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This is the long-delayed fourth installment in a series of essays here about how professional or aspiring professional writers can and must cope with two various kinds of rejection — rejection of your work by the buyers and rejection by various folks in the audience. Part 1 can be read here, Part 2 can be read here and Part 3 can be read here.

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I may have mistitled this series because, as I'm going to explain in this chapter, a lot of what we think are rejections really aren't rejections. They're more correctly viewed as non-acceptances. Those may seem like the same thing but they're not and understanding why they're not may be vital if you are to keep your career in perspective.

What's the difference? Let's say you and I are going out to dinner and there are three restaurants nearby — an Italian place, a Chinese place and a Deli. I say to you, "What do you feel like?" You say, "I'm kind of in the mood for corned beef…how about the Deli?" I say fine and we go to the Deli. The whole discussion takes ten seconds.

Imagine then that the managers of the Italian and Chinese restaurants are standing outside their respective businesses and they see us drive by, park down the street and go into the Deli. Imagine too that they get upset and start wondering, "Why did they reject my restaurant?"

But we didn't. The managers of the Chinese and Italian restaurants didn't do anything wrong. We just decided that at that particular moment, we didn't want what they offered. That's not exactly a rejection and to the extent it is, it's a rejection that has nothing to do with them.

Writers — and actors, as well — have a tendency to think of every potential hiring opportunity as something they should get. When (as usually happens), they don't get hired, they think of it as a competition they lost for one of two reasons. Either they didn't receive proper consideration or the person doing the selecting wasn't wise enough to see that they were the best choice. These two views are especially prevalent among writers or actors who've never themselves been in a hiring position.

Either view could be correct and in a future installment of this series, I'll have a lot more to say about your work not getting proper consideration. But there's a third reason which is often the case. The person making the decision just had a hunch or a whim. The decision was made quickly because it didn't seem to merit a long discussion…just as you and I don't have to spend an hour weighing all possibilities before we decide where to have dinner.

As you may know, I sometimes voice direct the cartoon shows I write…which means I do the casting.

Now, I happen to know a lot of voice actors and actresses. I know a lot of them personally and even more of them professionally. When it comes time to cast a major, ongoing role, I will spend a lot of time considering and auditioning different folks but most of the time, I'm casting non-recurring, small parts…and those, I cast quickly. On The Garfield Show, we have a regular cast — Frank Welker (who voices Garfield), Wally Wingert (who plays Jon), Gregg Berger (who plays Odie the Dog and Squeak the Mouse), Julie Payne (who plays Liz) and others. Sometimes, one of these folks will also voice a new character. Sometimes, I need to book another actor.

Booking another actor usually works like this: As I write the part or go over the script, I suddenly "hear" a voice in my head…and then I see if the actor who matches that voice is available. It might be Neil Ross or Joe Alaskey or Bob Bergen or Laraine Newman or someone else but if I can get them, I'll get them. If not, I'll think of someone similar. It's not hard since I have hundreds of actors to pick from…and frankly, almost anyone can do one of these smaller roles. It's just like in a live-action show. If you need someone to play a cop who has six lines and your first choice isn't available, your second or third choices are probably just as good. Occasionally, you even find out they're better.

There's a voice actor I've hired a few times who doesn't grasp this. He persists in seeing every possible booking opportunity as a contest between him and someone else. I really dread it when I get these calls and in what follows, I am not lying to him in the slightest…

HIM: I ran into Neil Ross the other day at an audition and he said he'd done a Garfield for you the day before.

ME: Yeah, Neil's very good.

HIM: I don't understand. What can he do that I can't?

ME: Probably nothing. You're very good, too.

HIM: Then why didn't you hire me for that part?

ME: Because I had my choice of dozens of guys who would have been fine in it. You two aren't the only ones. I went with Neil.

HIM: Because you thought he was better than me.

ME: No, because as I wrote the part, I kept hearing his voice in my head.

HIM: And you thought I couldn't do it.

ME: No, I'm sure you could have. So could Rob Paulsen. So could Maurice LaMarche. So could eighty other guys we could both name.

HIM: But you decided not to hire me.

