Sunday, November 28, 2010

The Choices We Make

What makes us who we are?  Why do we make the choices we do?  Those are questions I ask of my characters and also of myself.

This month, I made choices that were slightly insane, to say the least.  In November, both my mother and my husband had scheduled surgeries, I got a new freelance gig, had 13 houseguests for Thanksgiving, and I still went through with my promise to myself to participate in my first NaNoWriMo, a challenge to write a 50,000-word novel in 30 days.

The most common question people asked me this month was where I got my drive. 

The answer was, surprisingly, not tequila.  It was, “Mom”.  

As a little girl, I'd watch her beauty as she switched from being a gourmet chef to a construction worker, doing both effortlessly.  This woman could run laps around Gloria Steinem.  No Barbies for me.  She thought they were sexist.  Okay, so I didn’t like everything about my mother.  But she was, and still is, a one-woman dynamo. 

I wanted to be her when I grew up.

When she was pregnant with me, we moved from Connecticut to the Chicago suburbs.  As a country girl, the idea of living in a city was Mom's worst nightmare.  Neighbors everywhere, and real friends nowhere.  They stared from behind their curtains at her as she defied the logic of most housewives, digging in the dirt, actually playing with her children, and quitting smoking. 

One spring day in 1964, the neighborhood Stepford Husbands pulled out their sprinklers.  My mom watched in amazement as they carefully synchronized the swish of the flow, all to avoid wetting the sidewalk.  That night, my father informed her she needed to get a sprinkler so we'd be "in sync" in our new neighborhood. 

Her response, "Yes, Dear." 

The next day, my dad returned from work, driving down the street, witnessing the left, right, left, right, left, right water dance, anxious to see his own yard in unison.  As he pulled up, there before him was a loud, circular sprinkler – swoosh, swoosh, swoosh – watering not only our yard, but also the entire sidewalk.  Neighbors peeked through the curtains in disgust.  My mother opened her curtains wide, smiling. 

With one purchase, she made her statement.  We didn’t last the year.

After Illinois, we moved to the country in Upstate, NY.  Mom was in heaven.  We bought a run down 200-yr-old house on 150 acres.  No sprinklers and not a neighbor in site.  She didn’t even put up curtains. 

We let dandelions grow freely.  Mom celebrated the yellow, multiplying flowers and had the four of us barefoot with buckets picking dandelions for her to make dandelion wine.  When she wasn’t making wine, sewing dresses or having weekly barbeques, she was wielding tools and fixing the old house. 

My childhood home was always full of construction workers.  There was one in particular I remember – Jules, the excavator.  Maybe it was because he reeked of dirt and drove a really cool bulldozer, or perhaps it was because he dug the hole that spewed water, creating a mud puddle that would later be our pond.  But most likely, it was because he came in every day and had an Irish coffee.   I marveled at the smell of the whiskey on his breath and how his face glowed a rosy color. His laugh was infectious.  I was all of five, but he left a lasting impression. 

With piles of dirt covering our yard, Jules took ill and needed a few days off.  My mother watched the empty bulldozer from her kitchen window, tapping her foot, anxious to see it moving again.  I remember the heat of that summer day.  My mom was in a bikini – I will say, she was nearing 40 with a smokin’ hot body.  Perhaps that’s why the contractors loved working for her.

Itching to see progress of any kind, she jumped up on the roof of the porch and ripped down boards in between swatting flies.  Every once in a while, she’d look over at that still bulldozer taunting her from the distance. 

I noticed a look in her eyes as she glared the beast down, like they were having a telepathic conversation of double-dog dare.  A little gleam came to her face.  She jumped off the porch roof and marched over to the dinosaur. 

My petite mother, 5 foot 2, 100 pounds soaking wet, with rock hard abs (not something in vogue in 1968) stood next to the intimidating yellow monster and grabbed hold, pulling herself into the seat.  I was in awe. 

She turned the key.  Vroom.  I think she was more shocked than I when she pulled the lever and the monster moved.  It didn’t take her long before she was a pro. 

What I remember most is the look of satisfaction she sported at the end of that day.  She had conquered the machine and moved mountains of soil, despite being… a woman.   And a woman she was, with a unique combination of grace, beauty, charm and strength.  She set the bar high for me. 

For the next five days, she owned that sucker. 

When Jules came back and saw what she accomplished, he stood speechless for at least five minutes.  I held my breath and waited for him to scream at her for touching his baby.   But, he didn’t.  He slowly smiled and admired her work.  The yard looked fabulous. 

