sure you can deal with the idea of living without a net.

MONDAY: Mindy Newell


Peter David’s wife updates on events leading up to his stroke

Peter David(Peter David‘s wife, Kathleen, updates us on what happened. Taken from Peter’s site. –CM)

As stated yesterday on his web log, Peter had a stroke. So we are at the beginning of what is going to be a long road. We have a diagnosis, which is a small stroke in the Pons section of his brain. Now we have to figure out where we go from here and how we get Peter back to what he was before the stroke. We know that a total recovery is slim because damage to the brain doesn’t go away but the brain can be trained to work around the damage and give Peter back what he has lost.

I am dealing with a lot of woulda, coulda, and shoulda issues right now. But we are where we are and we are working out a plan of recovery.

What happened was that we were in Disney Hollywood Studios having just had lunch at the Prime Time Café. We were walking to the front gate because we were off to Animal Kingdom to see a friend of ours perform in the Finding Nemo Show. Peter had been tired and also not sleeping well the past week or so. He had been taking naps in the afternoon to catch up on the sleep that was eluding him at night. He told me that he had blurry vision in his right eye. The way he described it to me sounded like an ocular migraine so we took him back to the Hotel and went onto Animal Kingdom. We got back and he was working on his next novel. We decided to go to dinner but he was still having a slight vision problem so I drove.

While at dinner I thought his speech was a bit slurred. He put it down to fatigue and his face always looked like that. That morning he couldn’t get his right leg to move correctly. He told us later that he had gotten up because he couldn’t sleep and tried to type and couldn’t get his hand to work correctly but he didn’t want to wake me up and alarm me. I called my mom with the laundry list of things. My mother said get him to a hospital NOW. We loaded him into the car and took him to Celebration Hospital at the recommendation of some friends.

Celebration Hospital did a great job of getting him in and starting treatment. His blood pressure was scary scary high so their first job was to get it back to closer to normal. They did some tests and a CAT scan to check for a stroke. The CAT scan didn’t show anything but they were going with their observations and the evidence that his blood work was not good and getting worse. The decision was made to transfer him down to Florida Hospital in downtown Orlando where they could do an MRI and some other tests Also Florida hospital has the best cardiac unit and they were worried that he had a heart attack or a cardiac episode (having told Peter that he might be having a cardiac episode, he put on his best comic guy voice and said, ”Worst Episode Ever.” So Ariel got to take “ride in an ambulance” off her bucket list as she went down to the hospital with Peter while I dealt with getting us out of our hotel room.

So I am betting that in this point of the narrative you, if you know our family, are asking where is Caroline while this is all going on. She was and is in Jacksonville with her sister and Peter’s eldest daughter, Shana. Currently we haven’t told her what is going on but that is going to change in the next couple of days. So she is having fun with big sister and her playmates in Jacksonville. Shana has been a rock in all this and a champ about taking care of her little sister while all this has been going on. I have been able to concentrate on Peter right now.

He went into the Florida Hospital in the Cardiac Care Unit as they try to ascertain what exactly happened. They did an MRI about midnight along with some other tests. They came to the conclusion that it was not a heart attack but a stroke and moved him to the neurology unit where he is now.

As he stated, he has lost most of the use of his right arm, his right leg is incredibly weak, the vision in his right eye is blurry, and the right side of his face is drooping slightly. But the brain is there with all its quips and quick retorts. He has had the nurses laughing a lot.

Today we figure out what the next step is and where it is going to happen. Tonight the New Year Begins and for us it is a very different beginning than we thought we were going to be having.

Thank you everyone for your good wishes, prayers and kind words. They do help. And BIG thank you to our Orlando buddies who have taken us into their houses and helped us deal with what is going on.

Continue to think good thoughts for Peter. This is not going to be easy for him or us but we will get through this together.

I am grateful that my husband is still alive.

A Doctor a Day – “Boom Town”

Using the new Doctor Who Limited Edition Gift Set, your noble author will make his way through as much of the modern series as he can before the Christmas episode, The Snowmen.

