Two Years in LA, Three Years for 12pt, and Stepping Backwards

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Time flies.

Two years ago I packed up everything I owned into a ’94 Honda Accord and drove 2,118 miles to California in pursuit of a job in the film industry. I had $800 in my pocket (half of which I spent on gas and a couple cheap hotels). I knew two people working in LA, I had a couch to sleep on, and I was determined to make this shit happen.

It’s been two years to the day since I arrived in LA. I got those jobs. Worked hard. Made friends. And I moved from PA, to Producer’s Assistant, to Producer on a daytime talk show. I still drive that ’94 Honda, but I’m no longer sleeping on a couch. I have now upgraded to bed status. And damn it feels good. But I don’t feel like I’ve arrived.

The other day I went to a screening for a movie I worked on last summer. My heart was pounding as the credits started to roll. Then I saw it. For the first time. My name, in the credits of a feature film, in a theater. It was an eye-opening experience. This is what I came out here for. This is the pay off. Watching the film I helped create. This is why I went to film school. This is why I drove to LA. This is why I am here. My mouth agape, a lightening bolt hit me in the face. “I have to get out of daytime TV.”

I hate stepping backwards. I am a producer now. I have that title. But daytime TV and feature film development are two completely different beasts. If I am going to jump over to feature world, I’m going to have to get an assistant job. But the longer I wait, the harder it will be. It needs to happen before I get too comfortable. Before I get a raise. So I have to step backwards. And I have to do it now.

I would rather make the jump and fail, or find out I hate it, than never do it all. If I don’t try I will regret it for the rest of my life. And if it’s something I want to do, I guess it’s not really a step backwards. Maybe in title, maybe in pay… but I’d be working where I feel I’m supposed to work. And what is happiness if not the feeling you’re working towards your goals.

So as 12ptCourier.com turns 3 years old… this is where my adventure has taken me, and I’ve figured out where I need to go next.

Beware The Ides of March!

Three posts in one day! NO WAYOMG.

No idea why I named this post that. I hope bad things aren’t going to happen. I definitely hope I don’t get stabbed 23 times. That would just put a real downer on the beginning of 2012. Even getting stabbed 1 time would pretty much be horrible.

I know I said I would post what I decided to write soon after the holidays. Unfortunately January became a freak out month cause I couldn’t find any work. But I survived again… somehow. Then in February something amazing happened. I worked my first feature! 18 days of ass busting work. Three 6-day weeks consisting of about 75 hours of work per week. It was hell, and I was so loving it. My AD’s were basically training me to be a PA god… and I learned a whole lot. I’m sure I have material for more PA articles now

I came out here to work on features… and I definitely want to work another one. The entire crew was amazing… which is rare. There are usually those one or two people you wish would die in a car wreck on the way to work one morning… Not on this feature. Everyone was a joy. Anyway… that is over now… and the money is almost gone already. Time to look for more work.

On a good note I had some time to really think about writing, and I’ve decided to start working on a dark comedy I’ve been brewing for a while. The feature I worked on was low budget. It probably was in the $1Mil range. I got to see what one could do with a million dollars. Most of the features I’ve been brewing would cost a shit load of money to produce — not usually a good way to break into the industry as a new writer. So I’ve decided to get this dark comedy finished because:

  • It doesn’t have many lead actors
  • It doesn’t have many locations
  • It doesn’t have any HUGE set pieces
  • It could probably be shot low budget and still be awesome.

I feel something like this could sell way easier than my screenplay about a futuristic medieval zombie apocalypse, or the earth building a spaceship to meet the source of an alien message. Even though my heart is set on epic… I need to get to that point somehow. So I’m going to try and be epically low budget out of the gate. I could be going at this completely wrong, but it’s where my head is at.

I hit my first act break today and magically landed right on page 25. That is pretty much an awesome coincidence. I’m writing a vomit draft… so it’s nothing but a crazy person’s thoughts on paper at this point… and the first act break still landed on 25. That makes me happy. I’m going the right direction with this shit, I can feel it.

I’ve been in a caffeine induced haze all day playing make believe and talking with people that don’t exist. Thus the life of a writer. So now I’m going to drink a lot of beer.

I’ll let you know how this venture goes someday in the future. Until then… beware the ides of March!!!

Production Assistant Career Paths: What Kind of Jobs Do You Get?

production assistant career paths

I know I’ve been neglecting this blog. My most humble apologies. Things have been crazy. Trying to find work. Moving into a new apartment. Trying to pay my bills. Surviving my insane move to LA. I’ve been here for a little over four months now, and I am slowly settling in. It’s been an adventure so far, and I promise I’ll continue my life updates shortly! But for now here is my once a month post… 🙁

A reader has a question.

