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devinsfm · 4 years

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joe keery. cis male. he/him. ／ jack devin just pulled up blasting video killed the radio star by the buggles — that song is so them ! you know, for a twenty - four year old radio show host, i’ve heard they’re really impulsive, but that they make up for it by being so captivating. if i had to choose three things to describe them, i’d probably say obscure vintage horror comics, blurry photographs of mysterious figures in the woods, and vivid descriptions of spine - chilling tales . here’s to hoping they don’t cause too much trouble ! ( sam, 23, est, she/her )

hey there, demons ! *ba tum tss* i’m sam and i never do this, but i really felt like it was time for a change, so i drew lots of inspiration from some of my favorite ocs and i love what i’ve come up with ! character info is under the cut and please feel free to message me if you would like to plot !

i. stats

𝔣𝔲𝔩𝔩 𝔫𝔞𝔪𝔢: jackson willard devin

𝔭𝔯𝔢𝔣𝔢𝔯𝔯𝔢𝔡 𝔫𝔞𝔪𝔢𝔰: jack, spooky guy, the night watchman

𝔥𝔬𝔪𝔢𝔱𝔬𝔴𝔫: salem, massachusetts

𝔡𝔞𝔱𝔢 𝔬𝔣 𝔟𝔦𝔯𝔱𝔥: ocotber 31st, 1995

𝔷𝔬𝔡𝔦𝔞𝔠: scorpio

𝔬𝔯𝔦𝔢𝔫𝔱𝔞𝔱𝔦𝔬𝔫: demisexual

𝔬𝔠𝔠𝔲𝔭𝔞𝔱𝔦𝔬𝔫: host of the graveyard shift, a radio program airing every weeknight from 12am to 5am

𝔭𝔬𝔰. 𝔱𝔯𝔞𝔦𝔱𝔰: captivating, witty, resolute.

𝔫𝔢𝔤. 𝔱𝔯𝔞𝔦𝔱𝔰: impulsive, gauche, naive.

ii. history

jackson willard “jack” devin was born on halloween day ( yes, really ) in salem massachusetts ( yes, really ). his mother stayed home with him as he was growing up while his father is a boston cop turned sheriff of the county and he’s an only child.

outside of the popular tourist spots, his hometown has a very close - knit, stuck in the 80s vibe. it’s the sort of place where everyone knows everyone for their entire lives because no one ever leaves and no one new ever moves in. phone and internet signals are nearly impossible to come by, so the local arcade and the video store still have quite a booming business in the year 2020. jack grew up in a not - so - typical small town suburban gothic environment, his dad’s income being just enough for them to get by every month.

he was an energetic kid who cycled through all sorts of interests, trying out everything from little league ( disaster ) to music lessons ( not as much of a disaster, but he wound up getting bored of it ). nothing seemed to really stick until he got his first horror comic : a vintage issue of tales from the crypt with tattered, yellowing pages. he was five years old and paid five cents for it at an elderly neighbor’s yard sale and from that moment on he was hooked. it started with the comics, but he quickly expanded his horizons to movies, books, and television in the genre of horror.

he got intro drawing and that was the only thing besides his newfound interest in horror that he could sit still for. at first he would just try to re - draw the panels in his comic books, but soon he was drawing anything and everything that caught his interest and he was getting good. he was being homeschooled by his mother at the time, but once friends and family and, well, everyone took notice of his skill, they were encouraging his parents to nurture his talent.

his parents fought about it. his dad didn’t see the value in his skill and wanted him to instead focus on academics, aspiring towards his son one day becoming a lawyer or a businessman or even following in his footsteps. jack never wanted that for himself. he was homeschooled by his mom up until then and she believed in him. it was with her blessing that he would go to a real school for the first time at the age of fourteen, starting off his freshman year at a high school that was a thirty minute train ride away in boston and catered exclusively to youth who demonstrated an exceptional talent in some area of the fine arts.

jack did well in school, but his grades probably would have been a lot better still if he didn’t start purposely acting out as his relationship with his dad got worse and worse. he started skipping classes, getting caught trespassing in cemeteries at 2am, and smoking a lot of weed.

when it came time for college, jack planned to attend art school. he swears he did. he looked a few schools on the west coast to get away from his dad for a few years yikes and planned to apply, but on the deadline date he got so high that he forgot to submit his portfolios. yes, really.

he loaded up his van ( a turquiose monstrosity he painted to look like the mystery machine ) and headed out to california anyway after telling his parents that he would be attending UCLA. of course, they quickly found it that it was a lie and his dad was furious. the two got into a huge fight over the phone and things were said. the result is that jack and his father haven’t spoken to each other ever since.

he did lots of odd jobs while he was on the road and basically lived in his van, which didn’t change right away when he decided to settle in LA, but he eventually got a job fetching coffee for the late night employees at a local radio station.

it was the typical, cliché story : the regular late night host called out of work at the last minute, there was no one else around and they were going to be on air in ten seconds. jack was thrown in front of the microphone and told to think fast !

he did, and the listeners loved him for it. whether it was his ramblings about horror movies or his thick boston accent or his reckless use of swear words on live radio, he turned out to be a massive hit. the successful night earned him a gig as an occasional substitute deejay, and with each broadcast he grew more and more popular, and about two years ago he was finally given his own program.

the graveyard shift is a radio program that airs every weeknight from 12am - 5am in the los angeles area and on apps such as iheartradio. jack hosts the show as his ( thinly veiled ) alter ego the night watchmen and discusses topics such as the paranormal, conspiracy theories, and all things horror. it’s one of the most popular programs of the time slot in the country.

it’s something that he never expected or picturing himself doing, but now he can’t imagine doing anything else. he’s become really passionate about revitalizing the field and bringing radio into the 21st century. he signed a HUGE contract with the studio when his show first started and now he’s a quite well known radio personality in the area and across the country.

iii. extras

huge stoner. high as fuck 90% of the time, and the other 10% of the time he’s probably still high, just not as fuck.

well known for his on air antics. he’ll light a joint in the middle of his radio show, he’ll prank call a friend and broadcast it to the entire city, he’ll curse in every single sentence and skate by on the after hours excuse when he’s reprimanded for it. he’s so outlandish and bizarre and like nothing that’s ever been heard on the radio before, and it just draws people in.

he often seems shy in person, but it’s more like he’s just a little socially awkward, something which also shines through in occasional non - malicious but blunt remarks and general lack of regard for what people think of him. he really just...doesn’t care.

genuinely seems to believe it’s either halloween day and / or the year 1986 at any given moment as that’s about as recent as his pop culture references get. he’s never heard of the k*rdashians, he doesn’t know what the mcu is, and the phrase yeet means absolutely nothing to him. mention any of it to him and he’ll just stare blankly bc he honestly doesn’t have a clue.

