The difference between writing where you know where to draw the line and writing where you're being way too mean is whether you can tell that the writer is not talking to family or friends anymore. Generally, if you say something bad about somebody on stage, you need to say two bad things about yourself. A lot of times, I think I'm the worst person in the room.

It's funny how certain objects convey a message - my washer and dryer, for example. They can't speak, of course, but whenever I pass them they remind me that I'm doing fairly well. "No more laundromat for you," they hum. My stove, a downer, tells me every day that I can't cook, and before I can defend myself my scale jumps in, shouting from the bathroom, "Well, he must be doing _something - _my numbers is off the charts." The skeleton has a much more limited vocabulary, and says only one thing: "You are going to die."

My sister's the type who religiously watches the fear segments of her local Eyewitness News broadcasts, retaining nothing but the headline...Everything is dangerous all of the time, and if it's not yet been pulled off the shelves, then it's certainly under investigation -- so there.

Some friendships are formed by a commonality of interests and ideas: you both love judo or camping or making your own sausage. Other friendships are forged in alliance against a common enemy.

All I do is lie, and that has made me immune to compliments.

I giggled out loud at his stupidity. If anyone knew how to make a bed, it was a faggot.

But instead I am applying for a job as an elf. Even worse than applying is the very real possibility that I will not be hired, that I couldn't even find work as an elf. That's when you know you're a failure.