Unlicensed is a blog where I develop real pitches for fictional licensed projects based on suggestions from readers. This week…

And yeah, so what if I went all over social media begging people to ask me to write a Die Hard licensed comic so I could hack my own blog format just three entries in? John McClane has saved enough people that now… it’s his turn to be saved.

Why does John McClane need to be saved?

The people making Die Hard movies got mixed up about what movie franchise they were writing. It’s understandable! They started mixing and matching rejected scripts for other franchises in things got confusing. But somewhere along the line, they thought they were making The Terminator. I’m not just talking about his ability to dodge machine gunfire while jumping out of the top floor of a hotel and land without a scratch. He’s become just a dude who loves killing. In A Good Day To Die Hard, he directly causes the death of hundreds of innocent people simply for being in his way during a traffic jam. He later tells his son “this is what we do.” I had to pause the movie and take that in. What? Serial murder? I had no idea this was what John McClane did! I thought John McClane solved problems, even problems he was woefully unprepared for, no matter what the personal cost. And that, to me, is FAR more bad ass than just killing.

So how do you fix it?

What the sequels have done are something that cannot easily be repaired. How could we believably go back to a John McClane who has a serious, dramatic moment dealing with broken glass on the floor after we’ve seen him launch a car into a helicopter?

Boom’s previous John McClane comic, Die Hard: Year One solved this by being a prequel. But you can’t lean on that route too much because if you make his backstory a never ending parade of Die Hard situations, it takes away from his resourcefulness in the original movie.

So my suggestion is… in order to rebuild John McClane, you have to destroy him.

And destroy him, I would. So, say Boom wanted to continue their John McClane line and asked me to pitch another 4 issue arc. I would start off with the man John McClane has become, but find a way to make him vulnerable again… more vulnerable than he has ever been before. I would introduce a reason for John to resort to stealth, and a dramatic action-packed chess game where he is unable to just blow everything up. All so that he can kick ass once again in another enclosed-space action-thriller with human-level stakes.

I would pitch…

Die Hard or Die Trying

A Boom! comic series, 4 issues

The plot: After an inexplicably physics-defying climactic action setpiece, John McClane ends up in a hospital with so many shattered bones doctors tell him he may never walk again. And if he isn’t careful during recovery, he could shatter his spine. But when a bank robber getting bullets removed at the same hospital decides he’s not going down without a fight, he take hostages… including John’s family. Now a battered, bruised and broken John McClane must find a way to take back the hospital, knowing that every stunt could be his last.

And also Al is there because I miss Al.

I know it seems that an action movie with a paralyzed lead seems counter-intuitive. But all four issues will have a huge action beat, and all of them earned.

Issue one will kick things off with the type of ridiculous nonsensical stunt we’ve come to expect as McClane slams a vintage bomber into a villain’s private jet above an air show with a cocky Yippee-ki-yay, and plummets to the earth without a parachute. And moves right into him in a hospital bed, being cocky with the doctor, who’s telling him he could sever his spine if he so much as sits up. But it doesn’t hit him how serious it is until he can’t even reach his glass of water. When the villains enter his room and discuss their plan on the other side of the curtain, there’s nothing John can do. When he sees a silhouette of them killing the man in bed next to him, there’s nothing he can do but pretend to be unconscious when they open the curttain. But he knows that somehow, he has a hospital full of defenseless people to save.

He has to roll out of bed, and crawl through the pain. The whole world is now an air duct to him. He plays a stealth game of cat and mouse, build an arsenal, find ways to get around, and to use his disabilities to his advantage. Every step forward toward his goal takes him ten steps back in his ability to continue. But when he plays all the right chess moves, and gets everything where he wants it, he gets just as action-packed as ever.

My main goal would simply be to see this guy again. I’ve missed him.

Do you have a project you’d like me to pitch?

email or tweet me your challenges.

Die Hard or Die Trying was originally published in Unlicensed by Ryan Estrada on Medium, where people are continuing the conversation by highlighting and responding to this story.

Unlicensed is a blog where I deconstruct the creative process by working up pitches for non-existent licensed projects based on suggestions from readers. Today, I was asked to put together a proposal for:

So who the heck is Ernest, and why does he need a reboot?

Ernest P. Worrell is a character created by actor Jim Varney, originally as an advertising pitchman. But after thousands of commercials, he moved up to a TV show, and a series of movies. Along the way he saved Christmas, battled trolls, went to both jail and camp. And of course alerted everyone to the latest sales at ABC Warehouse.