HOWEVER, he did start the area 51 meme from last summer. ¯\_(ツ)_/¯

still draws. especially if he has to still for a stretch of time, then he’ll take out his latest sketchbook ( he goes through a lot of them ) and start doodling. he’s still quite good, mostly in his favored comic - esque style.

BIG CHAOTIC ENERGY and ZERO IMPULSE CONTROL

a chatterbox with friends but don’t be fooled...he’s been giving his own dad the silent treatment for almost seven ( 7 ) years now. it’s his preferred method of expressing anger towards someone because he isn’t really a fan of confrontation, but he’s maybe a liiiittle bit stubborn.

most of the time he’s a really easygoing person, a good friend and very loyal to the people he cares about. well - meaning, not the best at advice but he’s more likely to try and cheer a person up anyway.

he has a pet pied ball python named the crypt keeper ( tkc for short ) who he sometimes just carries with him because he likes to just chill wrapped around jack’s hand and arm.

iv. wanted connections

maternal or paternal cousins ( their grandparents probably live in boston or new england but otherwise anything goes for this )

close friends

friends

guests on his radio show

fans / haters of his radio show

people who don’t like him / find him annoying

exes ( 1 - 2, can be on good or bad terms )

“casually dating” but it might get real complicated soon - allie james

( these are just ideas and i’m trash at coming up with stuff, so please don’t feel limited by what’s listed here. )

#excess:intro #drugs tw #i decided that i needed something new but i just ''created'' this ''new character'' instead #countdown until i mess up his name has officially begun

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devinfm · 4 years

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hey there, demons! *ba tum tss* i’m sam and i also write parker ( @prkrfm ) which is the best place to contact me for plotting!

i. stats

𝔣𝔲𝔩𝔩 𝔫𝔞𝔪𝔢: jackson willard devin

𝔭𝔯𝔢𝔣𝔢𝔯𝔯𝔢𝔡 𝔫𝔞𝔪𝔢𝔰: jack, spooky guy, the night watchman

𝔥𝔬𝔪𝔢𝔱𝔬𝔴𝔫: salem, massachusetts

𝔡𝔞𝔱𝔢 𝔬𝔣 𝔟𝔦𝔯𝔱𝔥: ocotber 31st, 1995

𝔷𝔬𝔡𝔦𝔞𝔠: scorpio

𝔬𝔯𝔦𝔢𝔫𝔱𝔞𝔱𝔦𝔬𝔫: demisexual

𝔬𝔠𝔠𝔲𝔭𝔞𝔱𝔦𝔬𝔫: host of the graveyard shift, a radio program airing every weeknight from 12am to 5am

𝔭𝔬𝔰. 𝔱𝔯𝔞𝔦𝔱𝔰: captivating, witty, resolute.

𝔫𝔢𝔤. 𝔱𝔯𝔞𝔦𝔱𝔰: impulsive, gauche, naive.

ii. history

the graveyard shift is a radio program that airs every weeknight from 12am - 5am in the los angeles area and on apps such as iheartradio. jack hosts the show as his ( thinly veiled ) alter ego the night watchman and discusses topics such as the paranormal, conspiracy theories, and all things horror. it’s one of the most popular programs of the time slot in the country.

iii. extras

huge stoner. high as fuck 90% of the time, and the other 10% of the time he’s probably still high, just not as fuck.

HOWEVER, he did start the area 51 meme from last summer. ¯\_(ツ)_/¯

BIG CHAOTIC ENERGY and ZERO IMPULSE CONTROL

a chatterbox with friends but don’t be fooled…he’s been giving his own dad the silent treatment for almost seven ( 7 ) years now. it’s his preferred method of expressing anger towards someone because he isn’t really a fan of confrontation, but he’s maybe a liiiittle bit stubborn.

he has a pet pied ball python named the crypt keeper ( tkc for short ) who he sometimes just carries with him because he likes to just chill wrapped around jack’s hand and arm.

iv. wanted connections

maternal or paternal cousins ( their grandparents probably live in boston or new england but otherwise anything goes for this )

close friends

friends

guests on his radio show

fans / haters of his radio show

people who don’t like him / find him annoying

exes ( 1 - 2, can be on good or bad terms )

“casually dating” but it might get real complicated soon - allie james

( these are just ideas and i’m trash at coming up with stuff, so please don’t feel limited by what’s listed here. )

#excess:intro #just posting for reference!

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anettetheresepettersen · 3 years

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【Critique in the Front Line】Between public and private: theatre performances through the school system—A field note from getting lost and soaked in search of the arts

The design of Norwegian elementary schools is made with a very specific set of users in mind: teachers, staff and pupils (and to some degree, also their parents). They are all usually introduced to the school building at the beginning of term, and after this everyone knows where the different rooms are, where to go and who to talk to. In Norway, the schools also have a secondary function as art venues. Where and how does the art critic and criticism more generally fit into this programme?

The Cultural Schoolbag: Art experience for all pupils

Since 2001, Norwegian school-age children have been introduced to professional art on a yearly basis, as a part of the public school. The project is called “The Cultural Schoolbag” (TCS), and it is a national project where the Ministry of Culture and the Ministry of Education and Research collaborate. The idea is that all school children are to experience professional art and culture of all sorts:

The programme gives pupils the opportunity to experience, become familiar with and develop an understanding of professional artistic and cultural expressions. The activities must be of professional quality and cover the entire cultural spectrum: film, cultural heritage, literature, music, performing arts and visual arts.[i]

In the beginning, the programme included the first ten years of education, but in 2008 it was expanded and now also includes high school. This means that children experience art and culture every year, through their 13 years of elementary education.

Norway is a rather small country, with approximately 5.3 million inhabitants. These people are spread in cities and villages along a long coastline and in valleys and highlands and forests. The politics of governing Norway is explicitly decentralised, and this also goes for TCS. Norway reduced the amount of county councils from 19 to 11 in 2020. These are usually responsible for regionally programming, but some municipalities have also developed their own programmes. The funding of the programme is made possible through allocating lottery funds from profits earned by Norsk Tipping (the Norwegian state lottery operator), in addition to funding as well as administrative powers from the county councils.

Since 2016, the organisation Kulturtanken – Arts for Young Audiences has had the national responsibility for the programme and allocating the funds. In 2019 the total amount received was NOK 285 million.[ii] I started on a PhD project in September 2019 where I will be researching how youth experience performing arts through this system. I will explore performative, creative and critical writing as a means to gain empirical data to my project. In addition to gaining data, I am interested in how critical, performative and creative writing with the arts can be used by youth. I am curious as to how the specific TCS context forms the audience, what sort of spectatorship it produces, but have at this point in my research no data to analyse. This essay is based on my observations and experiences through my practice as a critic and are more anecdotal than scientific.

