Price Check

6 Nov

One question that I get asked a lot is this:  How much do I charge? That’s a good question because, well, I charge.

The next thing on many of my clients mind is why is it that charge.

Well, I’ll get into it to the best of my ability (which sometimes can be quite lackluster, just to let you know).

I think (at least starting off) one of the more difficult decisions as a freelancer is how much to charge a person/client for your work.  I mean think about it – you COULD, if you wanted, draw anything for any amount.  And actually, that’s what’s great about being a freelancer.  You are the decision maker.

Now, that being said, I’ll explain my approach to pricing.

This does vary as the market adjusts or I may have more ample free-time, however, this is a broad overview of how I generally price my work.  Take it as you will.

First off, as I mentioned, when you first get started freelancing, pricing is difficult.  On one end of the spectrum, you don’t want to scare away a client with a mega-outrageous price tag.  On the other hand, you don’t want to sell yourself short.  The way I started was this:  I didn’t charge a higher rate than many competitors.  Some illustrators may disagree with me on this decision, but when I first started building my portfolio years ago, I had a more discounted rate than what the standard market was so I could build up my credentials.  I think it paid off.  I didn’t sell things for DIRT cheap (like you would find on websites such as Fivver or Odesk) but I had a fair – but lower – price than other illustrators.

Now that I’ve been in the game awhile, this is how I price things.

For one, I can be expensive. I would be doing myself a disservice and other illustrators as well if I sold my work for dirt cheap.  How do I get away for charging so much?  Well, one gets what they pay for.  I’m a professional, provide professional work and have a very strong work ethic.  If someone who hires me enjoys my style and humor, than I believe 100% it’s worth it.  I don’t rip anyone off, but charge what I feel is fair. That being said, what is “fair”? There are guidelines I set for myself.  As my own boss, I get to set the price tag and I go with more of an feeling of what is fair for the client and myself. There are factors involved.  For example, if it’s going to be continuing work (like a weekly comic or monthly greeting card), I will have a lower rate than if I just produced one illustration.  Why?  Well, it’s continuing work.  I would much rather give a great discount for something that is going to continue to bring in business.  If it’s a one-time deal, well, the rate will be higher.

I also look at what the rest of the industry charges.  No, I don’t go directly off the guidelines, but it’s good to know from a negotiation standpoint when a potential client contacts me (a good source to find out what the current market value for things is The Artist’s & Graphic Designer’s Market).  I can always mention (especially if they think I’m charging too much) that the industry standard is THIS and I’m charging you THIS.  See, you’re getting a good deal!  Often times you’ll run across someone that thinks art is free or shouldn’t cost much, so it’s good ammunition to have for protection.

When I mention I can be expensive, I say that in regards to illustration work IS expensive.  So, it can cost a lot. I’m mindful too that customers have their choice of illustrators.  There are numerous professional illustrators out there (and I do mean professional), so I’m not exceeding them regarding price.  But they will tell you too that they can be expensive.  Depending on who it is, a LOT more expensive.

Another biggie to base rates off of is use.  WHO is going to be seeing my work?  Where is it used?

If, oh – let’s say Pepsi – wanted an ad done, I would probably charge a premium amount.  If it was an ad for a local mom-and-pop shop, it would be much lower.  Both ads might even take the same amount of time to produce, but it’s just the way illustrators work (and if I wasn’t happy with the lower rate for the mom-and-pop I might pass on the project).  And you have to keep in mind that – hopefully – this ad would bring in much more money for the company than they paid me to produce it.

And speaking of time, that’s something else I add into the mix.  Is this going to take a lot of time?  I may think of an hourly rate for something like that (which I am $35 an hour, typically).  Plus, do they want it NOW or in a year.  This can play a role in determining a price.

Also, a HUGE determining factor is the client.  I’ve almost taken work with some clients, and then they prove difficult before I even sharpen my pencil.  If there’s no contract involved and I get a funny feeling about working with someone, I will kindly pass.  Again, I get to make these decisions.  This is more of an instinct.  Difficult clients will always come along, but I have a good judge of character (at least I think) and I don’t want to work with someone who will eat up all my time and frustrate me. With that in mind, if the price is right, well – I might sacrifice a few headaches and do the project anyhow.  Generally though, I work with nothing but good people (currently, all my clients are awesome people!).  That’s my standard.  And it makes for a much more brighter day.

