No, it is the alcohol, my sense is frozen. Well, if you know Plaz just the clap, obviously we have guests. Mailed it. And it was the opening.
I'm Doug with me, Deb. And I'm here, joined by the two editors. Yeah, that's a title with us. From Tether by Letters, Danny and Colin.
You guys can't set things down hard on the table. You might fix everything. Oh, it's fine. Oh, yeah, phone's on silent.
Thank you. Got amateur mistakes. Yeah, and then don't watch any videos to get free coins on plane versus zombies too near the microphone. Do you think that's weirdly specific, though?
As opposed to the time we heard the TARDIS going off because you forget your phone on silent. It might have been the Doctor showing up. It was not the Doctor showing up. But do we just want to jump in there with Doctor Who?
He's telling me to introduce them. Yeah, yeah, yeah. I said Danny, Colin, we hope he knows. I said their names.
Where are they from? Tether by Letters, I said this already. I just like making him repeat himself. He gets worse.
He's always. I do get weird letter to myself. It's like the serial soup thing again. Oh, God.
We're not even going to do it, but the guy told me about the serial soup. I managed to science it out. It's not. It's a ridiculous subdivision.
It's a real soup. Yeah. Liquid based, wrong gradients. No.
No, I see a perfect argument for soup. You can't even go hot versus cold. What's this? What's this?
It's a serial raw ingredients. Yeah, they're baked dudes. Exactly. Thank you.
They put baked stuff in soup all the time. Yeah, you don't put raw beef in. Okay, but I guess you're doing fun and instantly closet stuff. That's true.
Okay, for next door short, it doesn't matter, but I like how angry it makes up. I didn't think the angry is for it. I'm trying to do the processing stuff. This is from the same bag who always confuses on your spot, you and Gulosh.
Once. I said it's me like four times. Four times. Oh, yeah.
First five minutes, Doctor, who said to show a kid, and that kid's name was Davros. I guess that's the key. They referred to him in the prequel. Or the prelude.
I said I didn't watch the Sisters of Carne Prelude. I know I should have. And then, uh, well, it's basically the, like, would you kill Hitler? Like, uh, quandry?
Yeah, would you kill Davros? I guess it's a new one. Oh, would you kill child Hitler? I would.
I'd buy his pains if he's rich. I'd buy his pains if he's rich. I'd buy his pains if he's rich. Yeah,really.
To get out the fox armour. Are you meant to be made that if you bought his paintings, you'd not- That's true. So, Yeah, I'm theerementary. So you wouldn't kill child Hitler?
Yeah, but then the paintings wouldn't be worth anything because he wouldn't become a. Yeah, but I mean, that's not a point. It's not the paintings we're living, that he's not killing- You should save lives, or should you gain some more? Or the fact that you couldn't tell anyone contrary to the scene anymore.
I'm sure something else would happen. Why would he have them fly him and he had a chance? Doesn't matter. He's useless in the first movie.
Or he would not. He wouldn't be needing deploys, he'd be sleeping 2 Gardner. So- Oh yeah, that's true. and all this shit would still happen.
I believe they ended up doing that on a big thing for one episode. Well, another argument would be the amount of technology would lose because they didn't do all their experiments. No, medical technology. Oh, Deb.
Surgery and all that. Vice-lapping hands would be a hand slapper. Oh. Don't talk about ever slapping hands again.
You heard slapping hands again. I heard what you guys did. So anyway, and then the whole episode, Doctor Who is struggling with the pricey pain running away from Dauvros becoming Dauvros. You know what he said, Doctor Who was opposed to the doctor?
I'm sorry, that's the question. But it's just that he ends up going back to that field of hand of mind, which is for fucking creepy as shit. Thank you, Bob. Yeah, well, it's really creepy.
I'm searching out of the ground and pulling people down. Yeah, and they're like, eyes on them, like the one he ends up with. Yeah. And you just see the doctor.
