Latest / The Imperfect Impulse w/Bree O'Connor / S 3 Ep 2 Inspiration/ Derivation

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S 3 Ep 2 Inspiration/ Derivation · The Imperfect Impulse w/Bree O'Connor

• 0:07
  SPEAKER_00: Welcome to the Imperfect Impulse with Bree O'Connor.
• 0:10
  SPEAKER_00: I'm your host, Bree O'Connor.
• 0:13
  SPEAKER_00: I am healing from having all of that Canada stuck in my lungs from the
• 0:21
  SPEAKER_00: wildfires
• 0:23
  SPEAKER_00: a couple of weeks ago.
• 0:25
  SPEAKER_00: I keep trying to say wildfires and wildflowers comes out of my mouth.
• 0:30
  SPEAKER_00: That's a very different thing to have stuck in your chest.
• 0:33
  SPEAKER_00: But anyway...
• 0:35
  SPEAKER_00: I am healing,
• 0:37
  SPEAKER_00: which is good news,
• 0:39
  SPEAKER_00: but I still have some breathiness and whatnot that I have to manage.
• 0:44
  SPEAKER_00: Hopefully the voice is a bit more tolerable.
• 0:48
  SPEAKER_00: Today I thought I'd come to the table to talk a little bit about inspiration versus derivation.
• 1:00
  SPEAKER_00: What is inspired work and what is merely derivative?
• 1:04
  SPEAKER_00: I mean, I think we know it when we see it.
• 1:07
  SPEAKER_00: We definitely can tell when it feels like the material feels regurgitated
• 1:14
  SPEAKER_00: and it feels the same as the last 20 things we saw in this genre and
• 1:19
  SPEAKER_00: that there's really nothing that it adds to the conversation.
• 1:24
  SPEAKER_00: And sometimes just because it doesn't advance like some sort
• 1:28
  SPEAKER_00: of larger social conversation doesn't mean that it isn't of value,
• 1:31
  SPEAKER_00: that That structure can't provide some joy or release.
• 1:38
  SPEAKER_00: Sometimes it's very satisfying and really all you need is to feel comforted by
• 1:44
  SPEAKER_00: a ride you've been on before.
• 1:47
  SPEAKER_00: But sometimes that ride you've been on before loses its steam
• 1:52
  SPEAKER_00: and you can't quite figure out why does this movie bore me,
• 1:58
  SPEAKER_00: make me cringe, frustrate me?
• 2:03
  SPEAKER_00: And a lot of it is because the choices feel stale.
• 2:07
  SPEAKER_00: They feel a little old.
• 2:09
  SPEAKER_00: They don't have much life in them.
• 2:12
  SPEAKER_00: There's no spark.
• 2:14
  SPEAKER_00: But sometimes those same exact choices in another context can feel comforting and familiar.
• 2:21
  SPEAKER_00: But with a little fresh twinkle or spin on it.
• 2:25
  SPEAKER_00: So how do we get that fresh twinkle, that fresh spin on something that is essentially formulaic?
• 2:35
  SPEAKER_00: We talked last week about briefly, I know I mentioned melodrama.
• 2:42
  SPEAKER_00: And melodrama tends to poke its head up in certain times of economic stress.
• 2:49
  SPEAKER_00: I mean, you'll see a surge in the 1890s,
• 2:51
  SPEAKER_00: you'll see it in the 30s,
• 2:54
  SPEAKER_00: and you'll even see it in the 1980s as teen dramas sort of took
• 2:59
  SPEAKER_00: over this melodramatic structure but added on top of it with teen archetypes
• 3:06
  SPEAKER_00: and often cringey slang.
• 3:10
  SPEAKER_00: That felt like 30-year-olds trying to talk like 15-year-olds.
• 3:15
  SPEAKER_00: But we ate it up because,
• 3:17
  SPEAKER_00: you know, as a child of the 80s, that just meant that we were feeling seen.
• 3:24
  SPEAKER_00: You know, let's face it, John Hughes had a knack for that.
• 3:29
  SPEAKER_00: But John Hughes's structure is a little different than the melodrama structure.
• 3:35
  SPEAKER_00: Which we can talk about there being a very clear villain usually for greed
• 3:41
  SPEAKER_00: and self-aggrandizement wants to do something to reshape a community.
• 3:47
  SPEAKER_00: In the 1890s they would have been a wealthy man who wants to put a railroad through
• 3:53
  SPEAKER_00: the center of town.