Reader Question:

Hey, I’m a senior year in college pursuing a degree in Communications with an emphasis in Entertainment Studies. As of now I have yet to decide which area of the Film Industry I’d like to work in and in research came across your blog & had a few questions if you don’t mind. First, I have many interests in the field & have been trying to find one to focus my efforts into. My front runner right now is Casting & I was wondering if you knew anything about how Casting is ran or any tips on getting into that area? My other question is about P.A.’s, & what are the different career paths they lead to? Also, how long do most people work as a P.A. before moving on to something else? Would you recommend working as a P.A.?
Thanks for your time!

-Keri

Thanks for the question, Keri!

I honestly don’t know much about the casting department. As I said in my last article on production assistants, you can be a set PA, and art PA, an office PA, a writer’s PA, and yes, even a casting PA.  Just about every department can have a production assistant depending on how big the show is. If you want to get into casting, I suggest learning as much about it as possible and trying hard to get in contact with a casting director or agency and ask about becoming an assistant in that department. Again, it’s all about who you know. Make some contacts in that department and let everyone know what job you want, and eventually, someone will (hopefully) hire you. You have to be proactive.

Production Assistant Career Paths

What kind of production assistant career paths are out there? It all depends on what department YOU want to work in. If you want to be an AD (assistant director), you can work your ass off as a set production assistant and learn as much as possible about being an AD. Eventually, you can start getting jobs as a non-union 2nd 2nd AD, then a 2nd AD, then a 1st AD. Once you have enough days on set, you can get into the DGA and make the big bucks.

BEING A PRODUCTION ASSISTANT DOESN’T GUARANTEE YOU ANY JOB.

The production assistant career path is not like most career paths. There isn’t a standard promotion hierarchy. Being a production assistant helps you learn about the industry by working IN it. It’s WHAT you do WHILE working as a production assistant that counts. You want to work in the art department and become a prop (property) master or a set dresser? Meet the art department on set as a PA and let them know. Then work your ass off and stay in contact with them. Maybe they’ll call you to be an art PA. Then eventually you can start doing set dressing with them once you’ve learned enough about the art department by being a PA. Then you can use that experience and your new art contacts to try and get into IATSE, the union all the art people are in.

Do you want to be a grip? While working as a PA, talk to the grip guys and let them know. Do you want to work in camera? Meet camera people. A PA only becomes what they want to become, and what they work hard to become. It’s not a position that naturally gets promoted to another position.

HOW LONG DOES SOMEONE STAY A PRODUCTION ASSISTANT?

This also depends on the person. There are production assistants out there who are PAs FOREVER. You only get promoted when you actively try to learn other departments and move into another position. I’ve been working as a PA for four months, and every time I’m on set I let the 2nd AD know that I’ve run talent before and worked as a 2nd 2nd before, so they give me more responsibility. I’ve already done a non-union commercial out here as a 2nd AD. But if I want to join the DGA, I could be working as a PA or Non-Union AD for years before that happens. (I don’t want to be an AD).

THE SHORT ANSWER

While working as a PA, find what department you want to work in and let everyone know. Meet and stay in contact with as many people in that department until they give you a job.

WOULD I RECOMMEND WORKING AS A PRODUCTION ASSISTANT?

Only if you’re serious about working in the film/tv industry. Being a PA honestly sucks ass. It’s not a fun job. You’re on set before everyone else, and you’re the last to leave. You’re the last to eat lunch. You’re usually working nonstop for 12-16 hours. If you sit down, you get yelled at. Don’t dare use your phone while working. You are a machine that does what you’re told without question. The only reason I’m doing this is because I love the field I’m working in, and I have a strong desire to move up. Nobody likes being a PA, but it’s necessary to get where you want to go.

Now I have to go to bed because I have another 12 hour day tomorrow.

Until next time…

Reader Question: Moving to LA with Nothing

Right after I posted the last article about not having work for 4 weeks I got a gig. Holy shit did I get a gig. I ended up working 10am-6am straight. The lord answered my prayers for work… and then almost killed me. I’ll write more on that experience later. For now, I got a reader question.