You have your name? The doctor pulled a gun on. Dauvros as a kid goes exterminate. It's literally the last five seconds of it is Doctor Who with a gun, which is like Batman with a gun.
Like, him, you got a kid going, I guess he would kill Hitler. Or Space Hitler, I guess, would be Dauvros. I guess he doesn't die yet. All I know is that this already on this episode, Moffat has ratcheted his game up in a huge way.
He was OK. I like the story so far. It's OK. I want to see how it ends.
I'm not going to make a decision, so I see the whole thing. Do you think the Dauvros thing is going to be the arc? Or do you think it's me? No.
I just think it's two episodes. One person can't see it. I think there's a different big bad. Do you like the mother-hoo-boo-boo reference when they're in the arena?
I did like that. Yeah. I did like the fact he drove out in one Abrams tank. Well, he was playing an electric guitar.
Well, because it was going to be an X-fight, so he brought a guitar. Yeah. Let that sink in. I'm going to be a little bit more than a couple of years.
That'll be funny. Still not funny? No, it's not like a bad game. That's the front time friendship we go and talk about.
What they're here to talk about? Sure. What are you here to talk about? What did they just put out, Doug?
They put out a new episode of their non-proprietary magazine, Friction. I love that you called it an episode clearly who said all of your time in the podcast. Yeah, sorry. That and writing.
It's episodic. Do you need us to wingman ourselves? Because we can do that? No.
No. Well, yeah. Let them explain themselves. What did you guys put out?
So as Doug so eloquently put, we're tethered by letters. We're a literary nonprofit. And one of the many things we do is we run an independent publishing house. And we publish this totally badass literary collection, called Friction.
And a very second issue came out. Friction's really different from other literary journals, if anyone else reads them. Literary journals are full of literary fiction, creative non-fiction, which is really quite boring. No, she has a point.
You've got to wait for a lot of bad to get to the good. Yeah. So essentially, we published a really traditional literary journal. And last year, we were reading the best of the best, everything that won the push cart and the American best.
And honestly, I read maybe 10, 15 stories. And they were all the fucking same. I couldn't even differentiate the plot. They were all angstingly New York dinner parties, and recipes for breed preparation, and scandalous affairs.
You have to be a blossom sister. So no one found out movies. Yeah. There was no plot.
When we think about the things that we love reading, it really got us into stories. I think of fantasy. I think of Batman. I remember the first time I did my first excellent comic.
And I got together with Colin and one of our other editors, Joe. And we thought, would we read this kind of stuff if it wasn't our job? And the answer was no. We wouldn't.
So had a couple of pints. And we thought, what the fuck? We thought we'd read it. We thought we'd read it.
We thought it was a good story. We thought it was a good story. Regardless of where they come from. So we wanted to publish some comics and genre works, and sci-fi, some experimental stuff.
Kind of stuff that makes our moms think that we did nothing good with our lives. And so we put together this new imprint, and our second issue just came out. And we're building traction. We're doing some really weird submissions.
And we're doing something ballsy. And don't be wrong. Some of our donors think we're completely idiots. But we're nothing dumb.
But they're still doing it. They're still doing it. They're still doing it. They're still doing it.
They're not really dirty. They're dirty. They're not dirty. I'm not the big thing.
You want to write books that's the end goal. But no agent is going to take a chance on you. Unless you have small publishing credit. The way to get small publishing credit is to submit to journals or anthologies or contests, but most of them don't take unslitched with manuscript.
So it's manuscripts why people don't have agents. So they're just huge. Catch 22. So essentially when we started the company, I just peer pressured all the editors I knew into donating time to help new writers get some editing.
And that's our forgetting program. Goodness. That's almost seven years old. So it's just grown beyond capacity.
We used to get maybe a couple dozen authors a year. We've already gotten 500, and it's September. So it couldn't run it on volunteer staff anymore. We couldn't run it on volunteer staff anymore, so we started the Kickstarter, which was very successful, which was amazing, because frankly we had no idea what we were doing.