• 3:55
  SPEAKER_00: In the 1980s it's
• 3:57
  SPEAKER_00: It's a rich guy who wants to knock down the community center to put up a mall.
• 4:04
  SPEAKER_00: We don't need another mall, so let's breakdance and save the community center.
• 4:10
  SPEAKER_00: Part of the solution is that you meet the protagonist who is opposed to the villain,
• 4:18
  SPEAKER_00: to our antagonist.
• 4:21
  SPEAKER_00: Often struggles with feeling alone and feeling powerless against this antagonist
• 4:28
  SPEAKER_00: who has influence and financial power or just being an adult.
• 4:35
  SPEAKER_00: Acknowledging teenagers as having power and agency of their own.
• 4:42
  SPEAKER_00: That the world is not just happening to them.
• 4:45
  SPEAKER_00: That they have some ability and wherewithal to gather together and create community
• 4:52
  SPEAKER_00: for themselves and rise up against their oppressor.
• 4:55
  SPEAKER_00: And usually with dancing or rock music or whatever.
• 5:00
  SPEAKER_00: Because that's fun.
• 5:03
  SPEAKER_00: Because ultimately melodramas are isolated and they're small struggles but they are Fun.
• 5:10
  SPEAKER_00: And they make us root for this underdog that isn't supposed to make it, right?
• 5:16
  SPEAKER_00: And where I'm,
• 5:18
  SPEAKER_00: that was quite a tangent about 80s movies,
• 5:21
  SPEAKER_00: 80s teen movies in particular, is, is that the inspiration there, the twist.
• 5:28
  SPEAKER_00: The new thing that adds to the conversation is that teens are present.
• 5:33
  SPEAKER_00: Yeah, we can get into the difficulties of how we write teenagers and how we see teenagers.
• 5:40
  SPEAKER_00: That's a conversation for another day.
• 5:43
  SPEAKER_00: But after this long conversation,
• 5:46
  SPEAKER_00: I didn't mean to go this far down the rabbit hole with 80s teen movies.
• 5:51
  SPEAKER_00: But let's talk about where we go off track with those derivative works
• 5:58
  SPEAKER_00: and we are looking at material that just feels like it recycled an idea
• 6:04
  SPEAKER_00: that came earlier and was successful but didn't add to the conversation.
• 6:09
  SPEAKER_00: That didn't have the enthusiasm or spark that makes us feel alive.
• 6:15
  SPEAKER_00: There's a certain disingenuousness or dishonesty A little phoning it in
• 6:22
  SPEAKER_00: where we can sense as the audience that like, oh, nobody really wants to be here.
• 6:29
  SPEAKER_00: Nobody's really that excited about the story.
• 6:31
  SPEAKER_00: So their choices don't feel new.
• 6:35
  SPEAKER_00: Okay.
• 6:36
  SPEAKER_00: So how do we as artists, I don't want to say borrow.
• 6:40
  SPEAKER_00: I don't want to say steal because I think it's different than that.
• 6:44
  SPEAKER_00: It's not like, you know, like we'll say the ultimate derivation is AI generated work, right?
• 6:51
  SPEAKER_00: So we get AI generated work,
• 6:52
  SPEAKER_00: which literally just takes other things apart and puts them back together and tries
• 6:58
  SPEAKER_00: to make them somewhat cohesive.
• 7:00
  SPEAKER_00: And that is, it may present a laugh or two, but it misses the mark.
• 7:07
  SPEAKER_00: It misses the originality.
• 7:09
  SPEAKER_00: It misses something that speaks to us as human beings.
• 7:15
  SPEAKER_00: That which is inspired,
• 7:17
  SPEAKER_00: I can't really think of a better way to express it other than
• 7:20
  SPEAKER_00: the artist ingests not only the source material, the thing that they loved.
• 7:26
  SPEAKER_00: Let's say,
• 7:28
  SPEAKER_00: let's go way back and say if you're in love with Wuthering Heights and you ingest
• 7:35
  SPEAKER_00: that and you're like really moved by the The complications and you want to put it
• 7:42
  SPEAKER_00: into a modern era but you don't want to just rewrite Wuthering Heights.
