Friday, July 27, 2007

Found Abstract #1 – 6/29/07


Found Abstract #1 – 6/29/07
Originally uploaded by The Other Pete

So I've joined up with the folks at JPG Magazine to try to get some notoriety for my photography. Actually, it's more because I absolutely love magazines and would do nearly anything to see myself in print again. The image above has been submitted for their next issue, so if anyone still wanders by this way now and again, I hope you'll take the time to vote. The theme it's being considered for is Creative License. Their guidelines are as follows:

"Creative license is about finding the boundaries of what you can do with photography. We would like to explore images here that are the abstract edge of what is considered photography. For this theme, think about a photo as a design, composing with lines, patterns, geometry, contrast, saturation, simplicity and complexity. How can you think differently about what photography means and take creative license? "

Thanks for your time.

Friday, June 29, 2007

Sign Language Class - Week 1


Fire Truck #4
Originally uploaded by The Other Pete

So class started last Tuesday. I was one of the first people in the room, so I wound up sitting with the teaching assistant (who is deaf) for a while. I had forgotten what it was that drove me to learn ASL in the first place, all those many years ago when I was in college - I HATE not being able to talk with someone. As a person who prides himself on being an effective communicator (which I think is a necessary trait for a writer), having to fumble my way through even the pleasantries was absolutely maddening.

I have also discovered that my fingers are not nearly as limber as they once were. Back in college, I used to be able to do the alphabet forwards with my right hand and backwards with my left hand at the same time. Now, I can hardly remember the alphabet at all. I know it's all a matter of practice and the more I use it, the more I will remember, but you have to remember - I'm not used to sucking at things. No hubris there, just the simple fact that I get easily turned off to things I'm not good at right away. And right now, the fact that I will only have a month of classes is already driving me crazy. I want to know EVERYTHING. And I want to know it NOW!

Funny story though -

During the last class, the teacher paired us up to practice some of the stuff we had learned. He matched me up with a gorgeous young girl with a fantastic body that I had noticed the first time. We got to chatting and she asked me why I was taking the class. I told her and she was suitably impressed (who wouldn't be, right?). So asked her the same question and she said that she was going to be an interpreter. I asked her whether she was going to college or not. She said she was going to be a junior in the fall. I asked her where she was going and she shyly admitted that she attended the high school down the street.

*shakes his head ruefully*

Wednesday, June 20, 2007

Where's My Happy Ending?


Architecture
Originally uploaded by The Other Pete

Or my sad one or any ending, for that matter?

Usually, when I start working on a new screenplay, I try to immerse myself in movies as much as possible, in the hopes that it will help get me in the right frame of mind. A while back, I had been trying to set aside Saturdays to just sit and watch movies. And while the writing has come to a bit of an impasse, I still turn it over on my head now and then.

After all that time watching mostly independent movies and now with the uproar over the Sopranos series finale, I've realized something very important – independent screenwriters and directors have absolutely no idea how to end a story anymore. It's almost as if they're so intent on creating "realistic depictions of life" that they've completely lost sight of the fact that movies are only entertaining if they're somehow different from life.

Case in point – Junebug. This movie was hailed as a brilliant feature film, from a screenplay by playwright Angus McLachlan, and even won a Special Jury Prize at Sundance for Amy Adams' portrayal of Ashley. While I will admit that Adams' performance was excellent, I wonder how much of it had to do with the fact that she was the only character with a pulse in the entire film. With the possible exception of Embeth Davidtz's Madeleine, everyone else seemed to wander about, mumbling or staring or just killing time.

But that's really neither here nor there. Because were it not for the completely lackluster ending, all that might have been bearable, if not welcome. Instead, I was left with an overwhelming sense of "so what?" I still don't see any reason for that story to have been committed to film, as it wasn't a story. But for the one major event that takes place, the whole 104-minute span was completely pointless, especially if one expects to get any kind of catharsis from the characters.

Now much is made of not giving the audience too many answers, out of respect for their intelligence. Nonsense. That's just an abdication of the author's reponsibility to pose a question and answer it in a satisfying, or at least understandable, way.

Independent film has recently begun taking its lead from the worst of short fiction trends – that of depicting a series of events without context, with the expectation that merely committing those events to paper (or film) automatically imbues them with enough meaning to make it worth experiencing. With independent film, there's the added dimension of the opposition with the studio system. Anything studios do, indies won't. It doesn't matter what it is, they just won't do it. And that clearly extends to providing a sense of closure or catharsis or anything that will make a viewer feel that he's actually seen something of real importance rather than some writer/director's vanity project.