Colin made a really great video, and... Okay, for literary geeks, the fact that we used our computer to make something amazing. It wasn't that bad. Oh, hi, brain.
You guys are good, Doug. They were really awkward on the video. I actually found that in D-ring. I find that in D-ring, and be like, let's just give those kids some money.
I mean, that's what a lot of people told us. Like, they're the video that you guys seemed really authentic, and I'm like, that's a very exciting thing. That is, yeah. You guys clearly need the money, because you clearly don't know what to call it.
Well, in our defense, we're all socially awkward deeks, and we had to wear clothes that, like I had to wear things that weren't slutty, which you guys don't know about me. Colin had to wear the clothes. What kind of supposedly slutty clothes do you not have to wear? Totally not.
I'm like, you're wearing jeans and a baby-old t-shirt. What does that, the daddy issues go deep in? Other than the borderline inappropriate dresses you wear when you come into my day job. I would say, when we first met, we ended up getting into a talk about cosplay, and I showed you a picture of an obscure, cocaine-powered, teen-tightens villain.
I don't know. Snowfire. Snowfire. We're going out snowfire.
I will one day break into the industry, and I bring it back to snowfire. So devil's dead. And you said, oh, well that may be that'll be my next cosplay, and I said, what's your current one? And you said, starfire.
Now this is not the Amanda Connor-drawn starfire with clothes. No, it's a sort of a tape. Yeah. Yeah, I mean, the classic.
But yeah, the almost witch-blady. You know, starfire. Well, the issue was I had spent forever sewing this meticulous tape outfit, and then we ended up creating a partnership with Nevercomicon, so we had to do a portfolio for teeth. Yeah, I could imagine these adorable, wonderful comic beeps coming up to me for professional advice, and I'm like, you can see everything.
I don't think they'd be coming up to you for advice. No, I'm not a little comic. That's called glomping. I'm guessing one's wondering in the comics.
Please, you're a sort of a comic book. You're still calling yourself a learning network like three weeks ago. I am. I discourage him from growing in the comics.
No, I'm not discouraging him. You love your little borrowing words from a teenage girl's social media post. It's just funny that he was so proud that he learned that word, and now every episode since then. He says, probably once.
And not just this podcast, but others as well. He's used it. You bring out the sports podcast? Yeah.
No one, well. Where's that? So you wanted to keep things from becoming the same journal. What are your requirements but your selections?
When you look at all these different submissions you get? We just look for things that might fall through the cracks in other places. It's just like anything that makes you personally excited and then you share with somebody else. That's a big part of it.
We don't necessarily filter out all of the more literary stuff. There's still a lot of good stuff to be read in that world, but there's still a lot that's being missed by other journals we think. like a lot of really valuable stories, a lot of really great, like kind of courageous and risk-taking writers who are not getting published because there's so many other wrong places. And you know, it's hard to know in this industry what you're doing wrong with all your getting are these production letters, you know.
So we're trying to create a home for things that just aren't being published in other places. So we publish a lot of submissions that are strange in terms of narrative structure. We get a lot of stuff that's, we don't get as much like hard genre stuff as you might think. It kind of makes it sad.
Yeah, like I would love to publish some really hard sci-fi or some high fantasy. Everyone listening. Yeah, yeah. Hard sci-fi.
They'd love that. And it's been really interesting to have this kind of freedom. We actually, one of my favorite things we've ever published, we published in version number one. And it was probably one of the weirdest submissions we ever got.
It came through one of our literary contests and it's called Cretaceous Bro. The plot of this is, you were excellent at something that's a lot of those. So it's told the first person from the perspective of a frat bro who goes to a, what he refers to as a hobo shaman drug dealer in park, buys some mushrooms, puts them on a pizza that he shares with his girlfriend. They try to get that picture right now.
And the mushrooms send him back in time to the Cretaceous period. So basically it's about this huge bag telling his friend how he survived from lots of after attacks. Nice. And of course, like all of the, like when we have really good submissions or frankly sometimes really bad submissions, our favorite thing as editors is to excitedly find another editor and then read these submissions out loud.