Pricing is something any freelancer has to get used to because you WILL get asked, “How much do you charge?” Some good advice is, if you feel good about the amount, go with it.  If you make it too small of a number, you’ll be miserable working on that project.  If you go too high, really make sure it is a fair amount.  Or, if it’s a project you really don’t want to do, you can raise the price to an outrageous rate thinking that this will keep them from hiring you.  And if – surprise! – they accept that rate, well – it might be worth doing.  That might pay for a lot of Advil for the headaches.

Just don’t sell yourself short.  Sure, I’ve done FREE things for people as gifts and such, but never work for exposure.

And negotiating, in my eyes, is okay.  Again, just feel good about it at the end. Sometimes, I actually draw for fun.  An example of that is my new blog, Drawing Around Dayton.  I draw different people and places – but I don’t charge a dime for doing this.  Also, there might be an occasional illustrations to promote yourself (like doing a guest comic or something for someone) or maybe charity work.   Anyhow, it’s your decision.  Just know that you have to pay the bills, so eventually, you WILL have to have paying clients (if you want to stay a freelancer).

Every so-often there are times I’ll offer a big website or social media page use of a comic.  In return, they link my work and it gets a lot of attention.  This is different than exposure.  I consider this advertising.  Exposure is consider a lot of people will SEE your work, but won’t take action – as in contacting you.  Comics can work as ads, but just be careful in doing this and make sure they follow your guidelines with it.  I’ve had celebrities and other giant social media pages (I won’t name names here) share my work without a bit of acknowledgement.  Use your own judgement on this, but I’ve gotten paying clients off of my “ads”.

That pretty much sums up my illustration pay scale.

Areas I’m NOT going to get into are when someone uses completed work or licenses out a cartoon.  This post is regarding work that hasn’t been completed yet and clients.  If there’s already comics that are done and want to be used, I have that happen regularly, and that’s a different topic.

If you’re an illustrator, I hope this helps!  If you’re not an illustrator, well, I hope you now know a bit more of how we (or I) operate.

There may be sticker shock and more, but I believe that illustrations and cartoons can convey a message like no other medium and depending on what the project is, can often earn back well more than the amount spent on the drawing. Illustrators – just be bold, brave and don’t worry about saying a number to someone who asks, “How much do you charge for that?”  Say a number…and leave it at that.  Don’t tip-toe around it.   If they don’t like the amount, maybe negotiate if it’s worth it.  If not, then kindly pass.  There’s no harm in that.  I’ve yet to have someone call me jerk for not accepting a job.

So, go ahead and ask me how much I charge.  I’ve got an answer (hopefully).

Drawing All Around

25 Oct

There’s been some drawing happening here.  Quite a bit of it.

Okay, that’s a pretty obvious statement considering I’m a cartoonist.  However, there’s been a lot on the drawing board recently.  Everything from a new car wrap for a client to wine labels.  Oh, and my normal syndicated material and stuff.  On top of that, I have new ventures I’m working on such as a graphic novel and short graphic stories (I think that’s the right term for them).  I’m anxious to get all of this out there in the big, bad world.  Honestly, I could draw 24/7 and STILL not have all the work that I want to accomplish done.  Yes, as much as I love getting out and doing things, I always feel guilty for not getting projects done at the same time.  That’s why I limit myself to the week for work and then weekends play.  However, I sneak a few sketches or coloring in each weekend from time to time.  Plus, things like these occasional blog post.  Oh, and one more thing….

A fun and exciting project that DOES take place on the weekend and is technically work is the new site, Drawing Around Dayton.

Drawing Around Dayton Hi-res

I have a new partner with this project, Brandon Snell, who has been writing a lot of the articles.  Also, he’s an interviewer and much more.  Basically, he finds a lot of the places that I draw.

What am I talking about?

Well, when I launched Drawing Around Dayton in September, I made it mostly about – well – me.

I was going to feature all the art I do in the area and comics.  And I did.

That premise is fine and dandy, but not as exciting for myself as I thought it could be.

Brandon came along and helped change that.  We thought of a cool concept of visiting local establishments, interviewing people (on camera) and then writing about it.  My job at the end of the day then was to draw the place we visited.

So far, we’ve gone out to two different places – a bar and a brewery.