The critic in/out of the loop

As I have written about previously in my article “The critic as an uninvited guest” (2018),[iii] the critic or the researcher is an odd figure in arts contexts with target groups such as children. When the performance is explicitly not aimed at you, how are you to judge relevance or quality? And even more so when the performances take place in spaces that are not always specially designed or even adapted for the arts. Through TCS, all children in Norway, of all classes and backgrounds, are introduced to a wide variety of arts expressions. Several of the country’s main art institutions either tour their productions with the TCS system, or have daytime performances or exhibitions for pupils. The geographical nature of Norway, with schools quite literally spread all over the country, has also led to an extensive touring system with art productions that only tour the TCS. The productions are public in themselves, but the performances (each viewing/showing) are closed for the public. Whether they take place at a school or at a theatre, these performances are usually not open to the public.[iv] As a critic, this has made it difficult to gain access—or even get information about which performances will be touring, or premiering, where and when. There is no press contact, no newsletter, nor any calendar with information on up-coming premieres. TCS and the schools have developed systems with culture contacts in the schools, as well as local or regional administrative contact persons whose task is to maintain communication between the schools and the artists. Kulturtanken has been working on a new online portal that will make the communication flow easier, for both the schools and the artists. As a critic, on the other hand, one is not really in the loop.

Watching performance in school

In my experience, the arrival of the critic at a TCS production is usually unannounced. One tends to have made an appointment with either the central programmer or the artists. This information is usually not forwarded to the art venue: the school. Finding the location for the performance can prove to be a more time-consuming task than initially thought. Just finding the right entrance at the school often takes five minutes (there are usually few or no signs indicating the way to the main entrance). The school has few outside visitors, so why should they?

This winter I ventured on a trip to an elementary school in the southern part of Norway to see the theatre performance Balladen om Reidun Robertson og Steven von Gutenberg (The Ballad of Reidun Robertson and Steven von Gutenberg). The production/performance was made by a theatre that calls itself “The Other Theatre” (Det Andre Teatret). The theatre is based in Oslo and their performances are usually based on improvisation. Upon entrance of the school, escaping the pouring rain outside, and finally locating the right entrance, I asked a child if she knew where the administration was. “No”, she promptly answered. “How about the teachers’ room, then?”, I asked. Upstairs, she pointed. In the administration, no one knew about the performances taking place, but were more than happy to find out for me and point me in the right direction. I ventured out in the rain again, and once again relied on pupils to find the right building and entrance. There were no signs or posters indicating where to go or when to enter, as the schools have their own systems that they don’t need to announce: Everyone there knows how it works. So, I sneaked inside, found a place at the back of the auditorium, in order not to block some of the young spectators’ view.

Two pupils were already present, as well as a couple of teachers; preparing and organising. A teacher arrived, followed by a class of children. He stood next to a row, pointed inwards and shouted the number of a class. The row quickly filled up, and the teacher moved about the space, indicating and shouting, and within few minutes, the rows were packed with children, laughing and talking, taking off their wet jackets and scarfs and hats. On stage, two children gathered, together with a performer, and quietly welcomed everyone (both performers and children) and hoped everyone would enjoy the performance. And thus, the performance could start: The lights were turned down, the performer in place, and music started playing. Comments on and imitations of what was said on stage was heard throughout the entire performance. Since the performance was based on improvisational methods and interactivity with the audience, a lot of the comments were welcomed from the stage and included in the plot, and other times ignored.

Watching performance in theatre

When I recently attended a children’s performance in a public theatre, on a Saturday, the dynamics were different. As far as I could see, none of the children present came without one or several adults. Be it parents, grandparents, uncles, aunts or other caretakers; the children were accompanied by adults. Next to me was a mother and her two sons, out of which one of them was very bored (by his own statement). He kept creeping onto his mother’s lap, whispering loudly, “It’s not fun anymore, can we please leave?” Upon which, his mother responded that he had to concentrate, or she tried to point at things on stage, and exclaimed things like “Look!”, or “Wow!”, in a desperate attempt to make the performance fun or relevant to her son. No such look, as far as I could hear or see.

In my experience, be it public performances or TCS performances: In theatre for children, there are usually comments or questions from the audience. In public theatres or venues, the questions and comments are directed towards the accompanying adult, whereas in TCS they are shared among the pupils or directed towards the stage. How this specific way of watching performing arts— “watching others with others”, to lean on Eve Kosofsky Sedgwick and Rachel Fensham[v]—affects the art experience is something I hope to learn more about through my research. Perhaps young critics and writers could reflect on this, from their own perspective. For all I know, this might influence them less than I, as an outsider and professional spectator, expect them to.

Performances for TCS

After nearly twenty years of TCS, we still know fairly little about how the programme has influenced the children and their relation to the arts. During the children’s and youth theatre festival Showbox in Oslo in December 2019, a panel of seven teenagers discussed performing arts and teenagers. Early on, they all concluded with the following: “The most important thing in performances is to feel something.”[vi] TCS is, as mentioned, a collaboration between the Ministry of Culture and the Ministry of Education and Research, and it is stated in the programme’s goals that TCS should 1) help ensure that students are given the opportunity to experience professional art and culture, 2) make it easier for students to experience, become familiar with and develop an understanding of all forms of artistic and cultural expression, and 3) help ensure that artistic and cultural expression is aligned with educational objectives.[vii]

“Educational objectives” is a wide description and could perhaps also include the Kitchen Table demand: learning through emotions. From a critic’s point of view, the performing arts programme certainly gives the children the opportunity to become familiar with, if not “all” forms of cultural expression, at least a vast amount of it. There are for instance several productions and artists touring in the TCS programme, that also tour extensively internationally and are a part of the general contemporary theatre and dance context.

Among them are the performance Garage by Cirka Theatre, which this spring has eight planned performances at Dansens Hus/House of Dance in Oslo for TCS. The performance has also toured to festivals in Italy, France, Germany and China. During the international ASSITEJ Artistic Gathering festival in Kristiansand in September 2019, several of the festival productions were also made available for TCS. Apart from Garage, the programme includes performances such as Vanity of Modern Panic by Gunilla Lind Dance Theatre and Playful Tiger by Barrowland Ballet. The national contemporary dance company Carte Blanche and theatre and dance companies like NIE Theatre, Panta Rei Dance Theatre, Jo Strømgren Company and Yngvild Aspeli/Cie Plexus Polaire all tour their productions both internationally and within TCS.