I think that's actually one of the best things about geek culture is when you find something that you're excited about it. The first thing you want to do is share it with somebody else. You can be excited about it together. It's really hard to do that in other places too.
Yeah. I can never share music with other people, you know. But I find music that I'm really excited about and I send to somebody else. They're always just like, eh, really?
You got to find the right person then. Yeah. It's possible to do another. No, I'm not.
It's kind of a great person. I mean, if somebody gives me music it takes me like on the iPod with my headphones in walking around to get it in there. I can't passively listen to it and tell you that I'm in love with it. Yeah, I wasn't going to try to break your brain with a mix I made you, but I thought I was going to try to move a little bit outside the box with some of the punk and, um, because industrial rock out there.
What was the punk you knew? I thought I had to make it real. That's still making mix tapes? Yeah.
CD snap. Oh, like, he's growing up a little bit. But I'm known for my mission. He's a challenge into a mix.
That's a strange thing to be done for. No, it takes me weeks, months to put them together. I didn't want every year for my birthday. Yeah.
You had how many minutes of songs I got to cut down to 70? You're started at like, I think yours originally started at like four and a half, five hours. Yeah. You know, the hour 20, I think it was like within like 48 hours of your actual birthday where I was like, I got to cut it and then it's got damaged.
But yeah, I mean, I go over them and over them and over them burn them, listen to them in my car, go that's what needs to be further off. That one needs to be not on there. I'm sorry. I want to hear more about Cretaceous Bro.
No, just to take it back. So when did you already have the magazine kind of conceptualized when you got the submission? Or was it from before? We actually got this mission before we started the imprint, but honestly, it was a bit of a mess.
So we put it into the pre-editing program and Joe, one of our editors worked with him. So this utterly outrageous, just inappropriate, cry, you're laughing so hard story, ended up having this beautiful meaning about all the things that you promised in your youth that you don't get as middle. So Colin actually read it out loud to me and done the state day job. And we were laughing, we were laughing, we were laughing, we were like, oh, oh, that's kind of heartbreaking.
And then Colin was like, are you going to publish it? I'm like, oh, fuck, I can publish this. And then we just looked at each other and got this giddy expression on our face and we're like, no, let's do it. No, we have to publish it.
Yeah. So that was the thing about the action doing. I don't know how you couldn't. Yeah.
We got the submission further back before we had decided to publish weird things. I decided to sign out the published weird thing that we were trying to do. So I mean, it was interesting and inventive, but not only was it a little bit messy, but we thought about it. We were just like, I can't imagine actually putting this in print.
It just seems like something that shouldn't be done based on the industry that we're in and the standards of the industry and everything. But once we started with this new mission and we got the revised draft, we realized this is actually exactly what we want for the new magazine. Well, I would imagine that when you actually can talk about the industry standards making your own standards as reward enough. I mean, the stuff I've written, I've had people go, is there a market for that?
I will make a market for that. Yeah. I mean, the best example I can think of, I don't like the band anymore, but 311. No, but they can have all the Nebraska ball bases.
And the thing is, they're kind of music in Nebraska. Everyone's like, there's no way. I'm like, you will stand out because you're literally doing the most original thing in fucking Nebraska. I think if you don't have a niche, make your own niche.
Yeah, absolutely. And then redefine your own standards. You can hear any 311's on it, know what you've ever heard before or not. Yeah, yeah.
Exactly. They made their sound. So we're going to have it. When you were talking about rejections and how people don't get, like, they don't get the letter doesn't really help them.
When you guys reject somebody or reject a submission, do you give them pointers or do you try to like, here's why we rejected the least or? We tried to. I'm just like, you know, I'm telling you honestly. We had this kind of like tiered system where we, submissions that we get through directly to friction if they're not approved.