That is rapidly expanding though.  We have people and other places we want to feature in the area.  At the time though, so far it’s been rather fun going to these establishments and meeting people (and having a couple of drinks while we’re at it).

Drawing Around Dayton is growing pretty quick.  The last place we visited proved to have peeked an interest.  We had quite a few hits to the site.

We’re working on developing other features for it as well.  Heck, I might even throw in a cartoon or two here and there.  Anyway, it’s fun to grow it and learn along the way.

And there you go.  Yes, I take the weekends off, but technically, now I have a good excuse to work on them as well.  It’s fun.  If I had a few more limbs, I could probably post about it all day (those limbs would have to be a few pairs of hands and fingers so I could type).

Here’s my own plug for it, but go visit Drawing Around Dayton.

And are you from around here?  Are you an artist, writer, restaurant or bar?  Let me know!  I might come over.

Back to the drawing board.

LIVE Q&A with GoComics

20 Oct


Do I like pizza?

How about donuts?

Why all the questions about food?  Don’t you have any information about your cartooning?

Well, if you itching to ask me ANYTHING, your chance is coming up.  My syndicate, Universal-Uclick is hosting a live Twitter Q&A with me THIS upcoming Friday, October 24th at 2:30 EST.  It should be a good time and I’m looking forward to it.  I’m not 100% great with Twitter – but no worries – GoComics is moderating the whole thing, so I can’t screw it up (hopefully).

The best way to get involved is to have a Twitter account and then follow GoComics ( or myself (

Hopefully I won’t be asked just food questions, but hey, you never know with these kind of things.

P.S. Please feel free to steal any of the badges on here and spread the word!


Cya there!

My Extrovert/Introvert Teeter Totter

15 Oct

One part of my life that I’m not 100% certain about is this:  Am I an extrovert or introvert?

Knowing this is something I don’t think many people DO know about themselves.  Or, they never asked themselves that question.  Well, I have always wondered.  And I’m still a bit confused about what the heck I am.

In college, I took a quiz one quarter that was based off this.  In fact, a big chunk of the class was focused on personalities, who you are, etc.  At any rate, after taking the test, it told me I was an extrovert.

Okay, that makes sense.

Listen, I love to go out and have fun.  Weekends, you typically won’t find me at home.  I like getting together with friends and family.  After all, being cooped up in a studio all week, the urge to get out is the dominate thought in my brain when Friday afternoons hit.

But, there’s that other side of the coin.

I am not always comfortable going to parties.  I tend to tense up and get nervous during business meetings.  I work my best when it’s me, myself and I.  Plus, during the week, I really do not enjoy getting out at all.  I’m very content staying at home, working on my cartooning, art, writing and eating any leftovers in the fridge.

(But, then again, I do enjoy parties.  Ugh.)

So, what am I?  Extrovert or introvert?

Let’s throw out that test I took in college and judge things by the way they currently are.

The thing about me is I don’t seem very consistent with a lot of my behavior.  Sometimes, I can give a shining first impression to someone that I meet for the first time; smiling, chatty and all the above.  Other moments, I tense up.  I’m feel like my first impression was a complete bust.  I am quiet, nothing to say or – even worse – I say something that is totally not even remotely interesting.

I’m also either very hyper or very laid back.  More along of the laid back part, but still….

I wouldn’t call myself talkative.  I can with friends and family, but that’s after getting to know someone for quite awhile – usually.   Again, that’s not always the case.  Sometimes I can mingle for hours with someone I just met.  But, that rarely happens.  Also, I’ve had previous day jobs in the past where I would do nothing BUT talk and mingle.  Other day jobs, I’m as quiet as a mouse.  I think that depends on the environment a bit, but that always baffled me.  I was the same way in some courses at school.  Either all or nothing – talk or no talk.

What I don’t like is an assumption I’m a quiet, introverted because I’m an artist/cartoonist.  I think most people assume that since I work alone.  Nope.  In fact, most colleagues of mine seem to be like me a bit more in regards to having fun, talking and being WAY out there.  So, I like to dismiss that theory and sometimes I think I just act like an introvert to do so (fooling everyone).

The main question is:  Does it matter?