A recent enemy returns, as does a recent friend, and Cardiff’s new Mayor is determined to turn it into a…

by Russell T Davies
Directed by Joe Ahearne

“They were French – It’s not my fault that ‘Danger – Explosives” was only written in Welsh.”
Six months after the events of Aliens of London / World War Three, the TARDIS lands in Cardiff, last seen in the past on Christmas Eve.  The rift under the Sneed Mortuary is still there, sealed, but still leaking energy, perfect for refueling the TARDIS.  Of course, the chance of a do-nothing holiday on Cardiff Bay is out of the question. Margaret Blaine, former MI5 higher-up, liaison to the Prime Minister, and one of the few survivors of the destruction of Number 10 Downing Street, has become lord Mayor of Cardiff, and has pushed through plans for a massive nuclear power station to be built in the center of town.  Margaret is also Blon Fel-Fotch Passameer-Day Slitheen, last survivor of the alien family who had planned to destroy the earth and sell it for scrap in the aforementioned adventure.  Cardiff is Plan B.  A nuclear meltdown right over the Rift would work like hitting the flaw of a diamond with a chisel – it will, in short, end badly.  Her plan was to use the resulting energy to power a stolen teleporter, to get off the planet, and not care much about the danger in her wake.

The plan now is to take her back to Raxacoricofallapatorius, but when they learn that the family Slitheen were all sentenced in absentia to the death penalty, their resolve is shaken.  Over a long evening of re-charging the TARDIS, Margaret talks The Doctor into taking her to a local restaurant for a last meal.  She pleads her case that she’s changed…in between attempts to kill him, of course.  Just as she begins to weaken his resolve, her trap is sprung – the teleporter starts to feed off the power in the TARDIS, resulting in the same getaway and end of the world scenario.  Only one thing can stop her, the TARDIS itself.

(Witty tmblr-pics via expelliarmus.tumblr.com)

Davies does a good job of showing the softer side of a Slitheen (obvious physical attributes aside, of course) – the scene where she chose to spare the young reporter who’s learned about the danger of the project once she learns she’s with child is rather touching.  And it’s that hesitation that affords her a second chance at the end, as opposed to the fate of her brothers.

The rift in Cardiff makes a number of reappearances in the series, including being a recurring plot device in Torchwood.  Timeline-wise,  Captain Jack Harkness is likely right under the current one’s feet – Torchwood Three is hidden directly under the Millennium Center, and Jack has (will be…has been…) been the head of it since 2000.  At this point in history, the events we’ve seen in the spin-off series have yet to occur, but Jack’s down there, making trouble. and secretly saving lives. It’s fair to assume they stayed out of the way of these events, Jack already knowing it’ll get sorted by his earlier self.

It’s become somewhat common for the episode before the season finale to be more light-hearted, sort of as a sorbet before the last course.  Even with the threat of massive death, this episode is packed with laughs, from the witty dialogue to the wonderful slapstick of Noel Clarke as Mickey.  It’s also the opportunity to bring the “Bad Wolf” theme out into the open.  “Blaidd Drwg”, the name of the project, is Welsh for “Bad Wolf”, and while The Doctor waves it off, it’s clearly mentioned to bring it into the light for the audience’s sake. It’s also our first exposure (not directly, thankfully) to the heart/soul of the TARDIS, who we’ll meet in a much more personal form in a few seasons.  So even thought it’s not obvious, this episode does a good job of setting up the info needed for the finale.  It’s also the last time we won’t know what the pattern is.  With the next season, the search began for clues to the Big Bad theme before it even began.  Details are now pored over as to what they could mean, and the Internet’s desire to know everything right now becomes harder and harder to fight.  the latest season has tried to buck the tradition by not featuring a carry-through theme, but rumors are already circulating that the Christmas episode will feature an enemy that will carry through the rest of the season.  We’ll know in a couple week’s time, but till then, it’s fun to just enjoy the episodes one by one, not worrying about how the story will be carried through weeks away, just enjoying this one.

Dennis O’Neil: Truth, Justice, and the American Press

 “I was taught to believe you could use words to change the course of rivers – that even the darkest secrets would fall under the harsh light of the sun. But facts have been replaced by opinions. Information has been replaced by entertainment. Reporters have become stenographers. I can’t be the only one who’s sick of what passes for the news today.”

Well said, Clark!

The words that begin this column were spoken by Clark Kent as he quit his job at Metropolis’ greatest (and only?) newspaper, the Daily Planet.

Clark has been a journalist at the Planet for either five years, or 74 years, depending on whether you prefer comic book years or the kind of years most of us measure time by. Either way, what Clark did was a noble gesture.

This is not Mr. Kent’s first stray from the Planet city room. Some forty-one years ago he accepted a job in television and though, if memory serves, he didn’t completely sever all ties with the paper, he didn’t report for work there, either. Instead, he bopped around the city in a van seeking opportunities for on-the-spot, live coverage of news events. His secret – well, his newest secret – was that the van had an concealed escape hatch through which Clark could exit, unseen, when his alter ego – and you know who that is – was needed.

