I have a confession to make. I haven’t been Working. I haven’t been Working, and I won’t be Working until sometime next year, when all this wedding craziness ends.

Does this bother me? Not as much as it should.

Actually, things have been quite pleasant. Minus the wedding anxiety dreams. Last night I had a dream that I overslept until five minutes before the ceremony, and my shirt wasn’t ironed, and I tripped over the power cord and severely burned my forearm, but instead of calling 9-11, I called my mom to make sure she stalled everybody until I could get there…

Now, I should be drawing this. I should be making cartoons of this.

But I don’t have a deadline to make. Thank you, baby Jesus.

There is an excellent Washington Post article today about the editorial process of selecting cartoons for the New Yorker and the new book, Rejection Collection: Cartoons You Never Saw and Will Never See In The New Yorker. In case you didn’t already now, even if you get a contract as a New Yorker cartoonist, your rejection rate on a good week is 80 or 90 percent — every week, New Yorker cartoonists send in 10 or more drawings, and at the very best, the editors pick one or two, at the very worst, they reject them all.

It’s tough being a cartoonist.

But there are a few perks. This is from the introduction to Bruce Eric Kaplan’s collection, This Is A Bad Time:

…these drawings are really my journals. I use them to explore whatever I find interesting, confusing, or upsetting on any given day. But here’s the beauty part—these private thoughts are filtered through the prism of moody children and blasé pets, disillusioned middle-aged men and weary matrons, among others. And so I get to work through whatever I am thinking about in a coded way. No one but me will ever know what the real seed of each image and caption was. So I can be as free as I want to say whatever I want, and no one can catch me. It’s great.

A secret code!