Most of these performances are touring productions that travel around the country and perform the performances locally (either at the schools or at public theatres or cultural houses). But some of the productions are not tour-friendly, so to speak, and rely on the pupils traveling to the theatres. Among these productions is the main stage musical Charlie and the Chocolate Factory at one of the national theatres in Norway. Pupils in the sixth grade in Oslo also have the possibility to be taken on a tour to the programming venue Black Box Theatre where they are introduced to the different elements of a theatre, such as lighting and sound design.

In this way, children are introduced to a wide variety of arts expression early on. They are introduced to different ways of approaching dance and theatre, and knowledge of and experiences with art is thus no longer restricted to those who can afford it or have family or caretakers who introduce them to it. Whether one chooses to seek out the arts in one’s spare time, or even choose it as a professional career, is at least made available as a choice everyone can make an informed decision on.

Art criticism in TCS

In addition to administrating art, TCS also includes some introduction courses to criticism. I have myself taught in one of these courses developed by music critics Ida Habberstad and Hild Borchgrevink, as well as developed my own course on criticism of performing arts. In one of the county councils these courses have been coordinated with the schools, and the pupils have had the possibility to write a review as a part of their exams. One of these programmes took place in the spring of 2017, when the administrative center of the county council had invited four critics from literature, film, music and performing arts to develop introductory courses. We all met and shared previous experiences with this, as well as tools and tasks. Through this, a total amount of 741 pupils from five schools were introduced to criticism as a part of TCS. After the courses, the pupils attended a festival where they saw performances, readings, concerts and films. Those who wished to do so could then write about their art experiences in a review on their school exam in April.

On other occasions, the schools and critics have collaborated with local newspapers and texts written by some of the pupils have been published. This year, the Norwegian Critics Association, Kulturtanken and the online magazine Periskop (which is dedicated to critique, debate and journalism on art for children and youth) started a joint project. In the fall of 2020, three critics with background from literature, visual arts and performing arts, will develop a workshop on criticism. This will be a pilot project with the working title “The Critical Schoolbag” which aims to invite the youth to explore formats of criticism.

Through TCS, all children and youth are introduced to the arts, but the public debate surrounding the art in this specific context still has a way to go. Who are to write about this art, and on what grounds? How could criticism by children and youth look like, in what formats and for which readers or listeners? Through my research and the pilot project “The Critical Schoolbag”, I hope to explore these topics further.

[i] The Cultural Schoolbag. (n.d.). This is the Cultural Schoolbag. Retrieved March 18, 2020, from https://www.denkulturelleskolesekken.no/english-information/this-is-the-cultural-schoolbag/

[ii] Approximately HKD239,013,754 (as at 16th March 2020).

[iii] Pettersen, A.T. (2018). The critic as an uninvited guest. In A.T. Pettersen & M. Veie (Eds.), Criticism for an absent reader (pp. 82-93). Oslo: Uten Tittel Forlag.

[iv] Exceptions are made here. Sometimes the schools buy/get tickets to evening performances where the pupils watch performances alongside “regular” spectators. Some local festival performances are included in the TCS programme, as festivals also tend to have daytime performances and pupils become a (rather large) part of the festival audience.

[v] Fensham, R. (2016). Affective spectatorship: Watching theatre and the study of affect. In C. Stalpaert, K. Pewny, J. Coppens & P. Vermeulen (Eds.), Unfolding spectatorship: Shifting political, ethical and intermedial positions (pp. 39-60). Gent: Academia Press. pp.54.

[vi] Kitchen Table Talk at Showbox in Oslo, Norway, on 5th December 2019. The festival is held at the main avantgarde theatre scene in Oslo, Black Box Theatre, and it is arranged by Scenekunstbruket (Norwegian Network for Performing Arts for Young Audiences). It is a “nationwide provider of performing arts for young audience in Norway”, and the organisation is also a part of the European project called “TEEN2”, which is responsible for the Kitchen Table Talk. It should be added here that I have been part of several projects initiated and/or led by Scenekunstbruket, and that I was part of the European project “TEEN” through which the format of the Kitchen Table Talk was developed.

[vii] The Cultural Schoolbag (n.d.). This is the Cultural Schoolbag. Retrieved March 18, 2020, from https://www.denkulturelleskolesekken.no/english-information/this-is-the-cultural-schoolbag/

This essay was originally published on the website of International Association of Theatre Critics (Hong Kong), on the 27th of March 2020. The essay was a contribution to the column of Critique in the Frontline.

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galacticnewsnetwork · 7 years

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26 New ‘Star Wars’ Stories Have Been Revealed

In April, it was announced that a new book would be released called Star Wars: From a Certain Point of View, combining 40 stories written from dozens of writers (including Rogue One screenwriter Gary Whitta, famed comic book writer Paul Dini, Thrilling Adventure Hour creators Ben Acker & Ben Blacker) to celebrate the 40th anniversary of the Star Wars franchise.

Each story is told from the perspective of background characters from A New Hope – “from X-wing pilots who helped Luke destroy the Death Star to the stormtroopers who never quite could find the droids they were looking for.” And with the October release date quickly approaching, Del Rey Publishing has begun unveiling some of the short stories that will be featured in this collection. Below, check out a first look at more than a dozen new Star Wars stories.

Here are the stories that have been revealed on Twitter today, all found under the #FromaCertainPOV hashtag:

Chuck Wendig’s “We Don’t Serve Their Kind Here” tackles a certain droid-hating cantina barkeep: “Wuher always told people: If you have a drink in your hand, you don’t need me for nothing.”

Gary Whitta’s “Raymus” opens the anthology by bridging the gap between Rogue One and A New Hope: “For years he had carefully steered this ship- his ship- through countless Imperial blockades and checkpoints, always able to avoid detection or suspicion. But now it had been spotted fleeing the scene of the most daring military assault in the history of the Rebellion, carrying stolen goods that the Empire would go to any lengths to recover. Suddenly, the Tantive IV was the most wanted ship in the galaxy.” The title is a reference to Raymus Antilles, who was the captain of the Tantive IV.

Greg Rucka’s “Grounded” tells the story of Nera Kase: “In the space of seven minutes, Nera Kase lost her home and her family. In the space of seven minutes, the Empire had made her their enemy.”

Glen Weldon’s “Of MSE-6 And Men” is a story from the POV of a hapless droid caught up in the Death Star’s “gay demimonde”: “That was quick, G7. Fastest mouse droid in the fleet. It’s those new rotors I put in, I’m telling you. You know what: We should get you on a racing circuit. Would you like that?”