So let me offer this one tip – if you're going to write ten minutes of crap at any point in your script, it would be a damn good idea to make sure it's not the last ten minutes. Because that's what the audience remembers. And overlooking that has ruined a number of otherwise excellent independent features for me.

Sunday, June 17, 2007

How to Give Up Before you Even Start


Found Abstract #5
Originally uploaded by The Other Pete

I was chatting with a friend last night who had seen some of my recent photographic efforts and she said "y'know, your pictures are really pissing me off." Naturally, I was a little confused.

She went on to say that if she had a car, she'd be able to take pictures as good as the ones I was showing her. At the time, I pretty much shrugged it off and the conversation went on. I guess I was still thinking about it, though, because this morning it made me realize something about my own photography: I simply won't go out of my way to do it.

Every weekend, I make plans to go someplace for the sake of taking pictures and every weekend, something stops me. I used to feel like a useless sack because of it, telling myself that if I was a real artist, I'd be cruising all over the countryside, camera in hand, recording life in all its myriad detail and beauty. But the truth is that's exactly what I'm doing. I'm just confining it to my life alone.

The pictures that I take don't involve my going out much out of my way. When I'm out and about, I bring my camera and take photos of anything that interests me (like the one above, for example). There's always something interesting out there that's worthy of a photograph. I just set my mind to finding it.

Which brings me back to my friend's complaint. In deciding that she needs a car to take photos, she has already decided that there's nothing remotely worthy of photographing anywhere around her. That strikes me as especially sad, in that, not only is she miserable for not producing art, she's already judged her life as not worthy of being art and is miserable as a result of that, too. I suspect that if she could just bring herself to take the camera out in her back yard, she would find an endless array of things to strike her fancy. Perhaps they won't be the usual things she's used to photographing, but that won't matter. After all, hardly any of the 300 pictures I've taken in the last month reflect my typical sensibilities. But at least I can't say that I've taken 300 picutres this month and some of them don't even suck.

Oh well. I'm sure she'll come around eventually.

Friday, June 15, 2007

There's a Name for People Like Me


Evangelism
Originally uploaded by The Other Pete

And apparently it's not flake, dilletante, spaz, aimless wanderer, or anything else like that. According to Barbara Sher's book, Refuse to Choose, I am a Scanner, so named because rather than diving into a single subject, I am constantly scanning the horizon for the next interesting thing. (Note to self: if ever given the opportunity to name a personality type, choose something a little less idiotically sci-fi sounding.)

Someone on a writers message board I frequent recommended this book to me after I complained about feeling completely blocked on my screenplay. I explained to him how I had been completely obsessed with taking pictures lately and that it was making me feel like a bit of a dilletante about my writing. After all, I said, if I was really a writer, I'd be at my desk trying to hash out whatever problem I'm having with the script, not running around taking pictures.

"Check out this book," he said.

The feeling of finally being understood I got just from reading the jacket copy was so amazing, I can't even think of any other time in my life that it's happened. The fact that her archetypal Scanner is someone no less illustrious (and notably unproductive) as Leonardo da Vinci makes it even better. After all, I've often described myself as a jack of all trades, even though I have often resented the conclusion of that cliché.

Anyway, hopefully I will be able to forever put away the "dilletante" label and begin to truly enjoy being myself, with all the seemingly flaky behavior that it brings with it.

Sunday, June 10, 2007

Stupid Freaking Muse


Sign o' the Times.
Originally uploaded by The Other Pete

For some reason, this story I'm try to write really feels like it's kicking my ass. I'm not really a believer in writer's block, per se, but for some reason I just can't crack the concept in such a way that it leads to a full length screenplay rather than a handful of shorts.

But when the creative urge comes over me, it doesn't care where it goes, but it needs to go somewhere. I guess since writing is getting me nowhere, the juice has decided to fuel a photography binge. In the past two weeks, I have taken in the neighborhood of 400 photographs – cityscapes, landscapes, artsy ones, lame ones. I'm fascinated by the landscapes the most, though.