Tiffany writes:

I am a PA in Detroit, who just happened to come across your blog. I’m very interested in your entries.. I see that you moved to LA, and said that you had the gas to get there, and your GPS. How’s it been going for you so far? Have you really had to sleep in your car? The past few months I’ve been trying to figure out a plan to get out of Michigan, and get to LA (I have a friend there that is taunting me to get there sooner, also). I am hoping my friend will be able set me up with a job when I get out there, but he’s not sure he will be able to.. Just wondering how realistic it is to head out there with practically nothing. Hope to hear back from you.

You’re right, I did basically come out here with nothing. Honestly I would not advise anyone to move to LA without a plan and some cash. I know that I came out here on a whim, and I’ve survived so far, but I knew that I had a couple couches to sleep on, and I had at least one person willing to set me up with some work. I came out here with about $1000. I spent roughly $300 on gas and a couple nights in a cheap hotel. The rest is already gone. Luckily I’ve gotten a few jobs since I arrived to help pay bills.

If you don’t have couches to sleep on, I would recommend saving up three months of living expenses minimum before you come out here. I’ve even heard of people not landing a paying gig for 6 months. It’s really hard getting work without knowing people.

How have I been surviving on such little work? I find places to sleep for free. I sleep on floors and couches. I eat PB&J and Ramen Noodles. I don’t drive unless I have to. I’ve been doing this for two months. Hopefully I will start getting enough work soon to be able to get a little more situated. Kiss your social life goodbye.

If you plan on coming out here without a lot of savings, be prepared to live like a bum. You have to be a little bit crazy to live this life. A ton of people come out here to do exactly what I am doing right now, most of them end up going back home.  As Josh Dobkin says,

It’s outlast and outshine out here.  If you really want it bad enough, put the time in and don’t cave under the harsh environment like everyone else, you’ll rise above the muck.

It can be done. People do it every year. Most of them end up going home. If you want it bad enough, you’ll survive.

Being Busy Not Being Busy

I haven’t posted in a week.  It’s because I’ve been on an extended period of downtime… and it sucks. It really blows.  I’m one of those “work-a-holic” types, and my patience is being tested. I’m so restless. I sent out 26 resumes last week to countless black holes. An Assistant Editor job I was in the interview process for got put on indefinite hold.  A Set PA gig on a commercial got bumped to next month.  The people I have worked for in the past don’t have anything for me at this point in time.  I needed to find SOMETHING to keep me busy, and feed the work-a-holic inside me — so I started another blog.  I know, I should be writing my feature.  I am doing that as well. That’s one good thing about downtime.  I wrote a new horror logline, I’m developing a treatment for an adventure film, and still switching between writing two features.  I know… I just need to finish one of them and get on with my life.

A couple friends and I have just launched a movie news blog.  It keeps me busy while I’m not working and, an added plus to running a news site, now I know everything happening in the industry.

On a good note, I made a couple new contacts, had a phone interview with a company that may bring me some work, and talked to a 1st A.D. who added me to the interview rotation for a PA job on a TV show. Should hear back from her in about 3 weeks.  Fingers crossed.

Oh… and I discovered MineCraft, Portal 2, and I’ve done some catching up on Parks and Rec.

So I guess what I’m trying to say in this post is, USE YOUR DOWNTIME. Stay busy when you’re not busy, you never know where it might lead you.

Tips for a Production Assistant: Working for No Pay Part 2

“The Slave Ship” by J.M.W. Turner – The practice of eighteenth century slave traders who would throw the dead and dying slaves overboard during the middle passage in the Atlantic Ocean in order that they might claim the insurance for drowning.

I did a post a little while back about Working for No Pay. I still think this could benefit you IF you think there is an opportunity to work with great people who could possibly help you get PAID in the future. I did it, and it worked well for me. However, there are people in the industry who don’t give a shit about you. I was just on Mandy.com and I ran across a this:

All interested PA must reply with a resume and picture.

Are you kidding me?  Since when does a Production Assistant need head shots? Oh yeah… since RACISM and SEXUAL HARASSMENT.

All PA’s must be available both dates and must possess the following qualities: Reliable, Dependable, Enthused with with productions, Must have transportation to and from the facilit, Ability to work well in a fast pace invironment

OK! Where to begin?  First, notice their complete lack of ability in spelling words. Second, I’m not entirely sure there is a difference between being reliable and dependable. Third, even though these are traits that any good Production Assistant should have, I find it a little insulting to be demanding these things of someone that you’re NOT PAYING!

All PA’s will be required to sign an agreement confirming their committment to the project.

Yes. Let me get right on that. Idiot. Also, despite what you may think, not everyone jumps at the opportunity for IMDB credit and free food. Last time I checked, Nationwide wasn’t accepting leftover chocolate covered espresso beans or roasted seaweed snacks as payment for my premium car insurance.