So Clark’s (temporary) change of status wasn’t dictated by ethics; he was just a working stiff doing what his boss wanted. And, not incidentally, what Superman’s biographer’s editor wanted. This was the splendid Julius Schwartz, who felt that Clark’s reporting gig was becoming a bit dated and that maybe shunting him into the electronic media would give him a dash of contemporaneity. You know, spiff him up a little.

I don’t remember what happened to Clark’s video career. Obviously, it didn’t last.

Now, he’s again cut loose from the only serious job he’s ever had, and I applaud him.

I expect that you applaud him, too, when you think about the egregious farce we’ve all just survived. It was called “an election” and it produced millions of words. Words spoken into microphones and in front of cameras and printed on paper: words used incorrectly and irresponsibly; words used to obfuscate and obscure; words that angered and irritated and infuriated; some words that distracted from the truth, some that denied the truth, some that seemed to bear no relationship to the truth.

Clark complained of “what passes for news today.” Does he mean all the print and broadcasting that details opinions and misadventures of instant celebrities – inconsequential nattering that once would barely have qualified as back fence gossip? Global warming? Palestine? Syria? The economy? Well, yeah, those get mentioned too, but maybe not a lot and besides, they’re not as interesting as Justin Bieber’s split with his girlfriend.

Are they?

RECOMMENDED READING: Satanic Verses, by Salman Rushdie.

FRIDAY: Thomases. Martha Thomases


Randy Cunningham, Ninth Grade Ninja – he’s so Bruce!


To take a term from the show’s own lexicon, Randy Cunningham, Ninth Grade Ninja is the straight-up cheese.

That’s a compliment.

The latest animated series from Disney XD, part of a new edgy very non-Disney stack of shows that includes [[[Phineas and Ferb]]] and [[[Gravity Falls]]] (about which I should rightly wax rhapsodic another time) Randy Cunningham is a freshman at Norrisville High School, a school and a town who have been protected by a mysterious ninja for eight hundred years. What is not known by the populace is that The Ninja is a high school student; a new Ninja is selected from the freshman class, and they serve until they graduate, when a new frosh is chosen.  And this time around, young Randy Cunningham is chosen. In his bedroom, a mysterious box appears, containing the Ninja’s mask and the tome of secrets, the Ninjanomicon. It’s now his job to protect the town and school from villains like Hannibal Mc Fist, underappreciated evil genius Willem Viceroy III, and the Big Bad of the series, The Sorcerer, voiced by the can-do-no-wrong Tim Curry. (OK, we’ll ignore The Worst Witch – he was but a lad at the time.)


At its core it’s a buddy comedy – Randy and his friend Howard Wienerman fight  the hordes of chaos, while still trying to become popular and get to class on time. Howard is the archetypal “Fat Friend”, seen most recently in the form of Nick Frost when paired with Simon Pegg. Ninjas are deadly and silent So Hot Right Now, and the show does a good job of balancing the classic semi-mystical powers of the shadow warrior with the modern take of a teenager in the suit.  The Ninjanomicon is quite reminiscent of The Phantom’s archives – the book is covered with notes in the margins from past ninjas as advice and explanation to the new guy.

The character designs seem very similar to the people from [[[Invader Zim]]], and with good reason – Bleeding Cool reported that Zim-creator (and conspirator) Jhonen Vasquez did character designs for the show.  He’s been sharing much of his work on his Tumblr page.

Lots of story to be explored, too, mostly about the history of the suit.  Will we meet any past wearers of the suit?  Have any ninjas not made it through all four years?  The show’s only a couple of episodes in, so there’s lots of time to explore all that. Till then, sit back and enjoy a solid adventure series with a lot of laughs.

Geeking Cute

Geeking Cute!

Geeking Cute

Welcome to first installment of Geeking Cute, a new feature at ComicMix that will strive to show you the five most geeking cute things from around the web. If I am not making you go “Awww” then I am not doing my job. (more…)

Mike Gold: Little Ole New York Comic Con

ComicMix associate editor Adriane Nash and I knew we were in for it when, on Thursday morning last, there were nine other people waiting for the same commuter train who clearly were headed not to work but to the New York Comic Con. Trains run every half-hour, and ours is but one of a great, great many such stations. Do the math.

In total… one hundred thousand people. Some of whom bathed.