Historically, I would never photograph something that didn't have a person in it. But lately, it's been the complete opposite. I guess people just don't seem that interesting to me anymore. Or maybe it's the people around here, since there were one or two pictures I took in Boston over Memorial Day weekend that were the old style me.

But, while it is very irritating not to be getting the results that I want writing-wise, I'm choosing to believe that all this picture taking will somehow pay off in the end. I really haven't a clue as to how it will pay off, but I'm choosing to have faith.

Saturday, April 21, 2007

Step #2 - Go Completely Insane

Sorry I haven't updated in a while. Hopefully the few people who actually read this blog have it in their RSS feeds, cause I'm sure no one's checking anymore. ;-)

Last weekend, it was so rainy and grim, I just decided to treat myself to a day watching movies. So I went to the public library and took out a bunch of indie flicks that I had been meaning to see:

The Squid and the Whale;
Little Miss Sunshine;
Everything is Illuminated;
Straw Dogs;
and, No Direction Home (Martin Scorcese's Bob Dylan documentary).

While I was sitting there, immersing myself in the best the film world has to offer, I remembered an idea for a story I had had some time ago. I jotted it down in my little notebook that I keep near me at all times, and then went on with my day.

Later on, I was talking to a friend who is a script consultant for a number of major Hollywood production companies. I mentioned this idea to her and her response was a surprised little "oh!" Now, usually when you tell a consultant about something you're thinking of writing, they usually say something non-committal like "that could be fun" or "let me know how it works out." After all, since they're in the business of hearing movie ideas, day in and day out, there really isn't much that's new to them. So when your idea is the one that makes them say "oh," you really have to pay attention to that.

The first step with any story is research. Usually, my stories are about things that I know well, so the research process is minimal. However, this particular idea involves so many elements that I know almost nothing about, this will be the first time I have undertaken major research. So major, in fact, that I've marked out the next 6 months to a year just for that purpose.

Naturally, as a result, my blogging time might be a little diminished, but stay tuned. I'll try to pop in for some regular updates on how things are going.

Three cheers for productive insanity!

Friday, April 06, 2007

Step #1 - Give Away All Your Free Time

So I took the first step on the way to a job in the film industry - I applied for a job as a production intern on a local film shoot. I haven't heard back, so I don't know what will come of it. But if I do get a job there, it will basically take up every free moment that I have (which isn't saying much, given the day job and all).

I also have a meeting tomorrow morning with a production designer to talk about where I might fit in the movie world in general, and what would make a good next step.

I have to say, I'm not used to taking things this slowly. Usually, I see something I want and go hell bent for it. The last time, I wound up moving to Boston after college with no job, no prospects, and a little money in my pocket. All I had was a place to land. I guess this time around, I'm hoping to avoid making the same set of mistakes. After all, isn't that what getting older is all about? Learning a thing or two as we go?

Even still, making a mid-career change from one relatively insecure industry to an even more insecure one doesn't scream "common sense." But there are times when you just have to listen to that little part inside that's telling you it's time to make a run for something new.

Besides, most people have several careers in their lifetimes. I'm way overdue for at least another one.

Thursday, March 22, 2007

Reverse Engineering the Perfect Job

As I mentioned in the last entry, I had a bit of a career epiphany while on vacation. However, it doesn't seem to have gotten me too much farther in the mean time. Here's what I have for my perfect job description:


1) Must be production oriented, and focused on Getting Things Done, not talking about getting things done;

2) Ideally works closely with creative people (writers, musicians, artists, etc.);

3) Ideally is a position where most, if not all, primary decision makers are close at hand (that one's practically a pipe dream in this corporate age, but we're talking ideals here, right?);

4) Should be a smaller company with great flexibility and variety in daily routine.


So how does one go from a list of ideals like the above to an actual position? About now, I'm less concerned with whether I could get such a job (which, in all modesty, I know I could) as I am with what such a job would be.

I don't suppose this is a rare thing, what I'm experiencing right now. It's probably par for the course for mid-career professionals looking to make a change into something completely new. But it surely makes it clear to me why so many people just slide from job to job, always taking the next available step, and winding up in positions that they absolutely hate. It's death by a thousand paper cuts, really. Each blind step from one place to the next can be the one that turns us down the path from job satisfaction and a long and happy career to decades of watching the clock.

Happiness is damn hard work, but when I get there, I'll be sure to leave a trail of bread crumbs for y'all. And I will leave you with one of the few pieces of advice my father ever gave to me:

Don't be good at something you don't like to do.