I don’t think it does.  I DO think that uncomfortable situations are a good thing to confront and hopefully get better at.  I’m thinking about joining a local group that does public speaking.  Why?  Well, though I have taught classes, talked in front of people with ease and have had experience doing so, I feel that I lag in that department.  I still think about it WAY too much than I should.  The idea of doing it makes me nervous.  Usually, I can pull-it-off okay, and it’s a great high at the end of it all.  However, the build-up for it is always too tense for me.  So, I think it’s important to practice doing things that are not characteristics of what you would generally do.  After all, I want to do some book signings and talks when I complete my graphic novel (wink, wink).

However, I also believe it’s important to be yourself.

If I chatted all day, I can assure you you would see very mediocre work on my end.  My comics would be – well – probably awful, and I wouldn’t be near as productive.  Though I might please other people by “being out there”, I wouldn’t be content with myself or my work.

At any rate, again – not sure if it even matters – but when do a self-evaluation, I’d say I’m probably about 60% introvert and 40% extrovert.  I think that college test was a bit off.  Or, maybe at the time, I just wanted to prove I was an extrovert to give all those naysayers a different answer when they think I’m some quiet cartoonist (like I still do at times).

It seems like if you are in a creative profession, more often than not, you need your space.

If you want more light shed on this subject, there’s a pretty good TED talk from Susan Cain you should check out (especially if you know you’re an introvert) by clicking HERE.

I’m not certain what I am, but I guess I’m happy that I have a bit of a combination between the both.  I guess I’m kind of like a supreme pizza – a variety of toppings.  Actually, make that Lucky Charms (the combinations of marshmallows and cereal is quite delicious.)

At the end of the day, if I fell in one category, I’d probably label it a Extro-Introvert.  Either way, it works.

17 Caricatures Project

12 Oct

One piece of advice that I can give any cartoonist is this:  Get away from your comfort zone as much as possible!  Seriously, I was in a cesspool of mediocre work of mine for years until I learned this.  You can’t just stay stagnant.  Trying new things – whether you like it or not – helps.  Even learning to paint, use Photoshop, drawing with crayons, etc. is great to develop your own style.  The more you know in general, even if it’s stuff you’ll never use (like math) makes for a better artist.

That being said, I used to be anti-caricature.

I didn’t enjoy doing them, I didn’t think I was good at them and so – I basically passed on almost all projects that included them.

Recently though (this past year) I’ve started created them more and more.  And I’ve had several clients hire me to do them.  The results?  Well, happy clients.  I discovered people don’t hate them and actually, they can be quite a bit of fun to do.

I’m not a Tom Richmond when it comes to OUTSTANDING caricature.  I compare my work more along the lines of The Simpsons.  You know how when that cartoon series gets a guest star on, they look ‘Simpson-ish’, but yet still distinguishable of that person?  That’s more of how I would describe my caricature work.  Much simpler and cartoon-like.

Anyhow, as long as my clients are happy -  I’m happy.  And so far, everyone that has hired me to do my particular style of caricatures really have enjoyed them.  I’m pleased with the work as well.  Yes, I strive to be more of a Tom (Richmond, that is), but also think there’s something to the simplicity of my work that is great for certain projects.

I thought I’d share a recent project I drew for a printing company based out of Norway.

They wanted me to draw their employees – seventeen of them – to be used as wall art.  The work is going to be enlarged to life-size via a Vector file.  Basically, the main contact person sent me 17 photos of the various employees.   No, they weren’t all together, so my job was to put them all in one image and make it work.

He (the contact) gave me some great insight on who was short, who was tall, who did what and so-forth.  I also included some of the materials that they used on a regular basis (printing stuff, computers, etc).  The goal:  Caricatures of their workplace.  For now, just a black & white image.

I love challenging work and so I was anxious to tackle this job.  I thought, in the process, I would document it so I could explain how I went about doing it all.

The first step was printing out all the separate images of the employees.  In respect to the client, I won’t show you their actual photos.  At any rate, I printed those out in black & white (since that was all I was doing) and also printed out various images of their workspace.  Yes, I had a pile of papers to contend with.

I then took his visual advice of who was taller/shorter and worked that part into the image.  So, basically I drew just outlines of where images would go on the paper so I could fit all seventeen people in there.


Next was putting the actual people in here as a rough sketch.


When I do a rough sketch, they are VERY rough.

I added a lot of elements like an old printing press, printers, etc.  When this above rough was done, I sent it to the client.  He wanted it more modern and less crowded, so I removed several items.