Just be careful out there when accepting any lo/no/deferred jobs is all I’m trying to say.

Cold Calling for Work: Tips for a Production Assistant

I had three production assistant jobs last week.  Two of them were for a producer I did a free gig for (she’s incredible), and the other was a small commercial shoot, for a friend of a friend.  How many shoots do I have this week? A big fat ZERO.  I guess that’s just how the industry goes sometimes.  Slammed one week, nothing the next. Now that I’m not working, what am I doing? Feverishly checking my inbox every 5 minutes and looking for more work.

SPEND THE TIME YOU’RE NOT WORKING LOOKING FOR WORK

As I sit down and write this, I’m already working on my third cup of coffee, and I’m taking a much-needed break from the horrible process of cold calling random productions. Before taking up this wretched task, I sent everyone that I worked with on my last job an email thanking them for the opportunity to work and letting them know what my availability is (which at the moment is, ANY TIME!!).  So, now that I’m fresh out of contacts to email… here is where the cold calling begins.

COLD CALLING PRODUCTIONS

Basically, this process involves finding every single production in town (search for the UTA job list, use IMDB pro, etc), tracking down the number for each production company, calling said companies to ask for the “production office” phone number for the specific show, calling said “production office”, and asking if they’re currently hiring production assistants. If they say “yes”, or “i don’t know” then I get their black hole production office email address, which will more then likely never be checked, and I send my resume in.

I can’t help but feel like this is a lost cause.  The people I’ve spoken with, always sound like they have no idea what is going on.

Me:  “Hi, my name is _______.  I was wondering if you were hiring PAs?”

Them:  “Umm… I think we’re all staffed up, but you can send your resume to BLACKHOLEOFRESUMEDEATH@usuallygmail.com.”

So, who can help me in this situation?  Do I try and force the person on the phone to get me in contact with the 2nd A.D. or the production Coord? I need a cold calling master to train me in the ways of artificial sweetness and unflinching persuasion.

What’s the best method you’ve found for obtaining info about the productions in town and their respective office numbers? Right now, my process consists of vigorous google searching, followed by determining whether or not they’re shooting in LA, followed by IMDB Pro research, followed by telephoning the production company and asking for the show’s specific production office number.

In the meantime, I’ve created a google docs spreadsheet to keep track of every production I call, as well as; when I called, the office number and email, who I actually spoke with, and when I should follow up. This will help me keep track of the madness I am currently throwing myself into.

[Updated: 10/24/13]

I’m going through some of my old posts cause I’m sitting at the production office at 10:00 pm bored out of my mind and I couldn’t help but laugh at this post. I am now that person on the other end who sounds like they have no idea whats going on. I am that person who directs you to the black hole email address… and it really is that simple. Either I’m going to say we’re all crewed up, but feel free and send us your resume, or I’m going to say something along the lines of “I THINK we’re all crewed up” because I really don’t know the needs of people until the minute they’re brought to my attention. If someone is suddenly like “WE NEED A PA!” Then I’ll be like, “Great! I have a black hole email address filled with PA resumes.” Then I SCAN through them quickly, pick out some winners, and give them to whoever asked.

In short…. it’s VERY hard to get a PA job this way. And it never worked for me. If you want to know HOW to REALLY get a PA job. Check out the rest of my blog. Click on the “Tips for a PA” category on the side.

Weird being on the other end of things.

Also, check out:

Interview with Screenwriter Josh Dobkin

In January of 2009, Josh Dobkin and his writing partner Sean Wathen sold their spec script The Field to Stone Village Pictures.  I interviewed him briefly in 2010.  Here is some of his advice for an aspiring screenwriter.

What advice would you give an aspiring screenwriter that’s looking to get a job in the industry?

If you want to be next to writers, you need to be close to producers.  And that means either being a PA on a production, or finding work at a production company… which I HIGHLY RECOMMEND! You want to be close to the gate keepers, because as a writer, that is KEY!  Being where scripts are granted life, or executed to a slow miserable death, is where you want to be.

So, my first word of advice would be: go get a job or internship, at either a production company or management company… agency maybe, but unless you want to be a suit, pass on getting abused by the future “Ari Golds” of America.

And that of course, means moving to LA.  So that is actually my first word of advice. But do it with a game plan. Save up some cash, visit, network online, all that jazz… and thennnnnn… make the move out here.