The character has been retired since Varney’s death in 2000. There was a creepy CGI commercial. And a Son of Ernest movie in years of production hell, but the corpses of Son of Pink Panther, Son of The Mask and Ace Ventura Jr. will tell you that’s not really the best road to go down.

If I were tasked to bring the character back without Jim Varney, I’d push to do it as a licensed comic. That way, you can keep Ernest around without having to recast.

So what’s the importance of writing Ernest?

I’ll admit it. In the late 80’s and early 90’s, I was a big old Ernest fan. I met Jim Varney at the Detroit Auto show and was so starstruck I couldn’t even speak. I grew out of it over the years, but Jim Varney’s autographed photo still hung framed, on my wall well into college.

To write this idea, I have to dig back and rediscover what I loved about Ernest as a kid.

So what’s my take?

The first film, Ernest Goes To Camp, is a very simple movie. He’s placed in charge of a group of at-risk kids, despite the fact that he’s mentally inferior to all of them. He has no idea how high the stakes are, he’s just super proud of himself for the promotion. For the most part, the world around Ernest is realistic, and all the weirdness comes from his own personality.

He may be remembered for making faces and saying catchphrases, but the core of Ernest’s character is his ambition. He’s a dimwitted everyman that does menial grunt work, but who always dreams of something more. But not TOO much more. He’s the camp handyman who dreams of being a counselor. The bank janitor who dreams of working a counter. Despite his limited ambitions, his overconfidence still seems misplaced due to his lack of intelligence.

The most heartfelt moments come when Ernest realizes his limitations. But what if he actually found success? More success than he’d ever imagined for himself. What if his overconfidence placed him in positions of power he was completely unprepared for? What ridiculous chain events would have to happen for Ernest to move up in the world, and how would he handle it?

Here’s what my secret goals for the project would be.

(1) I’d make it a sort of fictionalized retelling of Jim Varney’s career as Ernest. He’d go from pitchman, to movie star, and then just as the Ernest movies did, his adventures would go from rural everyday hijinx to more bizarre and high concept as they went.

(2) I was always a fan of the more grounded Ernest, but there’s no denying that his movies got pretty weird on the regular. Dude couldn’t even go to jail without gaining unrelated superpowers. But I’d accomplish the weirdness with real, existing technology instead of fantasy… as well as make sure all the weirdness comes from Ernest himself, while the world he lives in feels real.

(3) I’d make it a commentary on the idea of being a pitchman, and the dangers of indiscriminately promoting ideas you may or may not believe in yourself.

Of course, that seems a little overthought for a comic about a guy that says ‘Knowutimean,’ so I’d keep all that to myself and pitch it as “Ernest becomes a movie star! And a CEO! And a supervillain! And a spy! And the President!” Each issue would be a mini-Ernest-movie plot that all added up to one big story about moving up in the world quickly.

So here’s my pitch for…

Ernest Fails Upward

Comic series, 7 issues (leading to a trade)

Ernest P. Worrell is working as a mailboy in Ottoco building and dreaming of moving up in the world into a full-fleged mailMAN. But when his mailroom screwup causes the ad men up on the 44th floor to lose the master copy of an important commercial, his excuses make the ad men Chuck and Bobby realize that Ernest’s earnestness can convince anyone of anything. They quickly reshoot their commercial with Ernest in the starring role and he becomes a phenomenon, being asked to be a pitchman for every product imaginable.

Due to his success as a pitchman, Ottoco Pictures casts Ernest in a movie. It’s a small role, but his on-set accidents lead the producers to think he’s a physical comedy genius, his costars to think he’s trying to upstage them, and the poor director is the only one who knows Ernest is just a klutz. But in the editing room, when the producer is frustrated by the bizarre, meandering, high concept plot about supervillains, spies and robots, he demands that they re-edit the movie to focus on the minor character played by Ernest. Now Ernest is a leading man, hated by all of his co-stars, and completely unaware of their attempts to sabotage him.

As Ottoco has a scandal over selling military drones to both sides of the same war, the owners realize that they need someone to either put a positive spin on it, or take the fall. They realize that Ernest, the pitchman and celebrity who can convince anyone of anything, is perfect for both positions. Ernest is named CEO of the entire multinational conglomerate, and bumbles his way through all of his duties. When he meets the 4-legged “Attack Dog” military robots, he realizes that they’re so cute he can cancel all military contracts and sell them to the public. He redubs them S.H.O.R.T.Y. and turns them into pets, seeing eye dogs and service animals.