ME: No, to be honest, your name didn't cross my mind in connection with this job. I thought of Neil. I hired Neil. If you're thinking I considered every possible person who could have done the part, you don't understand how this works. I don't stop and think, would you be better than Neil? And those times I hired you, I didn't stop to think, would Neil be better than you? I just book someone — and in a lot less time than this call is taking.

HIM: I just want to know what you have against me. Did I displease you somehow? The last time you hired me, did I not take direction? Wasn't I on time?

ME: You were fine. So was Neil. The only thing you ever do that displeases me is to make me have this same conversation with you every time you hear that I hired someone else for something. Some decisions are just whims or hunches, not contests. When I decided to wear a blue shirt this morning, that doesn't I mean I have anything against my green shirts.

HIM: I just wanted to get it straight. You knew I could do the job but you hired someone else for it.

Whether you're an actor or a writer — or even in some other job where people sometimes go eenie-meanie-minie-mo to make these decisions — you're going to drive yourself crazy if you think like the above-quoted actor. Don't do that to yourself. Don't view every employment opportunity as you dueling to the death with the Other Guy. That contest only exists in your mind. The person making the decision is not viewing it from that perspective.

I not only know lots of voice actors, I know lots of writers. Sometimes, one of those writers gets hired for something that I might have wanted to do. I've learned not to take it personally because I know it probably wasn't meant personally. My name just didn't come up…or if it did, someone had a hunch that the Other Guy might be better for this one than me. And who knows? Maybe they're right. I'm not dumb enough to think I can write anything…or that there aren't others who might not be a better fit on some assignments.

The Other Guy (could be a Gal) might have a better feel for certain projects…or might be more available or have a better rapport with others around. The Other Guy (Gal) might be cheaper than me or have done really good work in the past for some of those involved.

But more than likely, it didn't even come down to someone thinking, "Should we hire Evanier or hire The Other Guy?" They might not know me or my work…or maybe they did and my name just never came up. You have to understand how this works for the person making the decision. It's really a lot like you and me deciding to go to the Deli. And not only did we not decide to eat Italian or Chinese, we also didn't consider that new barbecue place over on Melrose or the seafood place up on Santa Monica Boulevard or the Japanese place or the burger joint or…

If you're a professional writer or you want to be one, you will at times lose out on things because of actual either/or decisions. Someone will decide to buy someone else's screenplay instead of yours. That kind of decision does happen. But it doesn't happen every time you don't get the job. Stop creating those bogus competitions in your head. You'll lose enough real ones without setting yourself up to lose imaginary ones.

As some of you may know, I was the Supervising Producer of The Garfield Show, which is seen all over the globe. I'm still not sure what a Supervising Producer supervises but I wrote a lot of the series and directed the voices and did various producer-like chores. We did…well, I'm not sure if I should say four or five seasons. Seasons 1-4 consisted of approximately 26 half-hours each. "Season 5," as they called it, was four 11-minute episodes that could also be described as one four-part story.

The 78 half-hours that comprised Seasons 1-3 have been running for many years in the United States on Cartoon Network and/or Boomerang. Both channels are owned by the same company and they've sometimes run them on one or the other or for a while on both, usually four half-hours a day, seven days a week. They have run these over and over and over and over and over and over and over.

They do quite well in the ratings, which is why they run them over and over and over and over and over and over and over. Though they've had Season 4 and "Season 5" sitting on the shelf for a long time, they haven't aired them because Seasons 1-3 do so well as they run them over and over and over, etc. 4 and 5 have been broadcast all over the world; just not in the U.S. of A.

Right now, the shows from Seasons 1-3 air on Boomerang Monday through Friday at 10 AM, 10:30 AM, 10 PM and 10:30 PM. On the weekends, Boomerang has them at 2 PM, 2:30 PM, 10 PM and 10 PM. These are all Eastern Times I'm giving you.