It will be several months before you land a paying gig in the industry, and this place is expensive to live.  So come out strapped with a couple thousand in the bankroll, and hit this town like a freaking maniac!

It will be hard, and will test your will to continue a path in the entertainment industry. If you can keep chugging ahead without having your hopes and dreams crushed, you’ll land a paying gig.

What is your writing process like?  Do you outline?

My writing parter and I outline a pretty detailed path before we start on the script. Some people do 60-90 page treatment… fuck that.  Just write a script if you’re that thought out already.  Put your beats down, what needs to happen, and who it needs to happen to, and go from there.

If you’re too detailed going in, I think the words seem stale. Probably because the writer has been writing the same shit in outline form, for 6 months.  It feels good to feel the flow and unpredictable nature of a writer’s voice.

So I’ve written my spec. Now what?

I wish I had a magic answer to selling a script, but I sure as shit don’t. And no one does. Anyone that tells you otherwise is a fucking liar, or a thief, because more than likely, it’s one of those jerk-offs teaching a seminar for $200 that hasn’t sold shit!

WRITE YOUR ASS OFF! Thats the key to selling a script. You might hit a home run on your first bat… unlikely, but it happens. When you finally close the page on a script that you 100% think is rockstar solid, set it aside for at least 6 months, and write something else.  And while your waiting for 6 months, start reading scripts of sold material…

NOW, come back to that script 6 months later, and tell me how good it is. If its still a rockstar, go solicit a manager/agent, and sell that fucker – ’cause you got a gem!

What is the most common mistake you see aspiring screenwriters make?

The most common mistake writers make is they don’t write, and when they do, it’s shit… and they think its GREAT.  I’ll even admit to that fault.  I just went back and read my first draft of The Field… and it BLOWS!

Any last advice?

It’s outlast and outshine out here.  If you really want it bad enough, put the time in and don’t cave under the harsh environment like everyone else, you’ll rise above the muck.  If you’re writing is solid enough, you’ll succeed.

So there you have it! Advice from a selling screenwriter. Take it to heart, and keep writing! You can find a more in-depth interview with Josh over at Done Deal Pro.

Work for Free – Hard Work and No Pay | Tips for a Production Assistant

work for free

SHOULD YOU WORK FOR FREE AS A PRODUCTION ASSISTANT?

I’ve been in L.A. for a week now, and I’ve already finished my first gig as a set production assistant. It was two, hard, 14 hour days of running around and working my ass off! I didn’t get paid a penny. (But I got a lot of free food.) Luckily, my hard work paid off, and the producer said she would be calling me back for some PAID work very soon! (UPDATE: She ended up giving me $900 worth of work two weeks later. SCORE!)

My first bit of advice for those looking to break into the Industry as a Production Assistant: Work for Free.

Some people are EXTREMELY against working for free. I understand this mindset if you already have your foot in the door and have all the skills to become a paid worker. However, if you’re just starting out, and trying to break into a VERY competative field, it can be smart to work for free. Why? Because when it comes to being a production assistant, it’s all about making connections with people who can hire you. And you can’t make those connections unless you’re on set (or in the production office) meeting people!

Take any job, even if it’s for no pay, and work your ass off.  People do notice. You wouldn’t believe how many lazy people are out there. Getting in is the hardest part. Once you’re in, if you work hard, you will get more work! If someone asks you where something is, don’t just tell them where it is, retrieve it for them! Always be on the lookout for someone who needs help, and periodically check-in with your supervisor to see if you can make their life more comfortable – in any way possible!

HOW TO MAKE A GOOD IMPRESSION ON YOUR FIRST PRODUCTION ASSISTANT JOB (TO GET HIRED BACK!):

1. NO COMPLAINING!

Once you’re on set, you will quickly notice that every person doesn’t like someone else on set – and they ALL want to tell you about it! My advice: Listen to everyone, repeat nothing! By listening to everyone else bitch-and-moan, you quickly become a trusted confidant.  If you end up bitching and moaning, you’ll just become one of those people who… well, bitches and moans.

2. BE FRIENDLY!

When there is downtime on set, engage people in conversation. Learn about everyone. Relationships are more important than “connections” so work on building them.  People are more willing to hire someone they like to be around, instead of that guy who works really hard but is also a dick (and there is ALWAYS one of those guys).  Try to have at least one personal conversation, with everyone on set.  It will come in handy later.

3. LEARN EVERYONE’S NAME!

Study the call sheet if you have to! This is really important. As a production assistant, you will be on the walkie a lot. It’s hard to call someone on the walkie when you don’t know their name. Plus, calling someone by their first name makes them feel like they’re important to you. Trust me; it goes a long way.