It turns out that Ottoco is merely a front, to finance the evil plans of the megalomaniacal villain Dr. Otto. (a different Jim Varney character from an obscure part of what could be called the Ernest Cinematic Universe) All he needs to make his plan a reality is devotion from his underlings, and for his enemies to bend to his will. But Dr. Otto isn’t exactly charismatic. So he brings in Ernest to pitch his plans. Ernest has no idea that he’s becoming the bad guy as he ends up leading an army of evildoers. But when one of Dr. Otto’s captives tells Ernest the truth, he helps her and all of the prisoners escape.

The CIA enlists Ernest to feed them information about Dr. Otto’s evil plans. Ernest, excited to be a spy, completely defeats the purpose of having an undercover informant by dressing up like a movie spy and saving the world himself through sheer dumb luck.

As thanks for saving the world, the President gives Ernest a job in the federal government. A low level cabinet position with no responsibilities, but Ernest takes the imagined responsibilities to heart. He annoys everyone so much that during the State of the Union address, they ask him to be the member of the line of succession to stay behind just so that he isn’t there. But when Dr. Otto incapacitates the entire federal government with his drones, it turns out that Ernest is next in line to be the president until the crisis is over.

Dr. Otto has sent his flying war drones to enslave humanity. Ernest is the President of the United States and is immediately surrounded by military men pushing him into war. He is placed on Live TV and asked to pitch his war to the American people. But Ernest goes off-book. He says that he’s sick of being a pitchman, and making decisions for other people. He can’t even make up his mind about what he wants from his own life. He doesn’t want to be responsible for the lives of others. He can’t ask someone else to do something he won’t do himself.

That’s when Ernest realizes that he can activate S.H.O.R.T.Y. family pet robots all over the world to fetch the flying drones like Frisbees. He rides one of the robots into Dr. Otto’s lair himself, and makes on final pitch. For Dr. Otto to quit his evil plan and give up. He does, and releases the government.

Ernest heads back to his hometown with his dog Rimshot and his neighbor Vern, and gets a job as a mailman.

So that’s my Ernest pitch. Throw him into a lot of marketable situations, but in such a way that I can allow the humor come from the character being in over his head and real, high stakes situations he doesn’t fully understand.

Do you have a project you’d like me to pitch?

email or tweet me your challenges.

Ernest Fails Upward was originally published in Unlicensed by Ryan Estrada on Medium, where people are continuing the conversation by highlighting and responding to this story.

Unlicensed is a blog where I deconstruct the creative process by working up pitches for non-existent licensed projects based on suggestions from readers. Today, I was asked to put together a proposal for:

Bringing Out The What? Is that a zombie thing?

Bringing Out The Dead is straight-up my favorite Martin Scorcese movie. Nic Cage plays a paramedic who starts losing his mind after losing too many patients. I love it so much that up until recently, I would have thought that the idea of an animated series would be a joke. But that was before the Fargo tv series came along, and proved that you can turn a beloved comedic drama into an amazing anthology series tied together by an ice scraper and an accent. So why not a series of stories about early 90’s New Yorkers living the worst days of their lives, tied together by the spectre-like appearance of a mentally unbalanced paramedic prone to Nic Cagesque monologues about life and death?

How in the Dickens would I make that work?

You’ll need a lot of messed up stories for Frank Pierce to encounter though, and I know just where to find them. The hidden secret of Bringing Out The Dead — one that you can watch the movie a dozen times without noticing — is that it’s a stealth remake of A Christmas Carol. I wrote more about the connections here, but suffice to say Nic Cage’s character has ‘been seeing the ghosts’ and has three partners on three nights leading up to Christmas, who in turn talk to him about the past, present and future.

So for the followup, why not go to the followups?

After the success of A Christmas Carol, Charles Dickens spent 22 years producing an annual book of creepy Christmas stories. Most of them have never been adapted, so they’re perfect source material for a 22 episode season. Not to remake the stories (even literary scholars call out most of them as half-assed outsourced cash-grabs) but to secretly use their structures and themes to create new stories and see if anyone notices.