And starting tonight, there's an additional half-hour every Tuesday night which will be airing the never-before Season 4 and (I think, later on, "Season" 5). This half-hour airs on Boomerang at 8:30 PM Eastern and then the same episodes air at 11:30 PM. Now, here's where it gets complicated…

Each half-hour of The Garfield Show contains two 11-minute episodes. Some of the 11-minute episodes in Season 4 are standalone 11-minute stories and some of them are 11-minute chapters of five-part stories. Tonight, for example, they're airing Part 1 and Part 2 of the five-part story, "The Lion Queen." Next Tuesday, you get Part 3 and Part 4 and then the following Tuesday, you get Part 5 of "The Lion Queen" and…well, I'm not sure. Maybe one of the standalone episodes or maybe Part 1 of another five-parter.

This is not the way I'd have chosen to air the shows but I do want to recommend them to you anyway. These episodes feature some of the best CGI animation I've ever seen on television and I was real happy with how the stories came out. (There are also songs; I wrote the English lyrics for tunes written by others in France.) "The Lion Queen" also has a superb voice cast: Frank Welker, Gregg Berger, Wally Wingert, Jason Marsden, Julie Payne, Fred Tatasciore, Phil LaMarr, Misty Lee, Laraine Newman and Stan Freberg.

I'm not comfy plugging my own work so this is as much as I'll say now. I hope you enjoy them and I hope one of these days soon, they run all five parts of a five-parter, one right after the other. I really like them that way.

Boy, that was long and self-congratulatory.

Gee, some people haven't aged well, either in terms of age or comedic ability. I was pleased that Laraine Newman looked so good because she's the same age I am. (Well, actually I'm about twenty minutes older.)

I think there were more technical errors in this special than they have in an entire season. It must have been a nightmare to service all those celebs, rehearse the ones who did things that needed rehearsal, get the ones who needed hair and makeup through hair and makeup, etc…

I'm not sure why they felt they needed musical numbers from Kanye West, Miley Cyrus, Paul McCartney, Paul Simon and a few others. I hope the Pauls were just having a bad night and that's not what their voices are like these days.

Shelly Goldstein messaged me that if anyone needs proof that Sarah Palin is focused on celebrity (as opposed to holding public office), you needed only to look at her participation and especially her gown.

You get the feeling Eddie Murphy had the limo double-parked outside with the engine running?

They gave about as little attention as possible to the period when Jean Doumanian produced the show…and Eddie Murphy aside, to the Dick Ebersol years. I think they missed a bet: Bring Gilbert Gottfried out and let him spend three minutes yelling about the period he was on the show. He would have stolen the evening.

I'll bet a lot of the folks who've written for this program weren't amused at the joke about not devoting any time to the writers. The inattention to them was really a slap in the puss.

Some of the clip packages remind you how highly SNL has always valued catch phrases. To some extent, the measure of a cast member is how many they manage to accumulate.

I kept waiting for them to bring Jon Lovitz out as his liar character and introduce himself as Brian Williams. But Seinfeld got to do the Brian Williams joke.

Some odd picks as to who got camera time and who didn't. There are folks who did 5+ seasons who got less attention than Jerry Seinfeld, Betty White, Louis C.K. and a dozen other stars who haven't been a particularly important part of the show.

I actually kept thinking about this: They reportedly invited everyone who was ever a cast member to be in the audience. For some, that was an invite to spend their own money for travel and lodging, plus expenses for dressing up and grooming, to sit in the back, be mostly ignored and maybe experience the awkwardness of being asked, "So, what are you doing these days?" Some of them had to be sitting there during the obit reel thinking, "I would have gotten mentioned if I'd died." (Which reminds me: Uh, Jim Henson?)

A friend of mine who was a regular on Laugh-In once told me (Oh, hell, I'll tell you who it was. It was Larry Hovis.) that those reunions were uncomfortable in the same way high school reunions can be uncomfy but ten times as much. Once upon a time, you were all more or less equal and making the same money. Now, one of you is getting a million bucks a movie and one of you is auditioning for laxative commercials.

Careers in show business can be capricious things having a lot to do with management and timing and factors that have little to do with how good you are. After Larry was off Laugh-In and Hogan's Heroes, he actually made a very good living for himself as a producer and writer and was in many ways happier…but he said there were folks who treated him like he was a derelict because he was no longer on a series. That must be the case with many former cast members of SNL. I'm sure some didn't show up for the special because they didn't want to subject themselves to an evening that made it clear the show didn't rate them as worthy of a mention, especially if they did their best work during the years Lorne Michaels wasn't in charge.