I sent off the above sketch, and the clients wanted a few things removed and changed.  I made the changes and came up with this final sketch (below).


They were happy with it, so then the inking began.



After inking the entire thing, I scanned it into the computer, cleaned it up and added several black areas that I felt would enhance it.

And this was the final result.

Johan A - Z FINAL

Another point I want to make is ALWAYS take any kind of adjustments, reworks, etc. from clients as a complement.  Sometimes clients think they’re annoying me when asking to make changes.  I like when they ask me to because that way I know it becomes perfect.  I offer my own insight as well on what I think works, and if they suggest something I don’t think is good to do, I’ll mention it to them.  At any rate, it makes for a happy customer at the end with patience and working well with the person who commissioned the work.

So, this was my big seventeen caricature project.

I had a great time working on this and glad again that I learned awhile back to get out of my comfort zone of just doing things I wanted.  A few years ago, I would have never tackled something like this.

The only comfort zone you should stick with when cartooning is your stool.  If it’s not comfortable, get a new one.  The whole idea is to spend as much time at the drawing table as possible, right?  Happy Hiney = Happy Hand Drawings

Cartooning Runs in the Family?

9 Oct

To whomever thinks I learned cartooning without any natural ability, well, you might be wrong.  In fact, there’s a good chance I inherited the bug to do this line of work.  From who?

Several weeks ago, my dad, who lives in Alabama, came to town for a visit.

One of the things he’s doing now (since he’s freshly retired) is cleaning out his closet.  You know – pitching unnecessary items that seem to take up space.  I can’t blame dad for that because I’m the same way.  I tend to pitch things that just don’t make sense to keep.  That used to include bills (until I learned I needed to pay those).

However, some things are worth saving.

He brought with him a box of belongings to see if I would like to keep them and save them from the dumpster.  I definitely wanted to see what he had, so I checked out the box of goodies.  Besides, I didn’t want him filling up his dumpster anymore.  (I already heard it was getting full.)

Unbeknownst to me, dad – at one time – was a cartoonist!

After all these years, I had no clue.  I never saw any of this stuff.  Ever.

No, he didn’t do them professionally or take it to what I’m doing.  However, I believe if he would’ve kept at it, well, he could’ve been the next Gary Larson (it’s not too late, dad).

He did get them published in the school paper.


So, with his permission, I wanted to share some of his comics.  It’s funny, because I notice a resemblance in some of my work with them.

IMG_0115 IMG_0116 IMG_0117 Scan 1 Scan 2 Scan 3 Scan 4 Scan 5 Scan 6 Scan 7 Scan 8 Scan 9 Scan 10 Scan 11 Scan 12 Scan 13 Scan 14 Scan 15 Scan

I can honestly say I was impressed!  The writing, gags and drawings – and I’m not being bias – for the most part are pretty good!  It’s not like he was doing these full-time or anything either.

Anyway, yes – I’ve practiced and worked hard at cartooning.  However, I believe this explains why it’s in my blood:  Because it is.

Dad is now painting (which he did awhile back as well).  I won’t post much about it this time, but let’s just say he’s really getting fantastic at it.  (He always has been talented with painting – just hasn’t picked up a brush until recently.)

Looks like I might have some competition here soon if he keeps this up.  Or, maybe I can just hire him as an intern.

Habit Forming

30 Sep

As a cartoonist, I’ve often always wondered about my time spent on the actual business/craft of doing what I do.  What am I talking about?  Well, I constantly used to think (and still do) about others in my profession and how they spend their day.  Do they take the occasional ‘check the email’ break (like, about 50 times a day – like me)?  Do they wake up early/late?  How about other activities?  Do they do anything but work?  How about donuts?  Do they eat a lot of donuts?

I’m reading a fantastic book by Mason Currey called Daily Rituals – How Artists Work.

He has everyone from Mozart to Hemingway.  A huge list of authors, poets, musicians, writers and artists of all nature are featured.  And what’s striking is the big variety yet all the similarities, too.

My ritual is pretty much the same.  At least during the week.  Weekends things get a bit flipped around.  Here, I’ll get into it a bit.

I typically am up at 5:30 in the morning.  First things first – I feed my cat, Tiger (who usually gives me a wake-up call at the same time).  I head to the gym – usually jogging for 20 minutes or using the elliptical.  I try to lift weights three times a week as well.  No, this is not easy.  I’ve never considered myself a morning person and don’t think I’ll ever really be one.  However, I feel much more productive waking up early – no matter how torturous it is.  Admittedly, I’m good at fooling myself that I’m a morning person and I think that’s the only way I pull this off.