So here’s my pitch for…

Bringing Out The Dead: The Animated Series

An FX Original Series. 22 Episodes x 22 minutes.

Paramedic Frank Pierce and his partners help the people of New York on the worst days of their lives, and bear witness to stories of violence, betrayal, redemption and regret.

List of episodes:

1. Bell Tower Park (based on The Chimes)

Frank and Marcus respond to a jumper. The man can be saved, but he won’t help himself. He’s high as hell after being kicked out of his own daughter’s wedding and ranting about how doesn’t deserve to live. Frank finally gets fed up and shouts “You wanna be dead? Fine, you’re dead. Marcus, call it.” They legitimately act like the guy is dead, and he gets up and runs off. While they go off on other calls, the man runs off bloody, bruised and high as balls thinking he’s a ghost. He witnesses one misfortune after another until he crashes his daughter’s wedding and things turn violent. When Frank and Marcus respond to a call at the wedding, the man sees the ambulance that he thinks took his life and decides he wants to live. He jumps out in front of the ambulance to ask for help, and is killed.

2. Sirens of The Bronx (based on Cricket on the Hearth)

The sirens that have always kept the John family awake at night suddenly give them a feeling of comfort when those same sirens respond to a knife-fight at a neighbor’s wedding. Mr. John has attacked the man he saw sneaking around with his wife in disguise, and both men end up badly wounded. In the ambulance on the way, Mr. John realizes that the man is not his wife’s lover, but the groom’s. After hearing the man’s story on the way, Mr. John insists they turn back around and stop the wedding but Frank refuses. When they arrive at the hospital, the groom is waiting. He has left his own wedding, and exchanges vows with his lover instead at the hospital chapel. With the sounds of happiness and the sounds of the sirens, no one but the paramedics notice as Mr. John slips away.

3. Saving A Life Is Like Falling In Love (based on Battle of Life)

Frank and Marcus respond to a teen runaway found living under a bridge. He takes it far too personally as she fights for life, with no one coming to visit her. He takes it upon himself to find and confront the family, who it turns out already thought she was dead. It turns out she left to avoid a love triangle between herself, her boyfriend and her sister. If she hadn’t, her sister and ex wouldn’t be in the very same hospital, giving birth to their first child.

4. The Third Step is Bargaining (based on The Haunted Man and the Ghost’s Bargain)

Frank and Marcus pick up a woman named Mrs. Walder who has overdosed on pills in an attempt to forget her pain and suffering. Walder succeeds — not by death but by amnesia. After not recognizing any of her family members, Walder flees the hospital. Frank finds her running through the streets in her hospital gown, and scares some sense into her with an exasperated monologue, telling her she’s only creating more pain and suffering. She has to either deal with the pain and suffering she’s got, or end it once and for all. He leaves her standing at the edge of the bridge he found her at, and tells her he;ll be waiting in the ambulance. A few minutes later, she gets in.

5. The Cypress Tree (based on The Christmas Tree)

The residents of an apartment block have spent months successfully fighting off the city from cutting down the giant old tree that’s been growing in their courtyard for generations. Now, they have to deal with the guilt when the tree falls, collapsing part of the building and trapping a number of residents inside.

6. I Got a Lot of Guilt, You Know What I Mean? (based on What Christmas Means, As We Grow Older)

An old woman has less time to live than the ambulance has left before reaching the hospital. She tells her life story to Frank and confesses things she never told anyone. When Frank finally reaches the hospital, dead body in tow, the family approaches him to ask what the woman told him. Frank, knowing he was the only witness to this woman’s worst moments, simply answers “she said she loved you,” and walks away.

7. People Die in Fires (based on A Round of Stories by the Christmas Fire)

Frank and Larry arrive at a fire before the firemen do. Knowing that their job is to help after the bodies come out of the building, they sit casually, eating and chatting as screams for help come from inside. Frank eventually gets fed up with waiting and goes into the still-burning building. After he doesn’t come back out again, Larry follows him in. The men end up trapped, and for once they are the ones being rescued.

8. There Are No Good Fires (based on Another Round of Stories by the Christmas Fire)

Frank, having been rescued by his fellow paramedics, finds himself in Our Lady of Mercy Hospital, where he has taken so many others. He finds out that someone died because the other paramedics were attending to him instead of the fire victims. Confined to a bed, he is haunted by all those he has taken there and lost.

