I have a byline at Westword. That's so fuckin' cool.

It finally hit me how cool that was when I was walking towards the Westword building to talk with my editor about some things the other day. I have a fuckin' byline at Denver Westword! I get some small ducats sometimes from Westword!

More than 17 years ago, when I first moved to Denver Colorado, I wondered how you got your foot into the door at places like Westword and The Denver Post. I might not yet have known about Denver Westword's office, but I did go downtown and enter into the lobby where The Denver Post was held, and I walked up to the security desk and asked how I could get a job there. heh. That's how I thought things worked, and really, up until I'd moved to Denver, things kind of seemed to work that way for me. I mean. . . Boise is a little bit smaller, and for the most part folks are pretty open and nice about what they know. Or were when I lived there. I'm pretty much out of the Boise loop these days. 

Since then, I've worked at a click-bait site (now defunct), written hundreds of articles, conducted numerous interviews, written for a minute over at Colorado Independent (their freelancer budget dried up), taken a handful of journalism MOOCs, and completed a grip of ghostwritten things that paid alright while they lasted. ...and this is all outside of the creative writing stuff I do (which generally doesn't pay, but feels good when it's published).

Anyway. . .this kind of work is so super humbling. I have a lot to learn since I've entered into journalism through the back door, and I get edited a lot. This work is challenging, but I think I like things that way. I'm always working upwards on the curve, learning all I can, and as part of that, failing a lot. Failing is part of the practice and the work. I get better and better by failing. That's just how it is. 

I like telling my students how challenging writing is generally when they say that they want writing to get easier and that they're just bad at it. I tell them writing is a learned skill and it is always work, always learning. I tell them that I just received an article or review or essay back from my editors or writing group that was red-marked to hell with stuff I needed to change for whichever audience, or because I was inadvertently hiding something that was too important not to be left out, or because my language was super fuzzy or flowery or not concise. 

I've been writing for a long time, sometimes get paid for it, and I still write shit. I still need other eyes to help me to see through it and to compost what's salvageable, and continue on with something better.

For the most part, hearing this allays classroom excuses. I am a working writer and I still write shit. It's okay. We'll all learn together. Give yourself permission to "write shit" (I first heard this sentiment, shit attached, from a workshop writer and editor Heidi Pitlor conducted at Regis University's Mile-High MFA program).

I'm not writing these things to brag. I'm doing this more so to take stock. It's important to take stock. I know a lot of really brilliant writers and journalists, and some of them work much harder than I do at just writing. A good deal of them have gone to journalism school and/or have been in the game for decades doing the thing more than intermittently. I piecemeal my life and my income from massage therapy, teaching, freelancing, and many other odds and ends when and if they come. I still do my best. And I still feel green. And when I start feeling like I'm failing too much, I take a moment to look at the tip of the iceberg, the stuff I have to show for the work I have been doing, which in some sense has been constant. 

I still feel so new at this, and at the same time, I've been able to take stock and see where some successes were, and this gives me a little more confidence to aim higher as I continue learning and writing.

Blah. This is another blog post with a flat ending, but I'm ending it here, just the same. I honestly needed to pick myself up this morning, and to do a little writing warm-up before I address the stuff my editors have sent back. At any rate. . .yeah. There it is, for whoever cares or wants to know. :P If you want to, we can talk about it (in the comments). 

Five Colorado artists on Inktober's knack to bring artists together

In October 2009, illustrator Jake Parker created an annual challenge for artists called Inktober. The project was a challenge to himself, his artist friends, and peers to begin a consistent inking practice.

In October 2009, illustrator Jake Parker created an annual challenge for artists called Inktober. The event was primarily a challenge to himself to improve his own inking skills and to develop positive and ongoing drawing habits. The project also served as a way to hold himself accountable to fulfill the task, as he reached out to others and encouraged them to do the same.

According to the Washington Post, Inktober didn’t catch on right away. It was a simple idea that grew over time. The event has since become international where all kinds of artists from illustrators to graphic designers challenge themselves to create 31 new ink drawings in 31 days. Today, proof of those artists’ efforts can be found all over social media platforms such as Twitter and Instagram.

Inktober is a pretty big deal in Colorado’s illustrator and graphic artist scene. That is why we asked five Colorado-based artists to take the time to answer some questions about their involvement in Inktober 2015. Oi Bob Parks, James McFarland, Thea Hunt, Zak Kinsella and Lonnie Allen stepped up to explain what brings them to Inktober. From career advancement and networking to practicing certain skills, these artists explain what the event means to them and their communities.

"Fight Club" spoof by Oi Bob Parks for InktoberCourtesy of Oi Bob Parks

"Fight Club" spoof by Oi Bob Parks for Inktober

A few years ago, self-described “pencil zombie” Oi Bob Parks began noticing artists on Instagram using the #Inktober hashtag. Later the hashtag began appearing on his Facebook and Tumblr. It wasn’t until this year that Parks began participating in the event.