I understand why the special did that. Show Business does involve a kind of Natural Selection. When those folks were on SNL, they had to battle for screen time against peers who seemed to be eclipsing them in heat, if not in talent.

Still, I just have to wonder. Some former cast members weren't there because they're working. (Hey, did you know Tim Kazurinsky is playing The Wizard in the national touring company of Wicked that's still at the Pantages in Hollywood?) I wonder how many who weren't there weren't there because they're actively employed or happily retired…and how many weren't there because they didn't need the reminder that they're no longer a part of the most important comedy show ever on television?

I feel a bit bad that I couldn't write as nice a piece about Marcia Strassman as she probably deserved. I therefore direct you to what my friend Laraine Newman had to say about her over on Facebook. Laraine knew her at a happier time.

I spent yesterday (a) voice-directing The Garfield Show and (b) catching up on sleep I didn't get over the weekend working on the script. The session went well thanks to a superb cast: Frank Welker, Gregg Berger, Wally Wingert, Jason Marsden, Laraine Newman, Candi Milo and Corey Burton. Today, we have all those folks back plus Laura Summer, Jewel Shepard and the legendary Stan Freberg. As I am fond of saying, when you hire the best actors, a rhesus monkey could direct one of these things. Normal blog posting should resume shortly.

Many of you have noted the new headers on this page — not just one but several new drawings of me by a man of mystifying talents. His name is Sergio Aragonés and I'd hoped the new art would go quietly unnoticed for a time but no. (I love the folks who are writing me to ask if I noticed it had changed.) There are more drawings yet to come.

Also to come on this blog: In the next day or three, I hope to post a long piece about the situation by which Bob Kane is credited as the sole creator of Batman while his collaborator Bill Finger is not equally heralded on the strip or the movies or the Hollywood Walk of Fame. I shall mount the best defense I can of Mr. Kane and make a few points in his favor on this. But you'll still conclude, as I did, that it's awful that Finger's name is not there.

Also, I haven't forgotten that I promised more tales of working on Welcome Back, Kotter and witnessing, live and in person, a Battle of the Network Stars. And there's that long essay about the late Al Feldstein I said I'd get around to. And a few other things..

As usual, I will be doing more than a dozen panels at Comic-Con International this year down in lovely San Diego. There will be all the usual ones plus a few new things and I'll post my schedule here as soon as the convention is ready to release the total list.

By the way: Please don't write me about three things. One is getting into the convention. Another is helping you find lodging during the convention. And the third is suggesting programming, especially long after the schedule is locked, which it pretty much was a few weeks ago. You'd be amazed at the number of people who write or call me each year a week or less before the con to ask if some panel they want to do can be added. I don't program that stuff. There are people paid to do that and they have to do it way before the con.

I gotta get to the studio. Back later.

The wondrous Laraine Newman misses Tim Russert.

An awful lot of well-known comic actors got their start or a good boost because of their involvement with an L.A.-based workshop/show/school called The Groundlings. I was involved with a lot of these folks and a big, very fascinating book could be written about the organization and all the folks who've participated in it over the years. For now though, you'll have to settle for this article which is pretty good even though someone doesn't know how to spell Laraine Newman's first name.

No one has had a longer, more glorious career in show business than Rose Marie. She started as a child singing star — so young, some doubted that that great voice could possibly be coming out of a kid of single digit age. She worked with everyone: Al Jolson, W.C. Fields, Jimmy Durante, Milton Berle, Phil Silvers, You Name Them. I first became aware of her when she played comedy writer Sally Rogers on The Dick Van Dyke Show in the sixties — maybe the first strong woman character on a sitcom who wasn't a servant or spouse, and boy was she great on a great show. And later she was a regular on The Doris Day Show and Hollywood Squares and so many others.

I've been privileged to become friends with Rosie and I'd love her even if she wasn't an endless stream of great anecdotes. (And people say I have a good memory…) So I was going to wish her a happy…wait for it…ninetieth birthday today. But she doesn't want that. She asks that instead, I urge you all to make a donation in her name to the Doris Day Animal Foundation, an effort that does great work for cats, dogs and other creatures who don't have someone to care for them. You can thank Rose for all the wonderful work she's done by giving some bucks over here on her website. You can also learn a lot more about her there, as well.