We tried to direct the reader to the writer to go through the free other program because that's our way of kind of helping people understand why their story isn't quite ready. And everyone who submits to the free editing program gets paired with a professional author who gives them edits. And that's the big problem with the industry is you can have a writer who is immensely skilled and 98% of the story is brilliant, but the 2% is off and maybe that's an hour of edits and or maybe they're just submitting to the wrong place, which happens all the time. But all that author is going to get back is a dear author.
There's no place for your story here. Continue on. Good luck. And what are you supposed to do with that?
Like that can mean everything from, this is the worst fucking thing I've ever read to ask pretty close. We debated it, but we've got to do a couple more things. This is horrible. Please give up.
So, and there are a lot of times that stuff comes to the free editing program. I might have gotten that one. I might have gotten that one from DC. That one from Crosshup.
That one looks so crutch, but you guys have the free editing program and then running in a pen of publishing house. How great is it for you when you get something back that has been edited and grown so exponentially? And you're like, yes, this is what you're pushing for. It's amazing to see potential in something and then be able to send it to the free editing program.
And I get so excited when Colin Pinch has worked out from there. We locked this other really fucking weird story just yesterday called A God that, of course, The God that Monster. Which is about the poor industry and God and happiness. And it's amazing.
And it's really fun. I wanted to publish it so bad, but it just didn't work. And so I have been bugging the free editing program. I was calling it once a week, like, hey, what's going on in the story?
Hey, anything going on? And when it finally came back, like, it's so fucking good. Like I am so excited to publish it. And that's so rewarding.
And God, just in this issue, in Friction number two, in our literary contest, we judge it blind so we don't know who smits. We chose this Flash Fiction submission that was just startling, really mature, really beautiful. I ended up on my call and go get me a contract on it. He comes back, he's like, Danny, I'm going to modify the contract.
I'm like, what do you mean? He's like, yeah, she's 15. I need a parental sign. Yeah, so we ended up, I lectured at her high school and she was really inspired and submitted.
If I wrote that way when I was 15 and I hadn't yet taken over the literary world at this age, I'd be so disappointed in myself. She's brilliant. And she's so young. She's better than I do now.
I just kind of hate her. I actually heard it. It's the only time I've ever was the crippled hands. The well you want to cripple their hands.
I love that, though. When you run across somebody who's so wildly talented, you hate them, but you cannot stop enjoying their work. No, it's such an honor to be able to publish that kind of diversity. And we're talking about what Cretaceous Bro and that story over here.
Okay, my head is Cretaceous Bro. We will have Cretaceous comma Bro here. Exactly, it's amazing. Cretaceous, like, with himself too.
Yeah. It's not just those really weird stories. It's just the literary industry for small works, it has no room, no matter how good or even how almost conventional it is. So, we have our big writers as Isaac Marion who wrote Warm Bodies.
And although Warm Bodies is lovely, and I'm sure made a very adequate film, his short work is out. I don't know what's about the right way. I don't like that movie, okay? It's on the wrong way.
Yeah. So, his short work is stunning. Like, it's some of the best short work I've ever read. And he, it's just a little bit weird.
It's, you know, 95% normal literary fiction. And then there's always a little bit of supernatural, a little bit of edginess dwelling on the outside. And he just got rejected from every place. And his work is phenomenal.
So being able to have an imprint like friction, like, we get to bring in the great work from undiscovered authors. But also the love projects from really established authors that don't have a home for that yet. So the journals are really weird mix of, you know, celebrities and first time 15 year olds. So it's really great to be able to run something and bring all those together.
Sorry. I'm not appropriate for that. No, no, no. That was, that was, how often you guys able to put out the, the, the, the, the quarterly triangle.
I'm trying to, I'm trying to, I'm trying to, I'm trying to, I'm trying to. That's actually odd bad at all. Yeah. The reason it takes us so long is we work with a group of local artists that illustrate every single one.
Oh, nice. Yeah. So it's very art heavy and the art takes forever. That's awesome.