Kieron Gillen’s “The Trigger”: “Aphra’s life alternated between finding interesting ancient artifacts and reactivating interesting ancient artifacts, with brief interstitial periods of selling the interesting ancient artifacts.” This story follows the fan favorite Star Wars comic book character Doctor Aphra.

Paul Dini’s “Added Muscle” tells the story of Boba Fett: “I’d be lying if I said I didn’t enjoy the whispers of surprise when I walked onto the scene. That’s right, boys. Fett’s here.”

Cavan Scott’s “Time of Death” follows Obi-Wan Kenobi in the moments of his passing: “My name is Obi-Wan Kenobi and I am dead. I know how that sounds. Crazy old Ben with his crazy stories. But this isn’t crazy. This is happening. At least, I think it is.”

Rae Carson’s “The Red One” tells the story of a droid with a bad motivator: “More than anything in the galaxy, he wanted to be sold. Escape the sandcrawler. Fulfill his programming by serving a new master – someone who would clean his joints once in a while, offer a few drops of lubricant, give him a purpose. But time was running out. He was lonely, and he was dying.”

Daniel José Older’s “Born in the Storm” tells the story of a stormtrooper and his dewback: “The barracks are on the outskirts of town, closer to the endless barren infinity of wasteland festering with Sand People, banthas, and a million other ways to die. Also: sand. All the sand. All the sand ever.”

Delilah S. Dawson’s “The Secrets of Long Snoot” tells the story of one of the characters in the Cantina: “Know what your problem is? I say in my own language, quietly and to myself. ‘Your problem is that your entire species thinks itself a sun around which the petty planets and moons spin, but really, you’re just another rock, doomed to ever orbit something grander but remain ignorant of your own insignificance.”

Alexander Freed’s “Contingency Plan” tells the story of Mon Mothma: “Mon Mothma can’t actually see the future. She used to know people who could, but the last of them is dead now, too.”

EK Johnston and Ashley Eckstein’s “By Whatever Sun” takes on the metal ceremony: “Miara Larte breathed in and remembered how much she loved real air.”

Christie Golden’s “The Bucket” tells the story of the stormtrooper who turned Leia in: “I want them alive, Vader had said. Their blasters were set on kill. They were in a batterfield, even now. Too many of the crew were loose and armed, wandering about and opening fire, for the stormtroopers to take chances.”

Adam Christopher’s “End of Watch” is about a reactor leak: “Poul felt the breath catch in her threat. Princess? What princess? And then she heard the voice of the man Tarkin was in conference with, the deep, resonant bass voice echoing down the open comms channel. Well, perhaps man was the wrong word. Because who know what was inside that suit.”

Madeleine Roux’s “Eclipse” tells the story of Breha Organa: “Finances. Galas. Silks. Budgets. Would Leia return in time for the equinox? It seemed unlikely, and yet in a small, private corner of her heart that had nothing to do with rebellions or politics, Breha hoped it would be so.”

John Jackson Miller’s “Rites” tells the story of the Tusken Raiders: “It takes more than courage to lead. It takes eyes that are open!”

Zoraida Córdova’s “You Owe Me A Ride” tells the story of the Tonnika sisters: “Brea and Senni watched the suns set from atop a rock formation. Tatooine might be a desert wasteland lacking in any culinary delicacies, but few things in the galaxy compared to the brilliance of its sunsets.

Charles Soule’s “The Angle” tells the story of Lando and the Millenium Falcon: “Heroes were Lando’s favorite opponents at the gambling table. The worse the odds got, the bigger they bet. Because heroes were suckers.”

Jason Fry’s “Duty Roster” seems to be about someone in the Rebellion named Col (perhaps Legends character Col Serra?): “Col’s first instinct was to knock Wedge Antilles onto the floor and show the whole squadron the joke ended here.”

Griffin McElroy’s “Stories in the Sand” which is about a Jawa named Jot: “There was not a Jawa on Tatooine who did not believe wholeheartedly that there was more sand below them than there was sky above.”

Pablo Hidalgo?’s “Verge of Greatness” follows Tarkin on the very eve of his triumph: “You may fire when ready,’ Targin said at long last. And he allowed himself the briefest of smiles.”

Sabaa Tahir’s “Reirin” reveals new details about the Tusken Raiders: “Reirin daydreamed about proving to them who, exactly, was lesser. She daydreamed about taking her father’s gaderffii and wreaking bloody havoc. And if not that, then simply proving herself.”

Kelly Sue DeConnick?’s “The Kloo Horn Cantina Caper” tells the story of Muftak and Kabe’s adventure at the Mos Eisley Cantina: “At Mos Eisley, everyone has side-hustles, but the Muftak and Kabe? Even their side-hustles have side-hustles.”

Paul S Kemp’s “Sparks” tells the story of Gold Squadron: “Small sparks can start big fires.”

Beth Revis’ “Fully Operational” tells the story of a very important meeting: “A weapon was meant to be fired. Every military man could tell you that. Treat all weapons as charged; never assume a blaster was set simply to stun and not kill.”

Tom Angleberger’s “Whills” is the last story of the book, described as ‘really the beginning of the entire tale. Sort of. It’s a work in progress.’: “May the force be with me as I begin the sacred task of writing in the Journal of the Whills…”

Some of these stories seem to have really clever and compelling ideas. Obi-Wan Kenobi in the moment of his death? The story of the Tantive IV filling the gap between Rogue One and A New Hope? The life of a droid with a bad motivator?

Reading these ideas has me extremely excited to read this collection and makes me wonder if the Star Wars standalone films would ever dare tackle an anthology film. Imagine the greatest writers and directors getting together for a bunch of short films in the Star Wars universe. I could never imagine someone like Steven Spielberg or Quentin Tarantino directing a Star Wars movie, but maybe a five or 15 minute short film could happen? How cool would that be?

You can pre-order From a Certain Point of View (Star Wars) on Amazon now. Del Rey has released the cover art seen above and a list of some of the authors that are participating in this project:

Ben Acker & Ben Blacker

Renee Ahdieh

Tom Angleberger

Meg Cabot

Rae Carson

Adam Christopher

Zoraida Cordova

Delilah S. Dawson

Paul Dini

Alexander Freed

Jason Fry

Christie Golden

EK Johnston & Ashley Eckstein

Paul Kemp

Mur Lafferty

Ken Liu

Griffin McElroy

John Jackson Miller

Nnedi Okorafor

Daniel José Older

Mallory Ortberg

Madeleine Roux

Gary D. Schmidt

Cavan Scott

Sabaa Tahir

Glen Weldon

Chuck Wendig

Gary Whitta

And more!