Finally, Jules mumbled, “You wanna come work for me?”  When she got done laughing, albeit with great pride, she politely turned him down… all while pouring him a double shot of whiskey in his coffee.   

I knew right then I wanted to be her when I grew up. 

Who influenced you and the choices you make?  Was it a teacher, a friend, a parent, or a complete stranger?  Think back and honor that person in the comments below. 

If you’re a writer, consider who had the most impact on your characters.  It might spark some fresh ideas. 

By the way, when I finished my NaNoWriMo challenge in 19 days, I had the same expression on my face as my mother.  NaNo wasn’t a bulldozer, but I moved a mountain of words.   It felt fantastic.

Friday, October 15, 2010

Succeed by Giving


#PIMPtipoftheday: When you network, ask what you can do for THEM, not what they can do for you.

That was today’s tip.  I sent it out and wondered what the reaction would be. 

Networking:  the exchange of information or services among individuals, groups, or institutions; the cultivation of productive relationships for employment or business

Do you see the word “selfish” in the definition?  I didn’t think so. 

I witness so many people on Twitter “network” by solely promoting themselves or asking,  “What can you do for ME?” 

Maybe they don’t directly come out and ask that question, but the subtext in their actions screams it.  When my DM stream gets clogged up with “gimme, gimme, gimme”, I shake my head in disbelief. 

Pondering this selfishness made me take a look back at my own networking strategy.  Where had I achieved the most success?  Why had those connections succeeded and not others?  The answer didn’t surprise me. 

I helped them first.  Proactively.  Happily.  Without obligation or expectation.  Just reached out and helped simply because I could.  Period. 

Through an intertwining series of networking opportunities, I landed a gig teaching a screenwriting webinar for Writer’s Digest.  That class was yesterday.   I learned from teaching.  The participants learned from listening.  But we all connected on a selfless level. 

My email inbox was pinging like mad after the class with exclamations of gratitude and declarations of a break in their writer’s block.  You can’t imagine how great that felt. 

Teaching is just another way of helping people, bringing them joy, and giving them skills they need to succeed.  I hope to do it often.

So, as your Twitter Pimp Angel turned teacher, here’s your homework assignment:

Do something selfless for someone in the next week.  Don’t expect a thing in return.  Just reach out and help.  I double-dog dare you not to enjoy the rewards.

Does this mean you can never ask for help?  Absolutely not.  It just means you need to give back too.  Don’t be a Hoover, sucking all the energy out of your relationships.  Nurture them and give something first. 

You really do get back what you give. 

Tuesday, September 28, 2010

Pimps and Power Point, Together at Last

That’s right, I’m teaching.

Writer’s Digest has provided me with an incredible opportunity to share my screenwriting knowledge with their community of writers. 

On October 14th at 1pm, I’ll be teaching a live webinar, entitled, How to Write a Marketable Screenplay: Learn how to structure your script the Hollywood way. 

All the details of the webinar can be found on the Writer’s Digest site HERE

If you’ve always been curious about screenwriting, please join the class, and I’ll provide you with as much knowledge as I can fit in 75 minutes. 

You’ll even have the opportunity to send me the first three pages of your script for a quick critique.  I’ll try not to make you cry. 

And, if you’re good in class, I may even pass out cookies.  

Monday, September 13, 2010

Editing is Murder... and other tips

My writing partner and I recently cut 25 pages of SLAVERY BY ANOTHER NAME in order to meet contest requirements.  Daunting, to say the least.  But in the process, I learned I love editing.  I’ve always said, “Love is in the details”. 

I love writing, even the gritty nasty parts.

As I tweeted out my progress, writers started sharing their own tips.  Whenever I learn from others, I aim to spread the love.

Carrie Bailey of Peevish Penman graciously offered me the perfect venue for 
Editing is Murder, my latest in a recent string of editing and rewrite pieces. 

The previous two were for Tyler Weaver’s Multi-Hyphenate on what I learned at Stony Brook Southampton Screenwriters Conference, specifically, rewrites and handling feedback:


If you’re looking for other writing tips, you can find great information on Peevish Penman as well as the Scriptchat blog.

Don’t dread editing.  Embrace it.  You can't be a true writer without the courage to kill your own words.


Wednesday, September 8, 2010

Scriptchat has arrived!

What started as a little Twitter screenwriting chat on Sunday evenings has turned into an internet phenomenon.... okay, maybe just a big screenwriter party of learning.