Yeah. I see you guys working in design. So you should tell, you should plan towards Carl. Carl.
I actually sent them an invite for the revolt for what? Carl, Carl, yeah. You guys should go. So if you're interested, he does a web comic called 30 miles of crazy and it's all stories from the Colfax.
But he doesn't mean bars. Like he draws them so well that like, you know, obviously that's the Esquire, whatever. But yeah, he, he, I think now fiance, that he and, yeah, he and, and I know, I know, I know, I want to say something else. Yeah.
Anyway, yeah. It's a little coming. But yeah, he ran up and down cold facts just hitting bars and then illustrate like, the way the story is they hear over here. It's got the point now where people walk up to like, Hey, I got the story for you and they just start battle.
I was going to say, I'm like reading local too. I was going to say, it's maybe just recognizing things in my own neighborhood that I never really thought about before. But well, there's every now and then there's a story that you write. I don't exactly write that.
But yeah, I sent you an invite. He, our friend Carl did, he didn't write. He didn't write. He illustrated a revolt for what?
I don't know who the writer is. I've got my head. I'm very, very doing a thing off of 13th. It's like 2030, 13th.
Essentially, I sent all recent things by the check. You want me to. And it's just weird that one of my close friends banned is playing that event as well. I'm sort of really small town.
I'm very well aware. Just saying. So, are you guys, does the print carried anywhere or is it purely got the word online? We're primarily, our store, our stock comes from online, but like a cheddar cover picks it up and a couple random contours and smart galleries since the new imprint were just trying to kind of dig into the industry and we're doing something pretty stupid.
I mean, we love it. We're really excited. Sometimes the smartest thing you can do is do something stupid. I started a podcast network.
No, it's because we drug argued about David Bellie. That's true. We did drug argue about David Bellie. And that was a start of all this mess.
Don't worry. Our company was not a David Bellie but certainly out of TV. So I've asked you though, do you still have time to work on your own stuff? Or are you just completely overwhelmed by everything you do in the company now?
Colin and I are, we try really hard to be diligent about our personal writing. We actually, like we hold each other accountable for submission dates. Strangely, we were in Edinburgh all of August for the Edinburgh Festival, which was the most productive writing we ever had because we didn't know anybody in Edinburgh. So like we got up early, we wrote for a couple hours, we worked on TV, we were all for 10 hours, then we drank lunch because it was Scotland.
But you know when you get back and we're always writing between meetings and you know whatever our personal lives are attempting to accomplish. So it's hard, but you just gotta be diligent about it. So you feel like maybe scheduling it like work is the most successful thing for you guys? Yeah.
That's what's for a customer. You really have to say discipline and give yourself a regimented schedule or else. There's always a reason not to write. Well that's a problem.
There's always a reason not to and it's always a really good reason too. And for anyone who writes short fiction, like you write something, write this fucking hard, you get through that, then you submit it out in the ether and then you start getting the rejections coming in, which makes you not want to write the new thing you're working on. And so I mean it's just it's a huge mental change to just be as a professional to pull through and I think it's it gives you some perspective being an ender because there's a lot of time that will reject stuff for the journal and it's good. It's really good to get picked up and other stuff.
It's just not our aesthetic. So you always tell yourself that when you get the deer out there, this sucks. You're like, well, I'm sure it's not that it's super sucks. It's just that's not their thing.
Well, you look at that politics first novel was actually supposed to be choke and the publishers were like, yeah, this is really weird. We're not going to do this. And he goes, I think that's fucking weird. Then went roped fight club.
I was like a fuck you to that. Yeah. So I feel like chug is weird in the fight club. Oh, yeah.
Oh, yeah. I just I love the line, do you ever cut holes in your pockets? You can masturbate in public. I do now.
Oh, man. Love joke. No, I'm not thinking show what's the one with the plane survivor. Yeah, survivor was too weird.