We celebrated her birthday with a small, lovely dinner last Friday night. Let's do this clockwise: The lovely lady in the lower left is Arlene Silver, AKA Mrs. Dick Van Dyke. The gent next to her is Mr. Dick Van Dyke. Next to Dick is Rose and next to Rose is the charming Jeanine Kasun. Jeanine is the host of Baby Boomer Favorites, a fine radio show you can hear the same place you can hear Stu's Show, which we often plug on this site. Next to Jeanine is the host of Stu's Show, Stu Shostak. Then next to Stu is me and next to me is, at lower right, the splendid Laraine Newman from the original Saturday Night Live and oodles of current cartoon shows.

We all convened at a fine seafood eatery in Santa Monica to toast Rose and tell stories. I can do none of theirs justice and if you read this blog, you've heard most of mine. But I wish you could have heard Dick tell about Maureen Stapleton getting plastered at the wrap party for Bye Bye Birdie or Rose tell about complaining to the hotel owner about her paycheck being $11 short when she played a Vegas hotel in the early days of that town. The hotel was the Flamingo, the owner was Bugsy Siegel…and somehow, she not only survived, she got her eleven dollars.

But that's Rose…truly a survivor. I asked her how it felt to be middle-age because I can't grasp the possibility that she won't be around for another ninety years. Here she is with a little tune about getting older…but before you watch it, go over to her website and send some money in the name of Rose Marie. And don't do it for the cats or dogs, although goodness knows they need it. Do it for this fine lady…

My friend and birthday-sharer Laraine Newman recently starred in a web video parody of the TV series, Girls. Here's part of what she wrote about it over on Huffington Post…

I am a fan of the show Girls. I've seen every single episode. I think Lena Dunham is an astonishingly talented writer and performer. My older daughter, also named Lena, is around the same age as the girls portrayed on the show and about to be in that no man's land of "We've graduated college, now what are we supposed to do? There are expectations of us, not to mention the ones we have of ourselves and we're trying to find our way." It's so well presented and heartbreakingly funny I feel hurled back to that time as I watch it.

I'm also aware that Girls is incredibly polarizing, which bewilders me because not only do I think it's good but I think it just gets better and better. That's why, when Gail Lerner, the writer and director of Girls: Season 38, sent me her script, explaining to me that it "wasn't just a parody but also a valentine" to the show, I was curious to read it. Without giving anything away, let me just say I think that Gail is a truly original and extremely funny writer and the script was as solid as they come. But here's the catch; she wanted me to play the role of Hannah.

I think the parody and Laraine are quite wonderful. Here it/she is…

Two weeks ago today, I experienced the worst pain I'd ever had in my life — worse even than the time I wandered into that Fran Drescher impressionist Karaoke competition. I was supposed to drive up to Santa Barbara with the fiercely-talented Laraine Newman to address a bunch of college students who are considering careers in show business. (I planned to just point at Laraine and say, "If you're not at least half as good as this person, don't bother trying.") An hour or so before departure time, I was in the shower when my right knee, which had been giving me trouble for several days, suddenly went all Tonya Harding on me. I cancelled S.B. and gritted my molars in agony until my doctor injected said knee with cortisone. The person who invented this drug is the greatest human being in the history of mankind.

The knee hasn't really hurt since the cortisone kicked in a day later but something is still not right with it. Today, an MRI revealed that I have a complex tear of the medial meniscus with a radial component in the mid zone, and a horizontal component in the posterior horn. The midzone is subluxed medially out of the joint and I also have a separate radial tear of the midzone of the lateral meniscus.

Well, I don't have to tell any of you what that means — especially about the midzone being subluxed medially out of joint. In a couple of weeks, they're going to do a surgical procedure and correct all this…and it doesn't sound like that big a deal. If it is, please don't write and tell me that.

I should be fine and up to all that walking by the Comic-Con International…where as of this moment, I am moderating fifteen panels. They'll include all the old faves plus some new faves. Yes, Sergio Aragonés will be at the con and participating in Quick Draw! along with Scott Shaw! — and wait'll you hear who we have as our Guest Artist this year. If I were you, I'd get in line now. Details to follow.