Source: Slashfilm.com Article by: Peter Sciretta

#star wars #new #news #book #from certain point of view #slashfilm #peter sciretta #amazon

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addictionfreedom · 5 years

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Opiate Recovery Success Rate

Contents

Black hills …

Surgery. mohamed yh

Prescription opioid drugs

Prevailing treatment system generally

30 … improved outcomes

Painful opiate withdrawal

Mar 4, 2016 … It's worse than ever: Deaths from overdoses of opioids (the drug category that … Since untreated heroin addiction carries a mortality rate of 2 to 3 percent per year , the … However, the odds of recovery are better than they appear. …. Success! Check your inbox for details. Please enter a valid email address.

The opiate detoxification guide is a composition of opiate withdrawal detoxification strategies that can help Opiate withdrawal can be miserable, but it's rarely, if ever, life threatening, especially if the person in question is in good health. However, the success rate of cold turkey detox is beyond bad.

Why is my method of opiate recovery so effective? After 7+ years of continually developing and People getting off opiates relapse at a rate of 95% because they feel crappy due to having such Rebecca's Success Story: "After being an opiate addict for three years, I finally got on Suboxone…

In late September, the Addiction Recovery Centers of the black hills … When people ceased using Suboxone, that rate dropped to 8.6 percent. Tamang said he has read other studies where the success ra…

Jul 19, 2016 … Some studies find rates of these pre-existing problems among people … Addressing these underlying issues is usually essential to successful treatment — but … motivate addicted loved ones to begin and sustain recovery.

Heroin Addiction Recovery Success Rates … 30% of those in recovery from opiates stay sober.

The results, as of now, do not yield a high success rate. Because of the brain changes caused by opiate addiction, recovery becomes a hard and sometimes impassable road. Stemming the flood of opiate a…

The current epidemic of heroin addiction … to the predicted success rate of only 10 percent. How did that happen? And how might understanding that level of success help us deal with the current epid…

He says the drug takes away his craving for heroin. "It was key to any success that I’ve had," Alex says … He says buprenorphine has been "extremely important" in his recovery. All three major medic…

Oct 23, 2018 … Using medications to manage opiate use has a very poor success rates. The only lasting road to recovery is a lifestyle change in which stress …

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Jun 8, 2017 … Ocean Hills Recovery has an astounding success rate of 73% – 90-day … Ocean Hills Recovery and tagged california rehab success rates, chance … Opiate / Heroin Treatment; Structured Residential Program; 30-day, 60-day, …

Greater than 98% Opioid Detox Success Rate. Detoxification of Opiates with Medically Supervised Withdrawal Treatment Heroin, Suboxone, Oxycodone, Fentanyl, and Other Prescription Painkiller Opioids. Comprehensive and private drug detox is the first step in a successful recovery.

During more than a decade of IV drug use, 34-year-old Ana Vasquez, a homeless IV drug user, has kicked heroin nearly a dozen times in Philadelphia … as more jails are looking at the data and success …

When considering success rates of a treatment program, the type of end goal, abstinence versus medication management, must be addressed. Although medications to treat opiate addiction can themselves become addictive, they have helped patients sustain their recovery and thereby…

Dual Diagnosis Treatment Centers Ma Dual diagnosis treatment is offered at many of the rehabilitation centers featured in our directory. This is a comprehensive treatment for both alcohol and drug treatment. Accurate diagnosis is very important in addiction centers to distinguish between the psychiatric symptoms caused by alcohol… “Depression, no matter how long it occurred after your coronary heart disease

Despite the county’s efforts to tackle the problem from multiple angles, it was unable to slow down the increasingly fatal na…

Wednesday nights bring a group of recovering heroin and opioid users together at one of MVP Recovery’s eight homes in Delaware … with a more than 90 percent success rate. "Is the hope your houses wi…

Juneau and Alaska as a whole have not been able to escape the nationwide opiate epidemic, and opiates appear to only be increasing their hold on Alaskans. The age-adjusted rate of opioid … work of t…

The misuse of heroin and other opioids such as oxycodone and … addicts as high as 80 percent, which means that the recovery rate may be as low as 20 percent. …. Unfortunately the success rate for other opiates is even less than heroin.

Methadone maintenance (50-90% success rate). Methadone is an opiate itself and can be used as a pain reliever, but it can be used to treat opiate use disorders by Take the facts and the success rates and find the method that works for you. In the end, that's the best way to succeed in recovery.

Can cannabis wean addicts off heroin and other opiates? Can cannabis wean addicts off … Unfortunately, these rehab centers have only about a 30 percent success rate. After all, if heroin and other o…

See Our Success Rates … Recovery is far more than the removal of addictive substances from an otherwise unchanged life. … Rates of opioid abuse, heroin addiction, overdose and death are a concern in schools and hospitals, treatment …

Jul 26, 2018 … People recovering from opioid addiction and their families discuss the … life to him), I assure you that recovery success is not directly tied into …

executive director for Recovery Café Orting Valley, the nonprofit in its last annual report boasted a 90 percent success rate among its members for maintaining longterm sobriety after they were introd…

Treatment and Recovery. Can addiction be treated successfully? Relapse rates for drug use are similar to rates for other chronic medical illnesses. If people stop following their medical treatment plan, they are likely to relapse.

Canadian Health Recovery Centre – Our alcohol and drug addiction treatment model provides a much higher recovery rate after 5 years. (75-80%)

At the same time, my own recovery from opioid dependence … based and traditional treatment programs. But opiate dependence has been refractory to treatment without medication. Success rates for long …

Nov 15, 2017 … There's a highly successful treatment for opioid addiction. … collective fear and ignorance from the culture at large within the recovery community. … can cut the all-cause mortality rate among addiction patients by half or more.

On This Page What are the Current Rehabilitation Success Rates? Heroin Addiction Recovery Success Rates Sometimes opiate addicts will end up switching from heroin to methadone or suboxone as their…

Dual Diagnosis Treatment Centers Oklahoma Addiction Treatment Center Of New England In general, NPs may evaluate patients, provide diagnoses, offer treatment, and prescribe medications … for treating opioid … Experts need to identify who’s most at risk of deliberate or unintentional opioid overdoses, so they get better pain manageme… Addiction Treatment News Seven public meetings have been held to introduce

Success rates in recovery. To help deal with the difficulties of detox and its aftermath, many people with heroin use disorders will seek a successful rehabilitation Of the 75% remaining in treatment, 75% of their urine tests were negative for opiates and other drugs. Contingency management.