That's some serious wisdom right there, boys and girls.

Wednesday, March 14, 2007

The City of Angels

It's funny how we learn the things we know about ourselves. Right now, I'm sitting in a hotel room in Los Angeles, writing this on a notepad made from old Grey's Anatomy shooting scripts. It's just one of the little things I picked up on a visit to the set of the show the other day. The other was a major personal insight.

I didn't know that my friend Julie was close friends with someone who worked on Grey's when I came to LA. And Julie didn't know that I was a fan of the show when she offered to get me a visit to the set. As we drove to the tiny lot in Silver Lake, just outside of LA proper, where the show is shot, Julie was apologizing profusely. It seemed we were going to get there just as everyone was breaking for lunch, so I probably wouldn't get to see any of the stars. But I didn't really care about that.

As our guide showed us around the dim labyrinth of the sound stage, bodies were everywhere. Crew members were catching a much-needed nap while the actors were all at lunch. On every gurney and operating table, there was a dusty overworked body, completely conked out. We walked through the nearly pitch-black sound stage and our guide joked that the place was more like the Winchester Mystery House than anything - which made perfect sense, considering the door marked "Exam Room #1" opened into the doctors' break room. The actors did eventually come back from lunch and I did get to see a take or two, but seeing the celebrities was really the least exciting part for me.

There's something magical about walking through an empty sound stage. It's the reality of the unreal that excites me – the strips of perfectly color-matched masking tape they use to hide the seams at the corners of the break-away walls, the various recipes for fake blood, the shelves lined with books on guns, medical maladies and a Seattle phone directory. The actors? The talent? I can really take or leave them. And that was the insight.

I'm a production person to the core. Yes, I am creative and I deal easily with creative people, but when it comes to what makes me happy, that's not where I want to be making my money. I want to take the idea and make it real, whose ever idea is it. I want to be painting masking tape to cover wall seams, I want to be figuring out what makes the perfect fake blood.

Of course, there's still a part of me that longs to write the Great American Novel or to see my name up in lights, but there's pivotal moment in every artist's life where he somehow finds that what he longs for isn't what will make him happiest in the end.

In either case, it's the magic that calls.

Tuesday, March 06, 2007

Dork-ography

So now that I've got all this free time on my hands, I finally finished the Thomas B. Ford Foundation white paper on the textbook adoption process (link's below). After having read the assessment they delivered, I decided to do a little research.

Working in the industry as I do, I have ready access to about 20 years' worth of textbooks, so I took a stroll down to the company library and started picking a few books out at random. We have books from every program of every major publisher in the country and it didn't take too long before I came to one sad conclusion:

Modern textbooks are just about unreadable.

Sure, they're incredibly visually appealing, full of interesting photographs and pretty colors. But as is often the case in the modern age, appearance has overcome content. To steal a phrase, "there's no there there." The text flits about from topic to topic, as if looking for maximum density of ideas and minimum density of context. Facts are dropped like breadcrumbs, but they never lead to anything.

When I was a kid, I remember sitting and reading my 8th-grade American history book for the fun of it. It was visually bland – just words and an occasional black and white picture tucked in a corner (where pictures belong, in any decently designed book) – but it was interesting. The writing was captivating and presented historical figures like George Washington and Booker T. Washington as people who would actually be cool to know. I'm sure that it might have been a little slanted toward the "dead white male" point of view, but it was a real live book with real live stories to tell. The fact that those stories were history was almost incidental.

Of course, I also used to read the encyclopedia for fun, so it might just be me.

Saturday, February 24, 2007

It's Finally Done.

What began in May 2005 as an assignment to completely redesign the entire product line for a major publisher's reading ancillaries finally finished this morning with the last 6,500 pages being piled into the back of a FedEx truck. While my involvement only goes back to about July of 2005, here's a quick summary of what the past year and a half have seen:

14 rounds of design revisions;
6 focus groups;
components from 878 individual books;
2 editions of the same books;
2 completely different production teams;
the assistance of 2 other senior Project Managers;
at least 30 different editors, and;
6 different client contacts.

All for a total of over 17,000 finished pages (which is actually 3 times that number, when you count earlier rounds);

If I wasn't so damn tired right now, I'd be out celebrating.

But even still...I'm pretty damn proud of myself and my team.