He explains that taking part in Inktober is a way for artists to show solidarity with each other.

In his social media feeds and in local gatherings, he has seen his artist friends adopt themes for their Inktober contributions. Some adopt horror or anime themes, while others choose to work in everything from realism to robots. “It gave me the idea to try posting things that I've never drawn before.” It's definitely a challenge for me as I don't often get the chance to draw every day,” he explains.

“I started blocking out chunks of time that would otherwise go to busy work or...zoning out, and I made sure I drew my Inktober for the day. It helped me realize that no matter how busy I thought I was with life, I still had time to draw.”

Parks is currently working on many projects in the Denver area, including a third volume of a series called “Dinopocolypse”, which is a collaborative effort coming from Colorado artist collective Red Team Go.

Inktober image by J. James McFarlandCourtesy of J. James McFarland

Inktober image by J. James McFarland

Boulder-based commercial illustrator, fine artist and graphic designer J. James McFarland explains that Inktober provides artists with a way to share their work and receive feedback. “Artists in the digital Era tend to be eager to share their work, but they are uncertain what is and what isn’t worth sharing. The practice of creating frenetic, fast-paced, generally unplanned art is immensely advantageous to this end.”

Inktober along with other events such as 30 Characters and 24-Hour Comics Day force artists to work quickly. Artists work at an “uncontrolled rate, and ultimately force the work to display patterns of strengths and weaknesses, relates McFarland. “It’s important because a community of artists absolutely must be able to strengthen each other through encouraging criticism. Holding your work to the regular exposure of peer feedback is a revolutionary tool for self growth.”

McFarland is very active in his communities. He has just finished a project with Aurora Rise, a Denver-based charity community that supports families of the victims of the 2012 Aurora Theater shooting. He also has ongoing comics projects, including “Maize”, “Mustang Tuesday Weekly”, and a 24-Hour Comic that will be published by Time Warp Comics in Boulder, Colorado.

Map of Veronlen by Thea Hunt Courtesy of Thea Hunt

Map of Veronlen by Thea Hunt

Denver-based sequential artist and illustrator Thea Hunt explains that Inktober for her is a way to connect with other artists both on and offline. She began participating in the event about three years ago. Hunt explains that the group event helps artists connect with other artists, even when they are spending most of their time working on their individual projects. “I think that since drawing is kind of a solitary thing most of the time, it’s fun to still be able to see what others come up with,” Hunt explains.

“For me, I’m a pretty shy person. I do a lot of my socializing through online groups. Inktober is a fun way for me to interact with other artists and see some interesting ideas on paper,” Hunt continues.

Hunt’s main mission with her work is to create good stories. She is currently working on a small comic project named “Amelia.” The story is about a girl who is separated from her family and then finds out she is protected by a forest god.

Self-Portrait by Zak Kinsella Courtesy of Zak Kinsella

Self-Portrait by Zak Kinsella

Cartoonist and illustrator Zak Kinsella explains that Inktober is important because it fosters consistency, growth and improvement for artists. “Those things can be a hurdle for any kind of artist,” he says. “But, adding one drawing a day isn’t too overwhelming. It’s just enough of a challenge to not get in the way of your other work.”

Kinsella likes the way the month builds a sense of community, not just in Denver, but worldwide. “We can all put up a drawing everyday, explore thehashtag and find new people's work we love. It's a weird introvert's way of making friends,” he said.

“We made an Inktoberists Facebook page for our Colorado group. It’s cool to see what people are working on without going to a convention or meetup. Between work, freelance and my own comics #Inktober provides a way for artists to shine and be social, even when they are swamped.”

Kinsella has two books he’s writing and drawing right now called "The Book of Daniel" and "Outré Veil." He explains, “My philosophy is that comics should be fun – and not just whimsical, marshmallowy, no content kind of fun, but the kind that can explore any topic to it's depths while retaining a sense of humor about it.”

Inktober Gender Bender Green Goblin by Lonnie M'F' Allen Courtesy of Lonnie M'F' Allen

Inktober Gender Bender Green Goblin by Lonnie M'F' Allen

Graphic designer, writer and illustrator Lonnie Allen loves the way Inktober brings communities that wouldn’t necessarily know about each other together via social media hashtags. “Participating artists can easily look up #Inktober and see what other people are doing all over world. There’s the instant gratification of us simultaneously participating in something larger than us and also as individuals,” Allen said.

Allen is currently working on many projects, including a book that will be printed through Tinto Press, a Denver-based boutique publisher of graphic novels, sequential art and mini comics. The book will be available at the upcoming DINK Comic and Art Expo.

*originally published on the now defunct Examiner.com

Social Security Fraud is Balls!