Script Magazine mentions #scriptchat in the November/December 2010 issue!

Thanks to Joshua Stecker, West Coast Editor and wonderful supporter of scriptchat, we appear on the page alongside other recommended websites for screenwriters.  We even share the page with John August!

The smiley stickers are plastered all over the scriptchat #treefort!

Long live the generous screenwriting community, our treefort team... and tequila!

Tuesday, August 17, 2010

lessons come with a sting

I have been bitchslapped by Sundance. I only have one thing to say to Robert Redford:

“Thank you, Sir, may I have another?”

If you follow me on Twitter, you’re probably familiar with my journey to get our script, SLAVERY BY ANOTHER NAME, into the Sundance Screenwriters Lab. Yeah, it was our dream. A big one.

Am I upset they passed?
Sure.

Did I cry?
You betcha.

Did I get angry?
Just ask my heavy bag in the basement.

Do I feel defeated?
Not on your life.

I. Am. Grateful.

I’m grateful in part because it’s with rejection and failure we learn the most.

Just ask yourself if you learned anything when things came easy to you. I bet the answer is no.

I know I haven’t. It’s only those journeys full of pain and obstacles where real growth has happened for me.

In short, this script was my black belt in writing. Hands down. It kicked my ass every single day. But, I took the beating and kept coming back for more.

On February 1, 2010, my writing partner, Doug, and I started with a 31-page outline, and 11 weeks later, we had our submission off to Sundance. In between that time, I wrote 12-hr days, never took a single day off, went to NYC to meet with Doug and Bill Pace, our fabulous script consultant, and barely saw my family.

I cried many tears while writing.  It wasn't because I was tired or thought for even a minute I wasn't capable of doing it.  I knew we'd kick this out of the park.  I cried because of the enormous weight we felt to “get it right” for the African-American community. We didn't take that responsibility lightly. Sundance accepting us wasn’t about an advance of our careers, it was about the advancement of this incredible story… and the truth being told. Note: I didn’t cry after the rejection because of my loss, I cried for the loss of an opportunity to share the truth.

I tweeted in panic one day after realizing that in the midst of getting the draft done, Sundance also wanted a 2-page synopsis. That moment nearly pushed me over the edge. Then, Jacqueline Lichtenberg wrote a post for me with synopsis advice. You have no idea what that meant. It wasn’t just her great advice; she was the hand reaching out as I felt the undercurrent pull me down. Her generosity saved my life that day. I will be eternally grateful to her.

Even after we submitted, we sought more feedback. I spent hours on the phone with Nevada Grey for consultations, Bill Pace sent added notes to work on, and we sent the script to trusted screenwriters to read and rip apart.  We continued to rewrite draft after draft, in hopes to knock Sundance off their feet when they requested the full read. It would be a total of six months before I took my first day off.

In short, we kept raising the bar for ourselves.

But they passed. Passed without that full read. Ouch.

Was it that Sundance thought the Pulitzer win and PBS documentary would already give us a leg up over other, newer writers? Perhaps they didn’t feel we really needed them, or the budget would be too big for an indie venture. Or maybe I’m just rationalizing and they simply weren’t interested. In the end, it doesn’t matter.

The bitchslap stung like hell.

Once I numbed the pain with tequila last night, I realized I learned an enormous amount from the process. Maybe that was my win.

*I learned I’m capable of so much more than I ever realized.
*I can write like a fiend under pressure.
*I absolutely LOVE feedback and editing.
*As much as I loathed writing that synopsis, I will now make it a regular part of my story preparation process (1. Outline, 2. Synopsis, 3. First draft).
*I have an entirely different outlook on writing partnerships.
*I will ALWAYS get professional feedback.
*I am blessed to have Doug’s trust and faith. In truth, I still pinch myself that I am writing with a Pulitzer winner as a partner. He is both generous and humble.
*I am a damned good writer.
*My family believes in me.
*There isn’t enough room in a partnership for both an ego and a successful project. The project always comes first.
*Patience. Patience. Patience.
*Stony Brook Southampton Screenwriters Conference kicks ass.
*You can be a determined and great businessperson, but without writing talent, an ability to take honest feedback (even when it’s ugly), and a great support system behind you, it doesn’t mean squat.  Everyone talks about having to have a business mind to succeed.  Yes, you do, but first and foremost you need to know the craft and write well.  Even the best businessperson can't sell a poorly-written script.
*Polish, polish, polish.  Do the hard work.  