I can't tell you how the lecture went in Santa Barbara because I didn't go. I was less than an hour from departure when my knee — you know…the one I'd just said here was getting better — suddenly reacted like Lizzie Borden had taken forty whacks at it plus one for good luck. Maybe the worst pain I've ever experienced, not including writing for The McLean Stevenson Show. I called my orthopedist, cancelled out on S.B. and staggered like a zombie out to catch a cab.

So what's wrong with my joint? He doesn't know but he shot it up with short-range anesthetics and longer-term cortisone. I always thought cortisone shots worked rather quickly. That's because my only experience with them was occasionally hearing that someone had injured something in a football game so they shot him up with cortisone and sent him back in. Turns out they take a day or two to kick in…so I'm sitting here icing the knee and waiting for the day or two to pass. It doesn't hurt too much if I don't walk on it. Or exhale in that direction.

Please…don't inundate me with home remedies, suggestions, warnings that my doctor doesn't know what he's doing, etc. I suspect that if I had a splinter and my doctor was about to remove it, someone would write in and say, "Omigod! That's the worst thing you can do for it! I know someone who did that and he wound up losing both his arms up to the socket, plus his cat died!" I know people mean well when they do this — well, most of them do — but I can't follow fifteen sets of advice. I'm going with my doctor and don't need people trying to lower my confidence in him because they once went to one who tried to take their appendix out through their left nostril.

Anyway, the students in Santa Barbara were not deprived in the least by my not being there. They had Laraine Newman and Gregg Berger — two of the smartest, most talented people I know — to discuss voiceover work and careers in show biz. My apologies to the class and its instructor, Cheri Steinkellner, but you really didn't need me…and if I had been there, all you would have gotten out of me was shrieks and moans and many newly-invented cuss words.

The wonderful Laraine Newman and I are driving up to Santa Barbara today to speak to a band of college kids at U.C.S.B. about how to break into show business. I still feel like someone who should be attending one of those lectures, not giving it. Anyway, posting here will be light as I need to prep for the trip, then make the trip, then get back from the trip, etc.

I also need to nurse a very sore knee that's been giving me problems since Sunday: Fine when I sit, agony when I put any weight on it. I hobbled to an orthopedic specialist on Tuesday who x-rayed and poked and said "Hmm" a lot and told me I had a very sore knee. Until I got to him, I'd been putting ice on it and taking ibuprofen. His recommendation? Put ice on it and take ibuprofen. I did for two days to no improvement. Then yesterday, my primary care physician guy said to ditch the ibuprofen and switch to naproxen, aka Aleve. Seems to be helping.

The cause seems to be the long hours I spend at this here computer, forgetting to get up and walk around every half-hour or so. I think I'll see if I can find a little program that will run in the background and then pop up an on-screen window every 30 minutes to remind me to budge from my chair. Someone must have written such a thing and if they didn't, I will.

Once again, I feel I should remind folks that if someone you've heard of dies and I don't post an obit, it doesn't mean I disliked the person or didn't respect their work. It probably just means that others on the 'net seem to be adequately covering the passing and I don't have any insights or anecdotes to add to the general mourning. I started writing obits about obscure performers and comic book creators only on the basis that if I didn't do it, no one on the entire wide, wide world web would. I'm happy to say that's no longer the case…and I no longer feel the obligation to write something immediately or at all. End of reminder.

I'll be back later — more likely, tomorrow — to report on the road trip. Oh — but before I go, one last plug for Frank Ferrante…

WonderCon starts tomorrow in the lovely city of Anaheim, California.  It's staged by the same able folks who bring you the annual Comic-Con International in San Diego and it's just as much fun in its own way.  This is not a small convention.  It just seems small compared to Comic-Con.  Then again, so does Delaware.  Here's a reminder of the programming events on which you'll find the likes of me…

Quick Draw!
Friday, March 29, 2013: 2:00 PM – 3:00 PM in Room 300AB
It's another duel-to-the-drawing-boards competition as three of the fastest, funniest cartoonists working today vie for the nonexistent crown. They are Scott Shaw! (The Simpsons), Jeff Smith (Bone), and Bobby London (Dirty Duck), with some surprise participants as well. Ring-leading it all as always is the Quizzzzmaster of Quick Draw!, Mark Evanier. No wagering.