I'm sure going to miss them.

Wednesday, February 21, 2007

Just Following Up...

When I first begin working in a new industry, my habit is to start reading anything and everything I can get my hands on about the business – histories of the big players, industry trends, and as much background information as I can possibly put my hands on. In the course of some internet cruising, I came across this white paper, written by the Thomas B. Fordham Foundation:

The Mad, Mad World of Textbook Adoption.

I really wish I could find out more about the origin of this paper, because one early statistic really caught my eye:

"A 2002 survey of elementary and high school teachers found that about 80 percent use textbooks in their classrooms. Nearly half of student class time was spent using textbooks. And those numbers, from a survey sponsored by the National Education Association and the Association of American Publishers, most likely understate teachers’ and students’ true dependence on textbooks. Shadow studies, which track teachers’ activities during the school day, suggest that 80 to 90 percent of classroom and homework assignments are textbook-driven or textbook-centered."

Granted, those numbers are at least 4 years old by now, so things could certainly be different. And I'm sure there's a pretty wide range across all the schools in America, but even if that's a high end of a range, the rest of the range is still pretty high. At first, I couldn't figure out why so much has been made of raising standards and raising students' chances of reaching them, and so little done about what seems like a major part of the process.

But then, I remembered something very important – the government is the consumer.

At my last job, I worked for an ad agency that specialized in military clients. Marketing to the US government, at any level, is one of the most bizarre and arcane processes that I've ever been involved in (including my current job). I still can't imagine how anyone would read one of the marketing pieces we produced and come away with any idea of whether they should buy the product being advertised or not. Add to that the layers of bureaucracy that a company needs to thread its way through in order to even be considered, and it's no wonder that a wrench costs $400. It wouldn't surprise me if that a break-even price.

So what are the odds that anything will ever change for the better? After all, it will always be the government doing the buying.

Hmmmm....

Sunday, February 18, 2007

Once Upon a Time...


I was cleaning up some old stuff this morning and I found a disk in the bottom of one of my long-neglected boxes. It was a disk I had burned of all my personal crap the first time I got laid off (yeah, the first time. Gotta love the media business, don't ya?). This image was buried in a folder full of Lord-knows-what.

It's amazing to me how completely we can forget entire parts of ourselves. For many years, an artist was all that I was. Sure, I did other things like music, but an artist was what I was. This image repesents the culmination of 15 years of dedicated work at my craft, of experiments both failed and successful, of butting heads with professors and other students, of everything that made me who I am. And I haven't done a thing since.

But even now, after about 9 years, I'm still quite fond of this piece.

Wonder where it is.

Thursday, February 08, 2007

The Wal-Mart Effect

Once upon a time, retail was a simple proposition - you buy a lot of a thing to get a good price, then you resell it in smaller quantities at a higher price. If you don't do anything stupid, you made money. Into this idyllic land came Wal-Mart.

Originally, Wal-Mart did a good thing. By using its purchasing power, it told its suppliers what it was willing to pay and gave them the option to meet that price or take a walk. Manufacturers examined their processes, discovered inefficiencies, and learned to produce their product more cheaply so as to meet Wal-Mart's demands. But then Wal-Mart's competitive landscape changed and it became a target for a host of new retailers. It had clearly staked out the "lowest price" territory in the market, so once its rivals began to match its costs, it had no choice but to squeeze its suppliers even further. Manufacturers began having to lay off workers and ship their operations to other places to be able to match Wal-Mart's demands. Now, the very people who are shopping at Wal-Mart because of its low prices are the ones who have been unable to find work because of Wal-Mart's practices.

Granted, that's a poorly researched and overly simple depiction of events, but it's true in essence. So how does this relate to publishing?

In America right now, there are only three major educational publishing companies - Harcourt, Pearson, and McGraw-Hill. Each of these school publishers is itself a small division of much larger media conglomerates. And thanks to their clout, they're taking a page out of Wal-Mart's book by dictating pricing to their myriad vendors, on which they depend to produce their products. Their outward goal is to reduce the pressure of competitive bidding in the production of their products, allowing them to focus on service. So what's wrong with that?

No matter what people in the publishing industry would have you believe, book production is not merely a manufacturing business. None of the logic of supply chain management applies. Imagine an auto manufacturing plant that must operate without any idea when parts will be showing up. Their delivery dates don't change, so if the parts show up a day before that date, they have no choice but to produce the order in a day. And if they complain at all about the lack of parts, they're seen as unwilling vendors, unworthy of working for the reduced prices that the car market has said their product is worth.