The Sundance experience also taught me who my real friends are. While most were supportive, some who have known me for years weren't.  That saddened me, but I had to learn  to not let anyone piss on my flame.  I had to keep moving forward.  I grieved and moved on.  I took delight in my Facebook friends and Twitter writers cheering me on and following our #slaverybyanothername hashtag with curiosity and support. You were there for me, not expecting anything in return other than the joy of riding the wave and learning alongside me. You didn’t try to distract me.  You fought to keep me focused.  You wanted me to succeed.  I wanted to succeed for you.  You raised the bar for my standards of real-life friendships. I am deeply grateful for all of you and the lessons you have taught me.

But, one of the best things that came out of the experience was a voicemail from my mother. Our characters and story moved her to tears. That trumps Redford’s seal of approval any day. My mother has never read any of my scripts before… and she rarely cries. She’s the toughest bird in town.

I take Sundance’s bitchslap with pleasure. No regrets. No “what ifs”. We tried. We put our baby out there. I’m damn proud of our script and of us.

However, I will be drinking tequila yet another night to continue the writer’s anesthetic. I’ll also be making voodoo dolls of the 12 winners. I am Sicilian after all. Just sayin’.

What have you learned from the setbacks in your life? Those goals you thought mattered so much… did they really matter in the end?

Monday, August 2, 2010

A Graveyard Writing Shift


Living in rural New York, I often drive the countryside for writing inspiration.   This particular day, I needed to find a way to kill one of my characters.   I wanted something unique for her death.

Suddenly, my car’s ball joint snapped and twisted the front wheel perpendicular to the car.  The car screeched to a halt, opposite a graveyard.   How fitting.   Could my character die in a car wreck?  No way.  Too cliché.

As I waited for the tow truck, a flurry of tornado-warning emails filled my cell.  I’m not an alarmist, so I ignored them, until the winds swirled faster and faster.  I was a sitting duck.  I glanced over at the graveyard wondering if God was trying to kill me… or just send me a message.

Should this tornado come, there was no way I’d survive in the car or fully exposed outside.  Why didn’t I watch that survivor episode on The Discovery Channel? 

Think. Think. Think.  How could I find safety in the middle of nowhere?  The graveyard.  I grabbed a rope from my car and ran across, planning to tie myself to a gravestone.  Yes, you read that right.   I may be calm under pressure, but I didn’t say I was smart. 

Whose stone would I choose: a man’s, a woman’s, or a child’s?  Who would I want to die with? 

As my hair spun in the wind, I pulled it from my eyes to read the names and dates on the stones.  My imagination ran wild.  I became swept into the stories buried with these people.  Maybe he died in a shoot out.  Perhaps she died in childbirth or at the hands of a jealous lover.  Stories were popping in my head.  My body was in peril, but the writer inside me was on fire. 

Like a lunatic, I lurked gravestones while the threat of the tornado was still buzzing in my pocket.  Is this how Geraldo felt revealing King Tuts tomb?  Maybe someone would find my dead body the next day. 

There should be a warning label on notepads: “Writing can be deadly.” 

The winds whipped, literally smashing me into gravestones as I searched for the one I’d connect to, both emotionally and physically.   Then, I discovered the old section of the graveyard.  The stones were riddled with details.  Such art.  

As I admired the carvings on the delicate stone, a tree branch snapped and flew past, almost crashing into me.    I glanced toward my car to see the large SUV rocking in the heavy winds.  Time to stop admiring and start graveyard bondage.

While the old stones were more to my artistic taste, I couldn’t tie myself to a wuss headstone.  I needed a big, gaudy monument.  I ran toward the largest one I could find, the wind forcing me into a zig-zag path.  

Just as I found the perfect dead person to join in all eternity, the tow truck pulled alongside my car.   I raced to my hero of wreckage.  

As my mechanic secured the car on the flatbed, I snatched my notepad and frantically wrote, “Idea: girl passes up delicate gravestone for a sturdier, safer and massive monument.  Ties herself down.  Winds howl.  Suddenly, the delicate gravestone is yanked from the ground.  She smiles, happy not to have chosen it… until it heads her way, smashes into her, and kills her.” 

Now that is what I call a unique death.  

I’ve decided to make graveyards a part of my writing inspiration routine.  Next time, however, I’ll choose a lovely sunny day, admire the beautiful ornate stones and see what other stories rise from the dead.

A graveyard can be the perfect resurrection for creativity.