"Please don't take S.S. from seniors and the REAL mentally or physically disabled if you are able to work."

I'd read the sign as soon as I had situated myself onto the bus. The sign was attached to a walker which had an oxygen tank strapped to it and a woman behind it who stared out of the window, pale and muttering.

I had tried to take a discreet picture but unfortunately, the camera noise on my phone made me conspicuous and the image was blurry, illegible. I know that the woman heard the click. Her mutters grew louder. I felt like a douche. That attempt was in bad taste, anyway.

My stop was coming up, so I decided to talk to her if I could. I was worried she'd be angry but she wasn't. She let me take this picture and said that for the blog, we could call her Susan.

"I was watching 60-Minutes," she said, "and it was an episode about medical fraud." Essentially, there were able-bodied people getting money from programs such as social security. This was infuriating to Susan because she is legitimately unable to work and not really able to support herself without some sort of assistance.

I had to leave the bus and I was sorry to go because I wanted to talk with Susan more. I hear a lot of people claiming that most (and sometimes they say all) people who accept government assistance don't need it. The truth of the matter is that while some ruin it for everyone else, there are definitely some who are more than in need.

So here's the rub. We have social responsibilities, don't we? Should you ever suspect someone committing this kind of fraud, there is a hotline and a website by which to report it: http://oig.ssa.gov/report.

The Genuinely Nice Bus Driver Who is Looking for Someone Nice

I wonder if the emotions we project are the
same emotions we get back, no matter what time or place
we are in at any given moment. 
(photo by Tameca L Coleman, 
found on Colfax, graffiti in chalk, Denver)

On my way home tonight, I was greeted by a happy and polite bus driver who complimented me on my smile and manners. I told him thanks and went to a seat. He seemed nice. This made me smile more.

We talked for the length of my bus ride home or rather, mostly I listened and answered when an answer was requested. He related that he was ex-military and had moved from the city of Lost Angels because he couldn't find women there who were anything but hostile and mean. He spoke of the '70s and of how women seemed to be different then, maybe even people generally.

"There was more politeness. People smiled more. They complimented each other," he said.

He then related that he had been on a search for a wife for many years. He hadn't found her yet, not even after having moved to Denver, a city which upon first visit he considered much more polite than L.A. His move was sixteen years ago, probably many years after he had first checked out Denver.

Today, two ladies on the bus, myself and a girl in her early twenties had shown the bus driver that nice people still exist. I was happy that I was not in one of my grumpy or despondent moods.

So, I continued to listen. He went on and related that even here in Denver, women had become a bit sour sometimes and though polite, often distant as if their politeness was a face that they had put on with their makeup.

I wasn't sure what to make of all this but I was reminded of a video I had seen, maybe a couple of weeks ago, of a Q&A section on an episode of Soul Train. It was from the seventies and it seemed that every person who had gotten up to the mic to ask the band questions was soft and well spoken and coming from a place of utter genuineness. Also, no one pushed to the mic but listened and waited gently. Of course, this was television. It may or may not have had something to do with it.

I remembered the Q&A session because to me, it was so different than the way I see people portrayed in media now, or even at my work as a barista. Often, it seems that people tend to be more direct in such a way that seems quite rude, even for us Americans. We live in a fast paced world with many distractions, interruptions, and much noise. Cutting through it all perhaps has become a necessity (?).

I wondered then, if it was just a different time. The episode I had watched looked like it was from the seventies. Everyone in the episode seemed to take great care not only in their speech but in their dress. Despite them all being on air, it really felt as if the people here were indeed more gentle somehow, even with all of the things that were happening during that time, historically.

Proof that sometimes I am maybe not nice. If looks could
kill, right? 

Then I tried to remember back to places I have lived and visited and it seemed to me that there were nice people everywhere, mean people, too. It didn't matter if it was on the East Coast or West, the South or the mid-states. It could be small towns or bigger cities. Still, everywhere I've been, over 3 decades and then some, places seemed to feature all kinds of people, mean, nice, and of varying degrees. It didn't matter where they were from.

People seemed to interact with others by way of whatever experiences and interpretations of those experiences that they carried. To me, this seems to point to something. Despite changing times, despite tumult, being held in comfort or harms way, depending on what and how people carried things determined whether they were generally nice or not. Sometimes that meant inconsistency as each day carried perhaps different stresses or boons. Further, whatever perceptions were received probably had something to do with it.

I'm used to tired and over-worked bus drivers who say nothing to their passengers and are sometimes very curt and mean if they speak at all (depending on the route and how much they have to deal with) so it was a nice surprise to me tonight to be received onto a bus where the driver was smiling and happy and wanting to engage with me, a total stranger! I was more than happy to have a conversation with him. It was so easy, and just because he smiled and engaged.