After the gym, I get back, brew some coffee and shower.

Mornings are my main writing time, so usually from about 6:30 to 8:00 is writing.  And when I say writing, it’s mostly just for my cartooning work. This is also the time of major coffee consumption.

8:00 I’ll start my marketing.  That means scheduling posts on social media, making contacts, connecting with clients/editors and stuff like that.

About 10 AM, I’ll try to hit the drawing board.  I usually start with my syndicated comics.  It’s kind of a nice exercise for me to start with such familiarity.  Client work often consist of new territory that I’m not quite “awake” enough for this early.  It requires a lot more thinking whereas my regular work is more of a natural flow.  You wouldn’t want to learn to ride a unicycle before a bicycle, right?  It’s kind of like that.  Or maybe that’s just a bad analogy.


I usually work until noon.  Then, it’s lunch time and getting random things done time.  This can include sending invoices, paying bills and making phone calls.  My lunch is about 5 minutes long (usually in front of the television).  Often it consist of mac & cheese, leftover pizza or whatever I can muster up.

I’m then back to marketing, client work and regular cartooning from 1-5.  All the coloring and things like that get done around this point.

It’s then dinner time.  After dinner, I’m currently back to work on a graphic novel I’m writing.  Also, I’ll spend some evenings doing things like this (a blog post).

I’ll chill out around 7-8 and usually watch some TV.  Then, about 9 or so, I go read.  If I’m lucky, I’m in bed by 10.  Boring evening, I know.

Weekends are TOTALLY different.  As a person who works in his home all day, the urge to get out and do something completely takes over my psyche by Friday afternoon.  I love to get out and enjoy some local brews, watch some football and basically hangout with people.  It’s very liberating and I believe healthy.  You can’t stay cooped up in a studio without getting out.

Sunday’s I like to do NOTHING.  Although, there are times where I do feel like doing something, so I will (which I often times regret considering I have a busy Monday regularly).

That’s my ritual.

A lot of writers and artists are similar.  In the book, it mentions some of the writers who work only a couple hours a day.  Or, take three months off due to no creative flow.  And some artist are night people – others day.  But, they all – for the most part – had some sort of ritual.

I’m glad I’m not alone to times when I do check my email, slack for a minute or two and basically feel like I’m not productive.  One thing about creative work is it’s not a constant.  In other words, when I’m writing, I often have to stop for a minute, check the mail, grab a water – something.  That breathing room is important to me and makes me more productive.  When I mentioned my routine, you have to envision me taking numerous breaks throughout that.  Yes, I get very wrapped up in any artistic activity I’m doing, but the occasional break happens frequently.

I also enjoy listening to funny things or music when working.  The Howard Stern Show is quite amusing these days.  Or, I put on some rock, classical or whatever I’m in the mood for.  That varies a lot (although, time at the drawing table on my syndicated work is usually talk radio of some sort).

Another book I’m reading is Twyla Tharp’s The Creative Habit.  She mentions what all she has done to achieve what she has (she specializes with ballerina’s and does choreography).  She’s the woman behind the dancers in the movie, Amadeus, and also wrote the Broadway musical Movin’ Out.  I’m not a big musical (as in Broadway musicals) person, but like any creative type, she mentions a lot of good insight on the creative process.  Again, it helped me know that I’m pretty normal doing what I’m doing.  I begin to wonder sometimes……

So, anytime I’m taking a break and thinking that I’m slacking off, I now think back to these books and other artists creative habits.  Some artist hit the bars (daily), some go for walks all day and others do – well – other stuff.  I hope I shed some light on kind of what I do.  I get asked that a lot.  Also, I still get the feeling many people think I sit at home in my pajamas all day just drawing funny pictures.  They would never consider what I do a profession.  However, there are thousands of illustrators, cartoonists and other artists out there.  How am I different?

What is different is my ritual – which I think is cool.  I wouldn’t want to copy some other persons ritual at all.  That wouldn’t make it unique.  And that’s no fun.

What’s your ritual?  Is your ritual NOT having a ritual (the book mentions a few artists like that)?  Share your thoughts!


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