*originally published in Making Me Magazine


Memories of the Crandell Theatre

Palms sweating and heart pounding, I entered the Crandell Theatre.  I prayed garbage cans were within reach, as I was positive I’d be sick from fear.  I was 11 and on my very first date. 

The Crandell Theatre was built in 1926, as a vaudeville house in a little Upstate, New York country town.  Much of my childhood was spent sitting in the balcony watching the red velvet curtain part, to reveal the Marx Brothers, Butch Cassidy and the Sundance Kid, and Jaws, amongst others.  For years, the price of a film was $1.50 until it slowly rose to $5.00.  The best bargain in town.

What better place for a first date? 

Young Frankenstein, 1974.  Yes, I’m revealing my age with that admission, but the thrill of seeing the film alongside my boy crush was indescribable. 

That night, as I sat frozen in my chair with “him” mere inches away, I never noticed the beautiful architecture of the building.  The old lanterns, Spanish-arched designs, stucco walls, 26-foot wide stage and orchestra pit. Little did I know, there were still dressing rooms in the back from the vaudeville days.  Perhaps my date knew, but luckily, we were only 11 and not 18. 

Did he hold my hand?  I don’t remember, but I do remember the sexual innuendo between Gene Wilder and the gorgeous Teri Garr horrified me.  I was definitely too young to date… and too young for that film. 

This was to be my first of many dates at the Crandell.  Three years later, I went back with the same boy to see Star Wars.  This time it was Princess Leia flirting with Han Solo.  If only I were that graceful and experienced.  Even though I was older, not even a Jedi mind trick could calm my nerves.  I was convinced I was in love… though perhaps it was Luke Skywalker I loved, not my date.

The years past and my taste in movies and boys did too.   I saw everything from The Breakfast Club to the horror flick, Friday the 13th.  For that, I do remember being clutched to a boy’s arm.  Horror films were the perfect rouse for boys to hold my hand.  I fell for it, hook, line and sinker.

The thrill of the Crandell wasn’t just in the charm of the architecture, it was the family who ran it.  I’d come to the counter to buy my R-rated film ticket, terrified the owner would turn me away for being under 17.   He would give a stern look, ask if my parents gave permission, I’d nod, then he’d smile and hand me my ticket.  No one dared lie to him, because he indeed knew all our parents.  Small town living. 

Time went on, but it never seemed to change the Crandell.  It was the town anchor of amusement and beauty.  Ten years ago, our community formed The Chatham Film Club, a lovely group of film fanatics who birthed the film festival, Film Columbia.  Our Crandell Theatre was the star.  I would buy a pass and sit in my chair, this time with my husband holding my hand.  We’d watch foreign films and a variety of independent features.  The seats were packed, and we lived on popcorn and Hot Tamales for four days.  By this time, the theatre had passed hands to the next generation, and every day of the festival, the owner and his wife were present.  Him smiling and greeting the locals, and her at the concession stand passing out Milk Duds. 

Sadly, the owner, Tony Quirino, unexpectedly passed, and the theatre closed.  The Film Club is raising money in hopes of purchasing it to preserve its beauty and charm for future generations, just as the Quirino family did. 

A part of our town’s charm passed away with Tony that sad day, as the lights went out on the marquise.  While we all miss him, we are grateful for the years of joy he and his family brought our lives and the memories forever embedded in our souls. 

The Crandell was more than a movie house; it was a treasure of celluloid, first loves, hand-holding memories and a magical red velvet curtain. 

*originally published in Making Me Magazine
*update: The Chatham Film Club now owns of the Crandell Theatre. Full story HERE


*NEW URGENT UPDATE* Our theatre desperately needs a new roof.  

Please help the Crandell Theatre win $25,000 in a community challenge.
 
Just click on this link and vote for the Crandell in the National Trust for Historic Preservation's "This Place Matters" contest.  It doesn't cost anything and you can opt out of receiving any further emails from them.  Please do this now.  You must vote BEFORE SEPTEMBER 15th.
 
 
You can only vote once, but please take a few moments to pass this message along to your friends, neighbors, family and co-workers.  The Crandell needs your support and a new roof before winter!
 
Thank you so much for your time.


Monday, July 19, 2010

Writing as a Martial Art

“This is a last-laugh business: If you can survive as people are kicking you in the head, eventually their leg will get tired, and they’ll want to start kicking someone else.  If you’re still there, and can pull yourself up to your feet, you get the last laugh.”   
Billy Ray, professional screenwriter

When I heard the above quote, while watching TALES FROM THE SCRIPT, I realized how similar writing is to martial arts. 