Survivor was too weird. Well, you know, it's all about the survivor of, you know, the cults and then him becoming, you know, their version of Billy Graham. And he works out and they have all the pens for the fake pharmaceuticals and the book is numbered backwards. Like a countdown.
Well, a lot of it depends on timing too. Absolutely. No, certain things go on or certain things go on. Hard work, but you know, the secret is a lot of luck.
How did you learn not to be like overly precious with your work when you started submitting it and getting, you know, I was going to say edit points back on it. I'm going to cry for years. Well, it's just like, are you? Yeah, I learned alcohol.
No. Really dulls the rejection letters. I mean, the hardest thing is not doing the rejection. It's the time you realize you're getting rejected for a reason.
Like I got into the industry really young. Like I said, I wrote my first book when I was 16. And I really inflated my ego. And I was like, oh my God, I'm super good at this.
Right? It's super easy. I want to have so many best letters by the time I turn 30. And then I really learned how to write.
And I'm like, oh, I'm not going to write my first book. And he'd be like, hey, I really get this part of my book. You don't get it. You don't understand me.
It's just you're an idiot. And now that I'm an editor and I turn to my authors, I'm like, hey, you know, this part didn't make sense. And I see them rebel against me. And that really changes the way that I write.
Like I really start listening to the people I trust. Definitely if you're going to get other people to reach your work, get good people. Get good people you trust. Like Colin, I'm honestly super lucky.
Like we have a really good writing broship. But you have to trust the people that give you edits. And you have to be able to realize that the 20 pages that you poured in that brought you out your euphoria and need to all be deleted. And honestly, it just hurts.
And you just got to keep doing it. And you learn to compromise. You learn when to hold your ideals. And you just celebrate any kind of success, even if you're shortlisted and rejected.
You cling on as hard as you can. Or even if someone gives you an individualized rejection. You print that fucking thing out and you post it above your desk. Someone cared about you to reject you with your actual name.
And some line of that. Instead of doing it off that, yeah. You just try to bolster yourself up and keep going. It's just it's hard.
So where can people submit? You can spend online all year round friction and then we run quarterly contests. because they're quarterly are on all the time as well. And creating program takes missions all the time.
So it's just at tetherbyletters.com, backslash submissions forward slash. You can tell I know a great deal about the internet. I still haven't published enough of my stuff to send you guys. I know I have a really good piece.
I just, yeah. It's like you don't love a stud. It takes me personally, better go together. Don't love you.
I'll make your bread pudding, but I don't love you. Let me get CD mics. What do you think would work by pudding? I don't know.
Do you put reasons in your? No. No, but I'm doing like, I'm going to be doing a caramel apple. Do you guys have a conversation about the racing thing or no?
No, just amused. No, he doesn't like, like, reasons. I got all the reasons from his drum mix on one of the sessions. He and the.
It's that they're all we were playing. I was just like picking reasons up. They don't know what to cut for me. Oh, that's so kind of you.
Those two and shots of racing throughout the whole game of the game of the game. Start talking. Whoa, whoa, whoa, whoa. Just, you know, just pulling a reggie with a jelly beans.
It's cool. It's like, it's like, it's like, it's a fucking crazy. Duggin' riddle. There, there.
It's OK. I don't feel bad about liking reasons at all. That would be a weird thing for me to feel bad about. It's just weird for me to imagine.
Imagine. I don't know. Imagine Doug cooking anything at all, because he was so bad at it when we first started working together. When I went to my other job directly after that, which was a much more elaborate kitchen, he would come in and visit me at work and he'd be like, oh, you're actually cooking.
Am I? Yes. And then when I lived with Rob, I figured I had the knack. Yeah, I figured I'd have the knack.
I went blue cheese reduction sauce. Or get a salad reduction sauce. Excuse me. Bacon, red chicken.
Yeah, I've got to say, when Doug said that he cooked, I laughed. I definitely thought it was a joke. No, I designed half the stuff you guys eat. I actually had to validate that with another person that worked there.