• 7:48
  SPEAKER_00: You would like to have something to express something of yourself something
• 7:53
  SPEAKER_00: that you got out of it something that you would like to share back and add to
• 7:59
  SPEAKER_00: the conversation because there's something that that spoke to you
• 8:03
  SPEAKER_00: that you may have felt was deeply hidden or Maybe just a little spark
• 8:10
  SPEAKER_00: that you would like to highlight and bring to the rest of the world.
• 8:15
  SPEAKER_00: Make sure that they notice it.
• 8:18
  SPEAKER_00: Okay, but you need to step outside of Wuthering Heights.
• 8:22
  SPEAKER_00: What if that storyline appeals to you but you also are like,
• 8:27
  SPEAKER_00: Yeah, but I love the comedy of Mel Brooks.
• 8:29
  SPEAKER_00: I love the wordplay.
• 8:31
  SPEAKER_00: I love the vaudeville-like showmanship.
• 8:35
  SPEAKER_00: Do those two tastes go great together?
• 8:37
  SPEAKER_00: Not immediately.
• 8:38
  SPEAKER_00: No.
• 8:40
  SPEAKER_00: I don't know if I want to see a Mel Brooks version of Wuthering Heights, but maybe I do.
• 8:48
  SPEAKER_00: If it is run through an artist who Who sees the synthesis of those two things?
• 8:58
  SPEAKER_00: We can go to Hamilton.
• 9:00
  SPEAKER_00: When Hamilton came out, people laughed.
• 9:03
  SPEAKER_00: The concept of the Founding Fathers rapping, it seemed absolutely silly until we heard it.
• 9:12
  SPEAKER_00: And we went, oh, these two tastes do taste great together.
• 9:18
  SPEAKER_00: And they do feel like a very modern take on the story
• 9:22
  SPEAKER_00: without necessarily betraying its actual source material.
• 9:27
  SPEAKER_00: That's interesting.
• 9:29
  SPEAKER_00: But what is necessary here in order for your work to be inspired
• 9:36
  SPEAKER_00: and not derivative is It really boils down in my estimation to one thing.
• 9:44
  SPEAKER_00: Self-knowledge.
• 9:45
  SPEAKER_00: Self-awareness.
• 9:47
  SPEAKER_00: Your understanding of how that work impacted you.
• 9:52
  SPEAKER_00: Your ability as an artist to find the nuggets that spoke specifically to you and why.
• 10:01
  SPEAKER_00: Because you're going to get something different out of every story you encounter.
• 10:06
  SPEAKER_00: You are going to get something different.
• 10:08
  SPEAKER_00: That is unique to you,
• 10:11
  SPEAKER_00: but if you are not a self-examining person,
• 10:15
  SPEAKER_00: you're never going to be able to distill it down to that thing,
• 10:19
  SPEAKER_00: that spark, that thing that feeds you, that gets to you.
• 10:24
  SPEAKER_00: That thing that impacted you.
• 10:26
  SPEAKER_00: For example, I'll mention something from this weekend.
• 10:30
  SPEAKER_00: We had a number of developmental readings.
• 10:34
  SPEAKER_00: And in one of the readings,
• 10:36
  SPEAKER_00: you know,
• 10:36
  SPEAKER_00: the adults in Nikki Hatsidis' Girls Go Away,
• 10:40
  SPEAKER_00: which is a play about girls in 1969 who were sent to wait out their pregnancies in
• 10:48
  SPEAKER_00: a maternity home for teen girls.
• 10:51
  SPEAKER_00: So that they would not shame their families.
• 10:54
  SPEAKER_00: And they were coerced into giving up their children for adoption based on oral histories.
• 11:00
  SPEAKER_00: And shout out to Nikki Hatsitis for a beautiful play.
• 11:04
  SPEAKER_00: One of the things that struck me in the play is that the adults keep telling
• 11:09
  SPEAKER_00: the children, we're going to pretend like this didn't happen.
• 11:12
  SPEAKER_00: It didn't happen.
• 11:13
  SPEAKER_00: It's not important.
• 11:14
  SPEAKER_00: You're not a mother.
• 11:16
  SPEAKER_00: We'll never speak of this again.
• 11:17
  SPEAKER_00: It's...
• 11:19
  SPEAKER_00: Essentially this life-changing moment of yours is not important and
• 11:24
  SPEAKER_00: that child is not yours so you don't need to engage with that child.
• 11:29
  SPEAKER_00: It will be better for you.
• 11:31
  SPEAKER_00: When I read it, that's what I heard.