Sure, San Diegoans might smirk at a mere 100,000, but there are major differences between the two shows. First, it only took NYCC six years to reach the 100,000 mark. Second, the Javits Center is smaller and much more out of the way than the San Diego Convention Center. Third, the NYCC has a lot more to do with comic books than the SDCC. Actually, the SDCC barely has anything to do with comic books, despite its title and its not-for-profit mission statement. And finally, NYCC has more European artists and writers while SDCC has more Asian. Of course, this is neither better nor worse, but it is an interesting difference.

For me, there’s another important difference: I don’t have to fly from sea to shining sea to get there.

I’ll gleefully admit six years ago NYCC really, truly and totally sucked. I said so right here in this space. It was the worst planned, worst programmed, worst run major show I’d ever been to, and I started going to New York conventions back in 1968 (I cosplayed Swee’pea). It improved, slowly, and achieved adequacy in its third or fourth year.

This time around the show was very well run – although I agree with Emily’s comments about their panel programming decisions being less than knowledgeable. They should endeavor to overcome this problem.

My biggest complaint – they’re called “issues” now, aren’t they? – was rectified mid-way through the show. They had the exits blocked off, forcing the mass of humanity through narrow corridors back to the small entrance way, making it dangerously difficult to leave, particularly for those who were mobility-challenged. This policy was enforced by a part-time minimum wage crew and, while I sympathize with their difficult job, there was no reason for them to lie to us – they weren’t upholding fire laws; quite the contrary – and there was no reason to act like Cartman without his truncheon. On Thursday and Friday some acted as though it was their job to put the oink in “rent-a-pig,” but on Saturday the rules were changed and you could actually exit through some of the doors marked “exit.”

The New York Comic Con was totally and completely sold out well before the show started. While there was some confusion about the changes in registration procedures (particularly for pros, but we’re an easily confused lot), most of us who followed the rules received our badges in the mail several weeks before the show and therefore were saved from the agony of lines long enough to cause a riot at LaGuardia Airport. I don’t know how you legitimately limit the audience size and 100,000 people can barely fix into the venue; there’s some construction going on at the Javits right now so I hope they procure more floor space next year.

Personally, I had a great time. Sure, most of it was work (ComicMix had nine people there, a third focused on cosplay coverage for our Facebook and Twitter feeds) and because of the nature of my work I spent most of my time in and about Artists’ Alley, the only room that routinely had sufficient oxygen. But I saw a lot of friends – a lot – and, when all is said and done, we could take whatever energy we had left and wade into the bowels of Manhattan, which is always an entertaining and unusual experience.

A rough estimate reveals the New York Comic Con contributed over a quarter billion dollars to the local economy. We’re not just legitimate. We’re big business.

 (Our columnist would like to thank Ed Sullivan for the loan of the head.)

THURSDAY: Dennis O’Neil


REVIEW: The Halloween Tree

When a literary giant dies, there’s a rush to rediscover the author’s works, delighting in old favorites or finally reading a work you have somehow missed. The passing of Ray Bradbury has prompted such a journey in print and in other media. Warner Archive, to their credit, has just released The Halloween Tree, the 1993 animated adaptation of his 1972 fantasy.

The 90-minute feature was adapted by Bradbury and directed by Mario Piluso, featuring the voices of Leonard Nimoy, Annie Barker, Darleen Carr, Lindsay Crouse, Alex Greenwald, and Bradbury himself as the narrator.

A small group of four children are out trick-or-treating one Halloween when one of them, Pip, goes missing. Checking his house, they learn he has been rushed off for an emergency appendectomy. Instead of  making their rounds without him, they determine to visit him instead at the hospital. Instead, they wander off their intended path and get lost. They then encounter Mr. Moundshroud (Nimoy) who explains he’s after Pip’s ghost and refuses to help the children since they are woefully ignorant of the true meaning behind Halloween. If they can keep up with him and his giant kite, they can accompany him and suddenly, they are taken 4000 years into the past. The bulk of the tale explores the Egyptian Book of the Dead, stop by Notre Dame Cathedral and its gargoyles followed by a trip to Mexico and their Day of the Dead, which is also where they finally catch up to Pip.

The animation design is adequate if uninspired but it does convey a nice sense of atmosphere, aided by the vocal cast, which does a nice job. Overall, this is something that should be in regular rotation alongside the annual Peanuts special so people can delight in Bradbury’s work and learn a little something, too. Rather than hope it gets rerun on the Cartoon Network, you might want to get this for your home collection.