9. Seven Poor Tourists (based on The Seven Poor Travelers)

Frank responds to what he thinks is a mugged tourist. It turns out he’s an out-of-town mobster in for a meeting to make nice with the local mafia and end a war. It also turns out Frank is going to find six more of this bodies before the night is done. And it’s going to place him in the crossfire.

10. Holly-Tree Hotel (based on The Holly-Tree Inn)

At a shady no-tell Motel, a man has fallen out of a second story bathroom window in his underwear while trying to flee the jealous husband of the woman he was seeing. As he tries to reach the victim stuck on a high up ledge, Frank has to deal with all of the drama unfolding around him.

11. The Golden Girl (based on The Wreck of the Golden Mary)

At a small marina, a boating accident reveals a conflict between the locals and the rich people who use the neighborhood to store their expensive toys.

12. Prisons Don’t Want Her (based on The Perils of Certain English Prisoners)

Police unjustly arrest a group of female protestors, and they decide to escape custody. When the cops open fire, Frank takes care of the injuries. Now, having gone from a police van to an ambulance, one prisoner decides she wants to escape once again.

13. In My House, Shooting At Me (based on A House To Let)

A member of the neighborhood watch investigates some noises inside a building and finds a group of squatters running an illegal drug operation. Frank responds to the shootout that ensues, but finds out that it’s not quite over.

14. What Haunted Me Now Was More Savage (based on The Haunted House)

A slumlord has ignored all of the tenant’s complaints about the building for years, and left numerous life-threatening dangers. Now, he’s the victim of them.

15. Four Hours in Elevator C (based on A Message From The Sea)

Two sworn enemies are trapped in an elevator together. As Frank arrives to treat them for dehydration, he ends up trapped with them as well.

16. On The Ground (based on Tom Tiddler’s Ground)

While showing the ropes to a new rookie partner, Frank comes across usual story of the hermit neighbor that no one noticed was dead until the smell started to creep in to their apartments. Except this time, the man is not quite dead. The man can’t be moved, so Frank has to stay with him as he reminisces. Simultaneously he talks the calm old man through the end of his life and the panicking rookie through the beginning of his new life.

17. Somebody’s Money (based on Somebody’s Luggage)

Riding with the less moral paramedic Major Tom, Frank responds to a gang shooting and finds his victim clutching a duffel bag of stolen money. Frank tries to work, but the man won’t stop clutching it. Major Tom keeps yelling back to ask what it is, and Frank finally tells him. Tom pulls the bus over, turns off the engine, and tries to convince Frank to take the money, and maybe not try so hard to save such a ‘bad man.’ Frank, not wanting to do it, demands the man explain what makes him worth saving. The man tells his story, which does little to convince Frank, but he saves the man anyway, while fighting off Tom. The gang member ends up beating up Major Tom, and running off with his money.

18. Lirriper Lodge (based on Mrs Lirriper’s Lodge)

Frank and Marcus try to help as a woman dies in childbirth at an old hotel. But after tending to the woman, they find out that one of the hotel workers has taken the baby. Frank, knowing the infant needs assistance and not wanting two losses on the same call, obsessively searches the building, and discovers a number of odd things happening in the hotel.

19. Legacy Gym (based on Mrs Lirriper’s Legacy)

An aging boxer named The Taxman was in a friendly sparring match with a young amateur, who took the fight too seriously and thought beating the champ would help his career. Now Frank is fighting to save the older boxer’s life and both men wonder what the event will do for their legacies.

20. The Doctor Is In (based on Doctor Marigold’s Prescriptions)

Frank arrives in a drug dealer’s home to take care of a deaf and mute girl who is having a seizure. As they work her father, Doc, gets home high on his own supply and angry. Frank tries to assure him that he’s a paramedic, not a cop They’re not there to bust him, and not there to take his daughter away. He only wants to help the girl. After she’s better, Doc still won’t let them leave. It’s up to his daughter to communicate with her father and tell him that everything is all right. But in the end, the man is arrested and the girl is taken into protective custody.

21. Morris Park Junction (based on Mugby Junction)

Frank and Marcus are repeatedly called to the subway, where a worker insists he hears someone moaning in pain down in the tunnel. No one can find anything. The man finally decides to go follow the sound himself. Frank and Marcus cme back one least time, to scrape his body off the tracks.

22. Do Not Pass (based on No Thoroughfare)

Season finale. The man Frank picks up has the same name and the same birthday. As Frank tries to keep the other Frank Pierce from dying, he has to confront his own PTSD and wonder if he himself wants to live or die.