I'm like, is that cool? I'm like, no, no, he makes lots of food here. I was like, huh, I built all the recipes on there. I'll learn to eat.
I'm bro, kesha's never took off. I was so excited about those. Well, it's because you called them kesha's. If you called them like, hey, cheese pie, then do it.
So it actually ordered them. No, you just called them organic kesha's even though they're not. Mm-hmm. Wait.
Are you implying that the term kesha? No man would. No, lots of men are fine with it, but a lot of other men aren't. It's a weird thing.
I'm cool with it, but I get the argument. No, I can't completely stupid, but yeah. Deep Time Pie or something like that? I'm not calling it that.
I can make fun of it in an interview every way. That's fine. I call it crusted for Tata. That's OK.
Just like bro after that. I know it's unterrible. I know it's unterrible. That does.
Also, of course, for Tata being a euphemism for retarded. Retarded on belief. Yeah. Yeah.
I don't say retarded. They say frittata. Huh? Is that what you get mad every time I'm a frittata?
Yeah, we say frittata now. No, we don't. I say retarded. No, we say you're on a spectrum.
Not fair, whatever I say that. It's your own so many. I am. I was really good on your birthday though.
You were. I was impressed. Except when you first got there, I can't remember if it was Dan or somebody who I got that you didn't know. And you're like, hey, I'm Dan.
You're like, I'm Doug. I'm Doug. You kind of looked at me and I'm like, what? I'm like, that's Dan.
And you're like, hi, Dan. And you just didn't say anything. You tried to talk to you and you just kind of looked at him in the face and it was awkward. How did you guys manage to get close to Doug?
He's so well, when I was like a whore in his house. I know he was like a long way. I had a comic book out. I believe it was.
What are we? You were reading Warren's moonnights. I think it was one of the first books you were reading. If he does something past the aggressive, I bet that doesn't belong to you or did you take that comic from someone else?
I did not say anything of the ilk. I'm pretty sure you've given me shit for it for I don't know how long about possibly name dropping Warren. Oh, you mean Rob so hard. I can imagine him name dropping.
I have a hard time mentioning him passing aggressively. He's definitely not a girl for the literal of re-comics. That doesn't sound like me at all. I don't mean that's our guess.
I mean, like him being a superior dick bag, yes. But he's not so much. He's not so much. Yeah.
He's pretty nice after that. We had to go, but we had to go to a conversation about the new 52 which I think. I just come out. Fuck, I knew the other pop-up.
I'm just glad that Snyder's Batman dodged it all. Another thing we bonded over was that Snyder's run on Batman. Yeah. What was the quote from Talzun?
He found it. He was like, yeah, convergence. That was where we interviewed this guy in the UK and he and I got into this. He's not here for him.
He's very passionate. He's very passionate. He had a share of each other. I'm...
They didn't have enough time. Yeah. They went. Yeah, we started talking about a new 52 in convergence.
I think anyone that likes convergence is like, no one likes convergence. But with Marvel as well, like Secret Wars is a little touch and go. There are pieces out there, pieces I don't. And I like the new Spider-Man.
I like that we have a multi-racial Spider-Man. I'm really digging that. I like the way they kind of got everyone excited about Wolverine again was killing him and then bringing in Old Man Logan. So...
You like Old Man Logan? We saw a spot on Old Man Logan cosplay. That was the first day. Took in the first half hour.
Yeah. I was saying you did not have Baby Hulk in a backpack. We were talking about it. Bruce Jr.
That and Scott McNeil has ruined... ruined reading any Wolverine comic ever again. He's not even here. Now all I can hear is that he pointed out he is from Alberta and so the accent would be in everything.
And now I'll hear his Canadian accent. Oh, it's the April tooth. I'm going to sneak into it. Oh, I'm coming at you.
Oh, fuck. I was just an interview that you're going to follow me. You better stand down and win. The ever-can be in his one whiskey shot short of a hockey fight.
Yep. He was funny. I got to put up the... I didn't put up the...