You should seek out the 2005 edition of the book which has the “author’s preferred text” along with the screen adaptation script.

Keep Joss Whedon’s “S.H.I.E.L.D.” from being cancelled!

English: Joss Whedon at the 2010 Comic Con in ...We would like to get ahead of the curve and start the first official campaign to keep Joss Whedon’s S.H.I.E.L.D. on the air and avoid premature cancellation.

Never mind that the show was just announced yesterday. Ignore the fact that there has been no casting for the series yet. Forget that Whedon has a contract with Marvel for the next three years. This is a Joss Whedon television show. The clock is already ticking down to its inevitable demise.

We don’t know how it will happen this time. It could be a remade pilot, or a pilot put in at the end of the season. It could have its budget cut. It could be put on Friday night, always a favorite. It could have the network shot out from under, but it’s unlikely that could happen to ABC (although not impossible). It could be a combination of all of them.

But this time, we can get a head start! Because we know that people are going to be trying to strangle this show as soon as humanly possible, we can prepare months, nay, years in advance. We can create cool social media campaigns! We can start making t-shirts, and buying up eyepatches in bulk for the inevitable mail-in to executives claiming that if they’re so blind as to cancel a show as brilliant as this, they should have Nick Fury’s eyepatches! (However, threatening to pluck out network executive eyes, while fun to contemplate, should be saved for later when we start sending telegrams.)

So we’re calling on you, faithful ComicMix reader. Retweet this post! Like it and share it on Facebook! Digg it! Put it on Reddit! Use StumbleUpon! Heck, even use LinkedIn, even though it’s supposed to be for work! There’s no time for work! This is important! This is your new job now! Click all those buttons below this article! Joss Whedon’s vision depends on you! If you don’t do it, he won’t be able to take your favorite characters and emotionally torment them… and mess with their heads… and then gratuitously kill off your favorite one, just because he was in a bad mood that day…

…nah. Joss wouldn’t kill off S.H.I.E.L.D. agents just for the heck of it, would he?

Dennis O’Neil: What It Takes To Get Hired

The faithful among you may recall that last week we did a backflip through time to the sixties and beheld a young journalist taking a test and being offered a comic book job that changed virtually everything about his life forever. But this same journalist, now wizened and hard of hearing and just a bit crotchety around the edges, said that no comics aptitude test exists. Eh?

That was then and this is now. To the best of my knowledge, I am the only Marvel Comics employee, past or present, to take the test. I got to know both my predecessor and my successor in the job, and neither mentioned pre-employment testing.

But people do get hired by comics companies. So – how? Darned if I know. When I sat behind an editor’s desk, I did my share of job-giving, both to hopefuls applying for staff gigs and to freelancers, and usually my choices were pretty good-to-excellent. If I had a secret, I don’t know what it was. Something to do with hunches and intuition, maybe.

But there were things I liked to see in applicants. First: simple literacy. Does this person know that the big letter goes at the beginning of the sentence and the little dot goes at the end? (Don’t laugh. Instead, ask any middle school-and-up teacher you know if all his/her pupils have this competence.) Has s/he read a book or two? Did s/he enjoy reading the book or two? Second: interest in writing (and/or editing) per se? Not just writing comics – storytelling! Until I’m proven wrong, which could happen any second now, I’ll believe that most good comics writers are writers who have a liking or aptitude (or, ideally, both) for this particular medium and if comics didn’t exist, the person would be doing poems or plays or short fiction or novels or whatever.

We’ll take a paragraph break here, mostly because I feel like doing it, and move on to third: willingness to learn. Nobody knows it all, and that includes you and me, and nobody will ever know it all, but you can know more than you do now and if you want to get good at this job, or any job, you should. (Besides, its fun to know stuff. But don’t tell the no-child-left-behind crowd.)

And finally, fourth: Does the job applicant seem to be a reasonably adult human being?  Willing and able to deliver on promises? Willing to accept compromise? Able to play well with others? Respecting but not worshipping the rules, whatever they may be? Having a closetful of Brooks Brothers suits and Hermes ties?

Just joshing about that last one.

I’m tempted to add a fifth: loyalty. But that’s something you learn about someone over time and so it’s hard to detect during a job interview and anyway, my veneration of it is probably rooted in my own insecurities.

Recommended reading: Crazy Wisdom Saves the World Again! by Wes Nisker

FRIDAY: Martha Thomases, Neil Gaiman, and Failure