Stages of Opiate Withdrawal. Opiates are addictive in part because they activate parts of the brain associated with pleasure. The best drug rehabilitation programs provide a strong support network for recovering addicts throughout all stages of recovery, including the difficult weeks that follow acute…

Recovery rate is the extent to which principal and accrued interest on defaulted debt can be recovered, expressed as a percentage of face value. BREAKING DOWN Recovery Rate. Recovery rates can vary widely, as they are affected by a number of factors, such as instrument type, corporate…

Opioid addiction plagues millions of people in the United States and worldwide. … treatment is crucial for you or your loved one's success in life and recovery. … at an accelerated rate due to the presence of Fentanyl (a highly potent opioid …

Because methadone clinics serve recovering drug addicts, they are widely stigmatized and rarely talked … Myth: Methadone is just as bad as or worse than heroin and prescription opioids. … Myth: Methadone clinics have a small success rate.

Dual Diagnosis Treatment Centers Houston Texas University Cancer Centers are state-of-the-art cancer treatment facilities in Houston, Texas. University Cancer Centers has a long and continuing history of excellence in cancer diagnosis and treatment. Award winning board certified Radiation Oncologist, Mark D'Andrea, MD and his team are… GONZALEZ is an Assistant Professor of Education Psychology and Texas … of Houston. Working closely

Opiate Addiction Recovery Help. However in most instances when a person has success… it is purely due to the fact that they said "enough is enough" and are willing to do whatever it takes to be free from pain pills and other opiates such as heroin, methadone, oxycontin, and all other pain killers.

If you look at the numbers I highlighted pink in the table above you'll see that they represent success rates at various intervals since onset of dependence.

Learn about the recovery and success rate of this surgery. mohamed yh, et al. (2016). Success rates of vitrectomy in treatment of rhegmatogenous retinal detachment. hindawi.com/journals/joph/2016/2193518/.

Jun 18, 2018 … One common thread among successful opioid treatment programs in … an opioid use disorder will often relapse along the road to recovery.

A Trumbull County judge, Sheriff Thomas Altiere and the county Mental Health and Recovery Board are hoping the drug Vivitrol … who said it’s been used with a success rate of 75 percent there. “Compa…

The rates of relapse are similar to those seen in other chronic illnesses including diabetes and asthma. About Heroin Recovery. A report from the National Institutes of Health states that at present, only approximately 20 Unfortunately the success rate for other opiates is even less than heroin.

Opiate Addiction Recovery provides a positive atmosphere for treatment. The victims of abuse need assistance on a holistic level. Doctor Partida uses suboxone to treat his patients. This new drug boasts a success rate which far surpasses methadone and every other known drug on the market.

The Blue Hill man had used opiates illegally for a decade … Statistics comparing the success rate of faith-based and secular recovery programs do not exist, according to Rachel Steidl in the communi…

That’s in a city where an estimated 70,000 people are injecting heroin. Advocates say there … Some live in recovery houses …

HOLMDEL, NJ — It’s a familiar tale to anyone living in the Bayshore region: A person overdoses on heroin or another opioid … they have around a 70 percent recovery success rate," said Rajiv Prasad, …

It is a surprising fact that treating severe mental illness has a higher success rate than treating many other health ailments. Individuals diagnosed with schizophrenia recover with a 60 percent succe…

Jan 14, 2017 … Visit our website to learn why heroin relapse rate is so high and where to get … Since prescription opioid drugs are difficult to get, people turn to something … Additionally, heroin users in recovery need to be very careful with …

Opiate Addiction: Recovery Statistics. An estimated 26-36 million people worldwide abuse natural opiates or synthetic opioids. Remember, opioid addiction recovery statistics don't tell the whole story — opiate addiction recovery success rates are higher for people who receive comprehensive…

May 9, 2016 … The prevailing treatment system generally claims success rates of 30 … improved outcomes for opiate addicts who use medication in recovery.

AUSTIN, TX — The Community Care Collaborative (CCC) – Central Health’s nonprofit partnership with Seton Healthcare Family – is funding an opioid addiction treatment program with a high success rate .. …

(AP) — In the 12 years since he became a heroin addict … And in what organizers say is a key to the success of the program, each person enrolled is matched with a “recovery specialist” who provides …

Addiction Treatment Virginia Gina Carey is a Treatment Consultant for American Addiction Centers covering the Northern Virginia and Maryland area. Though she started working in the … Review the best drug rehabs and alcohol addiction treatment centers in Virginia to start your recovery program today. Virginia Addiction Treatment. Virginia has experienced an uptick in drug smuggling activities, especially for

Compared to other facilities where the success rate is less than 50%, Mathers Recovery has a long-term success rate nearing 80%. Our experience with medication assisted treatments offers detoxification from painful opiate withdrawal in two hours at our outpatient facilities.

This is an addictive opiate that some claim is easier to withdraw from than prescription or street opiates — but studies show their success rate, even using Suboxone … by a 28 to 45 day — or longe…