Spotlight on Brent Anderson
Friday, March 29, 2013: 4:30 PM – 5:30 PM in Room 203
He's been one of the brightest lights in comic art since he burst on the scene with Ka-Zar the Savage, Somerset Holmes, Strikeforce: Morituri, and the X-Men graphic novel, God Loves, Man Kills. More recently you know him from Kurt Busiek's Astro City and other popular comics. He's WonderCon Anaheim special guest Brent Anderson, and here's your chance to hear him interviewed about his life and career by Mark Evanier.

That 70's Panel
Saturday, March 30, 2013: 11:30 AM – 12:30 PM in Room 203
A look at comics in what some call the Bronze Age…a time of massive change within in the industry. What made that era unique from comics that came before and after? Perhaps we'll learn as Mark Evanier (Groo the Wanderer) chats with Marv Wolfman (Tomb of Dracula), J. M. DeMatteis (Justice League), Len Wein (Swamp Thing), and Brent Anderson (Astro City).

Cartoon Voices
Saturday, March 30, 2013: 2:30 PM – 3:30 PM in Room 300DE
Once again, cartoon voice director Mark Evanier (The Garfield Show) gathers together six of the top professionals who speak for animated cartoons. Hear a demonstration of their craft starring Laraine Newman (The Fairly OddParents), Gregg Berger (G.I. Joe), Laura Summer (The Real Ghostbusters), Jason Marsden (Young Justice), Saratoga Ballantine (Guild Wars 2), and Neil Kaplan (Starcraft II).

Writing for Animation
Sunday, March 31, 2013: 12:30 PM – 1:30 PM in Room 300DE
Interested in writing cartoons? Or just curious how it's done? Mark Evanier has written hundreds of scripts for such programs as The Garfield Show, Garfield and Friends, Dungeons 'n' Dragons, Scooby Doo, Richie Rich, ABC Weekend Special, CBS Storybreak, Thundarr the Barbarian, and more. He'll tell you how it all happens and answer any questions you may have.

When I'm not involved in programming, I'll be wandering the convention floor.  If you see me, say some synonym of "hello."

A little more than a week from now, thousands of enlightened souls will converge on Anaheim, deftly avoid the Disneyland traffic and get themselves to WonderCon. We like WonderCon. We liked it all the years it was in Berkeley, California. We liked it even more all the years it was in San Francisco…and hope it returns there soon. And we liked it last year for its first Anaheim incarnation.

WonderCon is run by the same folks who operate the annual Comic-Con International in San Diego. It's not as big or star-studded but you'll never suffer from a lack of things to browse 'n' maybe buy or things to do. One of the things you might do is attend any or all of the programming events that involve moi. Here's the rundown of them…

Quick Draw!
Friday, March 29, 2013: 2:00 PM – 3:00 PM in Room 300AB
It's another duel-to-the-drawing-boards competition as three of the fastest, funniest cartoonists working today vie for the nonexistent crown. They are Scott Shaw! (The Simpsons), Jeff Smith (Bone), and Bobby London (Dirty Duck), with some surprise participants as well. Ring-leading it all as always is the Quizzzzmaster of Quick Draw!, Mark Evanier. No wagering.

Spotlight on Brent Anderson
Friday, March 29, 2013: 4:30 PM – 5:30 PM in Room 203
He's been one of the brightest lights in comic art since he burst on the scene with Ka-Zar the Savage, Somerset Holmes, Strikeforce: Morituri, and the X-Men graphic novel, God Loves, Man Kills. More recently you know him from Kurt Busiek's Astro City and other popular comics. He's WonderCon Anaheim special guest Brent Anderson, and here's your chance to hear him interviewed about his life and career by Mark Evanier.

That 70's Panel
Saturday, March 30, 2013: 11:30 AM – 12:30 PM in Room 203
A look at comics in what some call the Bronze Age…a time of massive change within in the industry. What made that era unique from comics that came before and after? Perhaps we'll learn as Mark Evanier (Groo the Wanderer) chats with Marv Wolfman (Tomb of Dracula), J. M. DeMatteis (Justice League), Len Wein (Swamp Thing), and Brent Anderson (Astro City).