Persistence, determination and belief in oneself are needed to finish any script or novel.   Coincidentally, those qualities are also found in a martial artist. 

Let’s compare the journeys:

1. Training:
MA: We train by repeating blocks, kicks and punches over and over until sweat drips from our bodies.  
Writer: The first draft is never good enough, so we write it over and over, until our brain and fingers throb.

2. Fighting under pressure:
MA: Once you’ve trained hard enough, the moves become “muscle memory”.  When under the pressure of fighting, we need our moves to occur without thought.  
Writer: When you’re under a deadline, you need your words to flow effortlessly.  That won’t happen if you spend your days procrastinating and not putting words down on paper (side note: the program Write or Die is fantastic at honing your writing-under-pressure skills).

3. Being tested by your Master
MA: The test day for your next belt arrives.  If you’ve practiced, your Master will know it and reward you.  But if you haven’t, he can see it with one look into your eyes.   There’s no way to fake being ready.
Writer: Every time you send out your work, you’re being tested.  Are you prepared? Did you do as many drafts necessary to make it your best?  Will your work be viewed as amateur or professional?  Do you have the stamina to wait for, and then deal with, the feedback?  It’s a test.  It’s always a test.  

4. Number one rule of fighting is to avoid a fight at all cost
MA: Never, ever fight if you don’t have to.  Only fight if it’s absolutely necessary, and even then, just inflict enough injury to your opponent to give yourself time to get away.  Instead of looking for a fight, be aware of your surroundings. 
Writer: Every new producer, agent or editor who reads your work is a new fight.   But, you can avoid the fight simply by being patient and make your work shine before you ever send it out.   If you send it too early, be ready to defend your work and choices.  Believe me, the blow from a premature submission can be just as bad as one dealt you by a black belt.

5. Humility:
MA: being humble in and out of the dojo is a must.  Simply put, its what earns you respect from your peers.  A Master or comrade might kick the crap out of you in the ring, but at the end of the fight, he’ll always shake your hand and bow.   It’s an honor to be in the ring with a warrior.  Take your lickings and learn from them. It’ll make you better, in and out of the ring.
Writer:  No one wants to hear a writer say how great her work is.  The work should speak for itself.  When you sit across the table from a producer or agent who has just ripped your work to shreds, be gracious and reach across the divide, shake their hand and thank them for their time and thoughts.   It is an honor to have gotten the chance to be in the ring with a professional.  Their criticism isn’t a personal attack; it’s a gift of perspective.  Feedback is THE most valuable asset a writer has.  Don’t run from it; embrace it. 

The seven years I trained before becoming a black belt, my master always said, “It is the journey that matters, not the belt color.”  As writers, we’re so focused on becoming published or getting produced that we forget to enjoy the journey.  Every piece of work we put to paper is a chance to learn, grow and challenge ourselves, not just the ones that reach celluloid or book shelves.  Appreciate those early, horrible pieces of writing that will never see the light of day… and thank the heavens they won’t!  They taught you.  You cut your teeth on them. 

Above all, don’t give up.  As writers, we need to be prepared to pull our half-broken and bleeding bodies off the floor and have the last laugh.  I know I intent to.

What have you learned from your other passions in life that have brought your writing to a different level? 





Wednesday, June 9, 2010

what if...

After posting Kicking Fear’s Ass, many people have approached me, fascinated I gave up fear for Lent.  They want answers.  How can I be fearless too?  Are you ever terrified?  What do you do when you can’t imagine facing your fear? 

I may have faced fear head on, but I still have moments of terror.  Everyone does.  We’re afraid for our children’s safety and health.  We’re afraid we won’t get a job or do well at the job we have.  We’re afraid we can’t pay our mortgage.  We’re afraid world peace will never come.  We’re afraid of growing old.  You name it, we’re afraid of it. 

At this point in my life, there’s only one fear that drives me: I'm afraid I'll arrive at my deathbed and utter the words, “What if…?”  What if I had worked harder?  What if I had pitched that script to one more producer?  What if I had taken that writing bootcamp?  What if I had spent more time with my kids?  What if I admitted I wanted to change my life years ago?  What if…?  

Missing out on living my life to the fullest scares me far more than failure or rejection. 

“What if?”  We all need to be reminded of what the greatest dangers truly are in life... not living it. 

What are you afraid of?  What will you do to face that fear?  


*this post is dedicated to Alie Flierl @2degreesofalie