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topicprinter · 5 years

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This is the true account of what happened and it made me uncomfortable to write, even after all this time. It stirred up a lot of bad memories, but if it helps one person then it was worth it. I'm sorry if it's a bit wordy!For a long time now, I’ve had a favourite saying; “It’s not a failure as long as you’ve learnt something”.Well, I’m now thirty-five, and I’ve already learnt a lot. I’m going to share some of what I’ve learnt with you. I’m not doing this to preach, or even instruct. I’m doing it for myself, and for anyone that might come across this article on the back of a recent setback. I need to give you a bit of background first, so I'm sorry if this goes on a bit!In 2002, after completing a two-year programming course at college, I took a year out from education and started working in a local art gallery. I’d work all week, mostly in sales, enjoying the feeling of having money in my pocket and being able to go out at the weekends. The twelve months passed quickly, and it was soon time to leave for university.I lasted three months.The course was dull and in no way challenging. I kept thinking about how much I missed my girlfriend, and how much I’d enjoyed my job. Making a big sale gave me such a rush, and here I was, sitting through stuffy old lectures. I jacked it all in and returned home, to my old job. But it wasn’t going to last, I’d woken a powerful desire for finding new challenges.Six months after returning home, in May 2002, I decided to start my own business. Having experience working in an art gallery, it seemed like the ideal industry to start in. It was the easiest option.I found a tatty old shop in a neighbouring town and set about renovating it myself. We covered everything in wallpaper and filler, and it didn’t look too bad when we’d finished. I’d already managed to get a £6,000 loan from the bank which I spent on stock and a few shop fittings.I’d opened the doors by the end of May, but I didn’t really know what I was doing. I had no business plan, marketing plan, cash flow forecast or operational budget. I didn’t have any staff and was working seven days a week.Despite this, I had a reasonably successful first year’s trading. My best month was about £6500, and our margin was over 50% so this was good for a new business being run by an inexperienced, ill-prepared and over-confident twenty-year-old. But it didn’t last, many of my customers started buying from online galleries. My quiet months starting eating all the money I made in the busy months. I was earning a lot less than minimum wage, and it was impossible to take time off.It was around this time that I decided I wanted the enterprise to be larger. I wanted to up my game, to start selling art for thousands instead of hundreds. I needed more. I would be able to pay myself more money, take on staff and not have to be hands on all the time.I started talking to my suppliers about my plans and they thought it was a marvellous idea (of course they did!). I found a space I liked, and despite expert advice that it was in a low footfall area, I signed the lease. Somehow, I managed to convince the bank to lend me another £20,000 (still without a business plan!).Eighteen months after opening my first gallery, I opened my second. It was four times the size of the first one, with overheads to match. It makes me cringe to think about it now. I had a grand opening with bubbly and nibbles, the week before Christmas. Almost immediately, it became apparent that I should have taken the expert’s advice. I was only a few metres from the high street but it might as well have been miles. I started ordering ridiculously priced full-page ads in glossy magazines and advertising on bus stops trying to raise awareness of my gallery. I dropped 10,000 leaflets to newly built houses and advertised on local radio.To be fair, I had some awesome weeks. I’d sell thousands of pounds worth of art to just a handful of customers. But then I wouldn’t make another sale for days. It was depressing.Six months later, I closed my first gallery (just two years after opening), to concentrate on the new one. I'd neglected the first gallery (the one that was breaking even) to spend more time on the new one.Things went from bad to worse when I figured out that I hadn’t made enough money to cover my third quarter rent payment, so I went back to the bank, but they turned me down for another loan. To be fair, I was already into them for £31,000 at this point. Seeing the fix I was in, my father offered to lend my £20,000, which I gladly accepted (he didn’t have this money, he took out a loan to cover it).I know what you’re thinking. Why did you pour more money into the hole? I can’t really answer that, I just felt I had already committed so much that I couldn’t walk away. Also, I was twenty-one and thought I knew better than everyone else.This is where things get crazy. I didn’t change anything; I just carried on as before, hoping against hope that the situation would resolve itself.The money lasted six months; I managed to stay open until Christmas, hoping that a decent festive season would allow me to hang on a bit longer. But I failed to make nearly enough sales and closed my doors for the last time on Christmas Eve (just over a year after opening).I was 21, with over £50,000 of debt, £20,000 of that was owed to my father. I had four years left on my lease, at a cost of £15,000 a year. I hadn’t made any plans for this outcome and I didn’t have any idea about what to do.My landlord took pity on me, and let me walk out of the lease, but the repayments on my loans were close to £900 a month. The day after I closed my business, I rang an employment agency and landed a shift job in a local factory. Within a week, I’d gone from art gallery entrepreneur to working on a production line in a factory. I started doing a lot of overtime, often doing six twelve-hours in a row, have one off, and then do another six days. It was mind numbing work, but I was overpaying my loans and keeping my head above water.My confidence had taken a serious hit and my credit rating was in the toilet. I did two years in the factory, always doing overtime and odd jobs on the side. It was a pretty grim part of my life. I drank too much and was smoking twenty cigarettes a day. Nearly everything I earned was used to repay my debts, and I was constantly exhausted. I blamed everyone but myself for my situation. It was pitiful.The pain of my failure gradually started to recede, and my confidence gradually began to return. I felt that old desire for a challenge. I thought about starting several different ventures, but I was still a shadow of my former self, and still had a fair bit of debt. I was quite lost for a while until one day I walked into an Armed Forces Careers Office.The recruiting staff can spot lost souls a mile off, they’re trained for it and they gobbled me up. I’d already decided I wasn’t a good fit for the Army, and I didn’t fancy long spells at sea, so the RAF seemed like the natural choice. I breezed through the application process, and at twenty-four, I left for basic training.Basic training and technical training were a challenge, both mentally and physically. After completing nearly 18 months of training, The RAF had given me my confidence back, and made me fit and healthy in the process. I was ready for my first posting.It didn’t go to plan. After all the training, I was given a job answering a phone and watching a screen for three years. I stuck it out, paying off the last of my debts and starting to experiment with entrepreneurial ideas. A lot of ideas came and went, most of them nothing more than dreams. The point is, I had come full circle back to the idea of making my own way in the world.I eventually got out of the RAF and got back into running my own business. Ive been running the business for six years and it’s still going strong. Our turnover is growing, and we have a variety of projects in the pipeline to grow our business further. We’ve diversified and added complimentary income streams. We’ve built up some equity and improved the freehold building a lot over the time we’ve owned it. We’ve made it work. But that doesn’t mean there haven’t been more lessons to learn.Over the years I’ve also tried subscription boxes, being an Amazon seller, self-publishing a novel, three separate e-commerce stores and a host of other weird and wonderful ideas, including farming oyster mushrooms (what was I thinking??).So, what did I learn from my failed art gallery business? Remember it cost me over £50,000 so it taught me a lot!Don’t take the easy option. I didn’t open an art gallery because I saw a gap in the market; I did it because it was the easiest way to start a business.Make a plan. I came unstuck because I’d spent no time thinking about my business plan. I just did it and hoped for the best. Remember, "build it and they will come" is not a business plan.Start small and test the water. I did this to a certain extent, but one of my biggest mistakes was trying to be something greater than I was. I should have experimented more. I could have traded from a market stall or tried to share a space with a complimentary business.Listen to the experts. Someone with experience told me that my gallery was too far from the high street and had too little footfall. I didn’t listen, and it cost me my business. I should have taken a smaller space in a busier location.It’s NEVER too late to walk away. If I’d admitted to making a mistake earlier, I could have saved myself a lot of money. If you try something and it’s not working, then either change what you’re doing or drop it. Don’t just keep pouring money and time into something that you know is never really going to work.Limit your liability. Make sure that if everything goes wrong, you don’t end up saddled with debt. I should have been trading as a limited company and I should have insisted on a 1 year break clause in my lease. I should have tried to get as much of my stock on consignment.So what’s the point of all of this?I wanted to let you know that I’ve taken some pretty big knocks on my entrepreneurial journey. But they’ve all taught me something, and I try to apply those lessons to my next venture. So if your first, or tenth, business isn't successful, don't give up. Learn what you can from the experience and move on.I won’t stop testing out new business ideas, and I don’t think I could even if I wanted to. I’m certain at least some of these ideas will turn into more “lessons” but that’s how we grow.And besides, I’m a slow learner...

#/r/entrepreneur #reddit

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