Cartoon Voices
Saturday, March 30, 2013: 2:30 PM – 3:30 PM in Room 300DE
Once again, cartoon voice director Mark Evanier (The Garfield Show) gathers together six of the top professionals who speak for animated cartoons. Hear a demonstration of their craft starring Laraine Newman (The Fairly OddParents), Gregg Berger (G.I. Joe), Laura Summer (The Real Ghostbusters), Jason Marsden (Young Justice), Saratoga Ballantine (Guild Wars 2), and Neil Kaplan (Starcraft II).

Writing for Animation
Sunday, March 31, 2013: 12:30 PM – 1:30 PM in Room 300DE
Interested in writing cartoons? Or just curious how it's done? Mark Evanier has written hundreds of scripts for such programs as The Garfield Show, Garfield and Friends, Dungeons 'n' Dragons, Scooby Doo, Richie Rich, ABC Weekend Special, CBS Storybreak, Thundarr the Barbarian, and more. He'll tell you how it all happens and answer any questions you may have.

Other times, I'll be roaming the convention. Folks always ask me, "Where's your table?" and I always turn down the one the con (any con) offers me so I can wander freely and see things…but I'm large and easy to find. If you see me, say howdy. If you don't see me, just consider yourself lucky.

I rarely talk here about what I'm working on but it might be appropriate to mention this. Yesterday, we recorded the voice tracks for the last episode of Season Four of The Garfield Show. The series is seen all over the world though its U.S. home — Cartoon Network — tends to put it on a for a while, then take it off for a while, then put it back on for a while. It's off right now but will return. During its last "on," they ran some but not all of the episodes we produced for Season Three. I assume it'll come back on one of these days and they'll debut the rest of 'em amidst reruns aplenty. Some other countries have already run them all ten times.

I wear many hats on this show. I am the supervising producer. I am the main writer. I am the voice director. When asked what I do on it, I'm inclined to just mention the middle one, believing as I do that any title with the word "writer" in it is vastly more important than any title with the words "producer" or "director" in it. It is to me, anyway. For those of you scoring at home, I provided similar duties on 121 half-hours of the original Garfield and Friends, and now have completed my end of 104 half-hours of The Garfield Show. That's a lot of lasagna jokes with more to come.

We had a wonderful cast this season and I'm going to mention their names because the way Cartoon Network shows the credits, they're impossible to read. Frank Welker plays Garfield, Gregg Berger plays Odie, Wally Wingert plays Jon, Jason Marsden plays Nermal, Julie Payne plays Liz, Laura Summer plays Drusilla and Minerva, Audrey Wasilewski plays Arlene and all of those folks juggle several other roles. They were joined on different episodes throughout Season Four by the following folks in no particular order…

Stan Freberg, June Foray, Laraine Newman, Fred Tatasciore, Joe Alaskey, Rose Marie, Grey DeLisle, Corey Burton, Frank Buxton, Bob Bergen, Candi Milo, Jewel Shepard, Neil Ross, Bill Farmer, Misty Lee, Susan Silo, Mark Hamill, Phil LaMarr, Brooks Gardner, Diane Michelle and Scott Whyte. As I keep telling people, the secret to voice-directing a cartoon show is to hire good people and get out of their way. You'd be amazed how little acting direction you have to give performers like these.

I'm really happy with this series, which is not something I say about everything I work on. I removed my name (or at least tried-to and partially succeeded) on another cartoon series I did, plus I yanked it off three or four shows where I wrote the pilot episodes. They don't always come out the way you want them to, especially when others are trying to be the Giant Ape on whom all eyes must be focused. But you put up with those jobs not because they pay — although there is that — but you have to slog through those on occasion to get to the good ones. This for me is one of the good ones, especially because of the brilliant direction and animation being done by our director Philippe Vidal and his amazing crew.

I have no idea when Season Four will air in America. I don't even know when the rest of Season Three will air in America. But when it does, I hope you'll enjoy those episodes even a tenth as much as I enjoyed working with the people I get to work with.