• 11:34
  SPEAKER_00: That was the fundamental thing that I heard.
• 11:38
  SPEAKER_00: Was that message that the parent was giving to the child.
• 11:41
  SPEAKER_00: But when I heard actors read it, I was struck deep in the chest.
• 11:46
  SPEAKER_00: I suddenly put myself in the child's shoes and the young woman's shoes.
• 11:51
  SPEAKER_00: As she heard her own mother say, just having a baby isn't enough.
• 11:57
  SPEAKER_00: That it doesn't matter.
• 11:59
  SPEAKER_00: It's a forgettable experience.
• 12:02
  SPEAKER_00: And as a child hearing that from a mother,
• 12:05
  SPEAKER_00: like you can hear I'm getting a little choked up now just thinking
• 12:08
  SPEAKER_00: about how vulnerable it is to process this idea that if my birth that I just went
• 12:16
  SPEAKER_00: through,
• 12:17
  SPEAKER_00: me giving birth to this child is forgettable and unimportant and that I can move on
• 12:23
  SPEAKER_00: with my life and forget this ever happened.
• 12:28
  SPEAKER_00: And my own mother who gave birth to me Is telling me this?
• 12:35
  SPEAKER_00: How important am I?
• 12:39
  SPEAKER_00: And that right there is a take that if I were to add to this conversation,
• 12:46
  SPEAKER_00: that's probably a place I would start.
• 12:48
  SPEAKER_00: What does it mean to be, to discover or to feel unimportant to your own mother?
• 12:59
  SPEAKER_00: That hit me very hard.
• 13:01
  SPEAKER_00: And that is a place that I can begin to explore a new story.
• 13:09
  SPEAKER_00: I may not go back and copy Nikki's story.
• 13:15
  SPEAKER_00: I'd be hard-pressed to do so because it's unique in its own right.
• 13:19
  SPEAKER_00: But you can see where I'm bringing myself and some core thing that I walked away
• 13:26
  SPEAKER_00: with to create a whole new work that is inspired by Not derivative.
• 13:35
  SPEAKER_00: Another area that is important for us to consider is
• 13:40
  SPEAKER_00: that self-awareness automatically helps you to deny cool.
• 13:48
  SPEAKER_00: And I'm going to use cool with the scare quotes around it.
• 13:51
  SPEAKER_00: You can't see me, but I'm definitely making them.
• 13:55
  SPEAKER_00: Because cool means that you are focused on What other people might think,
• 14:02
  SPEAKER_00: what they might enjoy,
• 14:04
  SPEAKER_00: what they might want,
• 14:06
  SPEAKER_00: what is popular,
• 14:08
  SPEAKER_00: what is at the zeitgeist and that is automatically removed from yourself.
• 14:14
  SPEAKER_00: Now some people are really quite brilliant and have their finger on The pulse of
• 14:20
  SPEAKER_00: the moment, you know, whoever those people are, God bless them, I'm not one of them.
• 14:25
  SPEAKER_00: But I know that.
• 14:28
  SPEAKER_00: As an artist, I am aware that I can't quite be concerned with cool.
• 14:35
  SPEAKER_00: That is not my natural way of being.
• 14:38
  SPEAKER_00: I don't connect with cool.
• 14:41
  SPEAKER_00: So trying to be cool,
• 14:45
  SPEAKER_00: or trying to Be more in connection with cool would be false
• 14:50
  SPEAKER_00: to my artistic expression.
• 14:53
  SPEAKER_00: An audience can sniff that stuff out and they will find your work lacking
• 15:01
  SPEAKER_00: in truthfulness or integrity.
• 15:04
  SPEAKER_00: You can't lie to them.
• 15:06
  SPEAKER_00: I mean, they may still enjoy whatever you present,
• 15:10
  SPEAKER_00: but they will know when you are being false to yourself.
• 15:15
  SPEAKER_00: Even if you don't see it, they can tell.
• 15:19
  SPEAKER_00: They may not be able to verbalize it, but they absolutely can tell.
• 15:25
  SPEAKER_00: And that brings me right back to 80s teen movies for a second.
• 15:30
  SPEAKER_00: Because there was always this scene...
• 15:34
  SPEAKER_00: And girls just want to have fun.