4. SEND FOLLOW UP EMAILS.

Bring a call sheet home and email everyone you worked with. Tell them you had a great time working with them, and that you hope you get to work with them again soon. Make the emails personal. Remember that one personal conversation I told you to have with everyone?  Reference that conversation in your email.  Tell them that you hope their cat starts to feel better, or whatever, and that if they ever need a hard worker, they shouldn’t hesitate to call. Attach your resume for their convenience. People love this. Again, it’s all about building relationships.

These are four easy things you can do to help you get a paid job after working for free.

Have you ever worked for no pay? Did it pay off in the end?

My L.A. Road Trip

Saturday evening I said goodbye to my middle-of-nowhere Tennessee town, got into my fresh oil changed ’94 Honda Accord, and left my old life behind. Around 11:00 pm I started my road trip. Two days, seven states, and 2100 miles later… I am now officially in the greater Los Angeles area.

Besides the high gas prices, the trip couldn’t have gone more smoothly. I had no car problems, no traffic, and no tickets the entire way here. I got out of Tennessee and into Arkansas my first night, and stopped to get some sleep around 6:00 am. Woke up around 11:00 am and started again.

The worst part of the trip was driving through Oklahoma. Holy crap that place sucks! It was a one lane highway and road construction – all the way to Oklahoma City. After Oklahoma City, things got better. The roads cleared up, and the scenery was more comfortable on the eyes. I even got to see one of those giant wind turbine farms! The weather was beautiful, so the windows were down, and the music loud.

The drive through Texas was the color brown + cows. I have seen a lot of cows in my life. My house in Tennessee had cow fields on two sides. But I have NEVER seen more cows then I did in Texas! There must have been a million one field I saw! That’s all I can say about my Texas adventure. Although, the last stretch of Texas just before hitting New Mexico was kinda nice. It became more “deserty” and less “brown fields.” The sun was setting in front of me, the windows were down once again, and classic rock was blaring out of my speakers. It was about an hour of pure road trip perfection.

It started to get dark when I hit New Mexico. New Mexico and Nevada have 75 mph speed limits instead of 70 mph. That was a plus. Driving through Albuquerque at night was interesting. Everything in that city lights up in different colors. I felt like I was driving through Disney World/one giant Indian casino/modern art museum.

On the Indian note… starting in Oklahoma, and going all the way through Arizona, is nothing but Native American Tourists traps EVERYWHERE.

I stopped somewhere in New Mexico around 11:00 pm. It was snowing. It was over 90 degrees a couple of hours earlier in Texas, and now it was snowing in New Mexico. When I got to my room and looked in the mirror, my eyes were SUPER red. The hotel woman must have thought I was high as shit. I also think I was hallucinating a little. Driving long distances does weird things to the brain. I immediately took a hot shower and passed the fuck out. I slept for about 8 hours and then started again.

Arizona was an exciting drive. They have cool towns with names like, “Two Guns” and “Twin Arrows.” Stopped in Flagstaff for some gas. Held the door open for an old woman, and then continued on my way. (OLD PEOPLE LOVE ARIZONA) It was quite chilly outside, but the scenery was pretty. The last stretch of Arizona featured a drastic elevation drop that was fun to speed down.

After driving through Arizona (forever) I finally hit California. As soon as I crossed the Cali/Arizona border, it felt like the temperature rose 30 degrees. Then the song Born to be Wild came on the radio. After I told the border guard that I wasn’t harboring any fruits or vegetables, I started driving through The Desert. The Mojave is a beautiful place. By now I had shed my high elevation driving clothes and was applying sunscreen to my left arm (It already had a nice sunburn from earlier Oklahoma driving). I set the cruise control to 80 mph (Cali goes back to 70 mph speed limits), and I don’t think I had to touch the brake or gas pedal for over an hour. Very beautiful, relaxing drive.

The relaxing desert drive continued until I started coming up on Barstow California… then it just got shitty, real fast. All of a sudden the hot desert wind didn’t feel right. It felt like I just walked into a hot port-o-potty. I paid for my $4-a-gallon gas and headed up towards Riverside/Loma Linda. And that’s where I am now, staying with some friends/family.

Overall, I’d say the trip was a positive experience, but one I wouldn’t like to do again anytime soon.

Keep checking back as I update you on my existence. I just became a small fish, in a vast pond.

What’s the most extended road trip you’ve taken?