That is educational publishing. Our parts are the products of the authors and editors that produce the manuscript. And if you've ever tried to dictate terms to a human brain, you can see what I'm getting at.

Currently, the only way to meet these demands for reduced costs is to produce the work overseas. Most of the college and high school textbook markets have been over there for several years now. Primary school books are vastly more complicated than that and rely heavily on a carefully tuned cultural sensibility that simply can't be had overseas, and so have remained mostly in the hands of domestic vendors. But now things have reached the point where price is trumping all else and the only thing left to give in this system is quality.

Sadly, no one seems to care in the slightest.

Parents, read through your child's textbooks at the start of every school year. Go flip through them right now. Odds are, you won't notice anything wrong at all. And that's what allows publishers to get away with this nonsense year after year. Because the simple fact is that most people, unless they are shown two books side by side, will never recognize that anything is wrong. In the absence of what is right, what's in front of us will pass as what's "right."

What's wrong with education in America today?

What isn't?

Tuesday, January 30, 2007

How Does This Kind of Thing Happen, Anyway?

I'm sure that when people hear me talk about my job, they ask themselves exactly that question. Is working in publishing the result of one wrong turn or is it more like death by a thousand papercuts? Frankly, that's a damn good question. I mean, the route from art school to publishing production is hardly a direct one (though it's surpsingly popular, judging by the number of my coworkers who have Fine Arts degrees). The best explanation I can come up with is this:

In every industry, there are two basic kinds of people (okay - three, but we're not counting sales and marketing departments): on one side, you have the "What Are We Going to Do" people. On the other, you have the "How Are We Going to Do It" people. The first kind are the ones that come up with the brilliant ideas. The second kind are the ones that make those ideas reality. Publishing production thrives on the second kind.

Every day, some editor is coming up with a new "brilliant idea" and no matter how idiotic I may think it is, I have to make it happen. Not only that, I have to do it faster and cheaper than anyone else can do it, otherwise my company loses business.

But there is a different kind of reward in doing this job, too. I usually compare it to the feeling of climbing up a mountain - while you're doing it, it pretty much sucks, but when you get to the top of the mountain and look back down, you can say with pride "I did that."

Not the ideal route to happiness and job satisfaction, but sometimes you have to take what you can get. And that's a lesson that all art school grads learned early on. ;-)

Monday, January 29, 2007

Why Are Kids So Dumb?

Even though I've been in the publishing industry for the past ten years, only a small part of that time has been spent in educational publishing. But even in that short time, I've discovered the basic question of American education - how can a process so monumentally stupid ever hope to create smart children?

Let me start with this:

MyFoulPile

My job is to move all that paper from one person to another, from writers to editors to printers and back again. For the record, that's the accumulated paper from only 4 months of work - roughly 50,000 pages of material. And all for a series of workbooks that will be given away free with the purchase of the hard cover student edition reading books that my client is producing.

Why would anyone spend that much on something that they won't make any money from? Because it's textbook adoption time in America. Here's a borrowed run-down of what textbook adoption is (thanks to edutopia.org):

"When it comes to setting the agenda for textbook publishing, only the 22 states that have a formal adoption process count. The other 28 are irrelevant -- even though they include populous giants like New York, Pennsylvania, and Ohio -- because they allow all publishers to come in and market programs directly to local school districts.

Adoption states, by contrast, buy new textbooks on a regular cycle, usually every six years, and they allow only certain programs to be sold in their state. They draw up the list at the beginning of each cycle, and woe to publishers that fail to make that list, because for the next 72 months they will have zero sales in that state."

If you think Hollywood is nothing but a den of ass-kissing sycophants, try taking a look at the textbook world when Texas, Florida and California are shopping around for new textbooks. And the most comical part of all is when a company is trying to develop a program for both ultra-liberal California (where you can't say "snowman") and ultra-conservative Texas (where evolution is still a "theory"). And the best part of all is that all of this material must be produced between the time the last state releases its latest standards list (the list of skills that must be covered and when they must be addressed in a publisher's curriculum) and the time that sample books must be in the hands of the various state Boards of Education - typically three months.

More on this later, though. I'm damn tired right now. All that paper is really heavy.