So that’s my suggestion for BOTD:TAS. This started is a joke, but I really want to make this now. Or even just watch it. Hey FX, (holds thumb and pinky to side of face and mouths ‘call me’)

Do you have a project you’d like me to pitch?

email or tweet me your challenges.

Bringing Out The Dead: The Animated Series was originally published in Unlicensed by Ryan Estrada on Medium, where people are continuing the conversation by highlighting and responding to this story.

Hi! I’m Ryan Estrada.

I write and draw lots of creator-owned comics like Broken Telephone, The Kind, and Aki Alliance. I love creating new worlds, developing characters, and telling unique stories that only I can tell. But this new blog, Unlicensed, isn’t going to be about that.

This blog is about licensed projects.

What are licensed projects?

Licensed projects are comics, movies, TV shows, cartoons or other creative endeavors based on someone else’s work. It’s when new creators, with permission, continue the stories and characters created by someone else. Often in a different medium.

I know, I know.

Licensed projects have a reputation for being terrible. And often they are!

But they don’t have to be.

Seeing A Goofy Movie for the first time changed me.

I didn’t expect that. I was an industry-savvy 15 year old. I read all the trades. I knew the difference between a Disney animated feature and a Disney MovieToons production. I knew that the latter was the cynical cash-grab division that was about to flood the market with direct to video sequels. I knew that it was based on Goof Troop, which I knew was already garbage to begin with. And this was coming from someone who loved the Disney Afternoon so much he had gotten in trouble for singing the Chip & Dale’s Rescue Rangers theme song too much at school. I knew that the movie was going to be terrible. It had no reason to exist.

I was wrong.

A Goofy Movie is the seventh greatest god darned movie ever made. I laughed. I cried. I still cry. I watched it last week and I cried. Somehow, this movie was good. Something had happened. Someone… had cared.

That’s all it took, for someone to care. About the movie, the story, the characters and world. They didn’t reboot Goof Troop, ignore what came before, or turn it into something it wasn’t. They didn’t rehash what hadn’t worked previously because that’s all they thought it deserved. They took what they had and used it to tell a new story that stood on its own. They made something that deserved to exist.

Ever since that moment, I have dreamed of doing the same thing. Adapting a property no one thinks would work, and blowing people’s minds.

There are lots of people doing amazing licensed work today.

Noah Hawley turned Fargo: The Series from what seemed like a joke into one of the best series on television. Creators like Ryan North, Jim Zub, and Katie Cook have shown us how good licensed comics can be. Phil Lord and Chris Miller have made a name for themselves as the guys who can make any hard-to-adapt movie work, be it about Lego Minifigs, a forgotten 1980’s Fox cop show, or a storybook about food.

Yes, many publishers and studios rely too much on rebooting and revamping old properties.

Yes, they rely on name recognition instead of interesting ideas. But these projects are going to keep getting made. So we can at least make sure that the ones that do exist have a reason for existing. And that they’re lead by someone who cares. Because I care.

And who am I?

I’ve done a few of what could be called licensed comics, but always for strange internet things. I did five issues about the LiveJournal mascot Frank The Goat. A four issue series about the life-in-a-videogame-store blog Acts of Gord. I wrote the travel-based sequel to the living well on less how-to guide Poorcraft.

But I want to do more.

So in order to exercise my creative muscles, and dig into the creative process, I’m going to try an experiment.

You suggest ideas for licensed projects that have no reason to exist. I’ll figure out a reason for them to exist. And I’ll write a pitch for the version that I would make. I’ll draft outlines, I’ll do concept art. Every Monday, I’ll post a new pitch.

So what would you like to see?

A Bringing Out The Dead animated series? A Good Burger sequel? A Die Hard licensed comic? A line of Robert Langdon children’s books? An Ernest P. Worrell relaunch? An Infaceables reboot? Well, all of those are already on the way. So e-mail or tweet me suggestions for what else you’d like to see! My dream is to be a fixer… the go-to guy for publishers that are saddled with properties no one thinks will work. So the bigger the challenge, the happier I’ll be.

email or tweet me your challenges.

Welcome to Unlicensed.

Welcome to Unlicensed was originally published in Unlicensed by Ryan Estrada on Medium, where people are continuing the conversation by highlighting and responding to this story.