• 15:36
  SPEAKER_00: That even as a teenager,
• 15:38
  SPEAKER_00: the first time I saw it,
• 15:40
  SPEAKER_00: it made me want to rip my hair out because I was so embarrassed to be seen watching
• 15:45
  SPEAKER_00: that scene.
• 15:46
  SPEAKER_00: It's almost worth watching just to see how bad that scene is.
• 15:51
  SPEAKER_00: It's also poorly shot so it feels like they needed to close some sort
• 15:56
  SPEAKER_00: of narrative gap and their solution was to create this scene in an alleyway.
• 16:02
  SPEAKER_00: Where the young gentleman who is the love interest of the protagonist female played
• 16:07
  SPEAKER_00: by Sarah Jessica Parker,
• 16:10
  SPEAKER_00: where he is in this alleyway standing next to his motorcycle because
• 16:16
  SPEAKER_00: of course he rode a motorcycle.
• 16:18
  SPEAKER_00: And then the mean girl who is sort of the teen stand-in for the,
• 16:22
  SPEAKER_00: you know, the Mustache swirling villain of the picture.
• 16:28
  SPEAKER_00: She's trying to poach him as her dance partner for the big dance contest
• 16:34
  SPEAKER_00: and she's flirting with him around this motorcycle and all you see is a brick wall
• 16:39
  SPEAKER_00: of this alley and it's poorly lit.
• 16:42
  SPEAKER_00: So you can tell it's not a real Allie, it's a pretend Allie.
• 16:46
  SPEAKER_00: And they're both using this overblown teenage vernacular that's so full of the slang
• 16:54
  SPEAKER_00: of the movie that they're almost not saying anything at all.
• 17:00
  SPEAKER_00: They're just speaking in this slang that no teenager that I knew spoke that way.
• 17:07
  SPEAKER_00: And yet here were these two characters spouting ridiculous...
• 17:13
  SPEAKER_00: Language at one another and trying to make it feel like it's a scene of temptation,
• 17:18
  SPEAKER_00: a scene of seduction.
• 17:21
  SPEAKER_00: And ew, it's just god awful.
• 17:26
  SPEAKER_00: And so like,
• 17:27
  SPEAKER_00: even though I couldn't tell you what was wrong with the scene as a teenager
• 17:34
  SPEAKER_00: who was supposed to be the audience for this film,
• 17:37
  SPEAKER_00: I felt like a violent physical reaction to this poorly written, untrue scene.
• 17:47
  SPEAKER_00: It felt like a bunch of adult writers in a room somewhere trying to fix
• 17:53
  SPEAKER_00: a narrative gap and trying to write something that sounded cool.
• 17:58
  SPEAKER_00: And hoping that that would carry the scene so you could get to the next plot point.
• 18:05
  SPEAKER_00: And I feel like it failed miserably because there was nothing that was like true to
• 18:11
  SPEAKER_00: the honest voice, the honest self.
• 18:15
  SPEAKER_00: So yeah, it's okay to be...
• 18:18
  SPEAKER_00: To please an audience, I mean, ultimately that's our goal, right?
• 18:22
  SPEAKER_00: We want to please our audience.
• 18:25
  SPEAKER_00: But if we go to a space where we will try to be someone we are not in order
• 18:33
  SPEAKER_00: to please the audience, the audience, they're not dumb.
• 18:37
  SPEAKER_00: They're not dumb at all.
• 18:39
  SPEAKER_00: I'm sorry, but you're going to have to be vulnerable and open and honest.
• 18:45
  SPEAKER_00: That's really the only way to do it.
• 18:49
  SPEAKER_00: My apologies.
• 18:51
  SPEAKER_00: I know that's hard.
• 18:53
  SPEAKER_00: I think that it's really important for us as artists as we're consuming material
• 18:58
  SPEAKER_00: to really seriously hone our own bullshit meters.
• 19:03
  SPEAKER_00: You're going to have to key in with your body and where your body is telling you
• 19:10
  SPEAKER_00: that something is wrong.
• 19:12
  SPEAKER_00: Because if you can see it in someone else's work,
• 19:15
  SPEAKER_00: if you can see it in other people's dialogue or in you can catch the,
• 19:21
  SPEAKER_00: you know, sorry,
• 19:22
  SPEAKER_00: but the bullshit,
• 19:24
  SPEAKER_00: then you'll be more attuned to it when it comes out in your work,
• 19:27
  SPEAKER_00: when you're seeing that your writing is hiding something,
• 19:31
  SPEAKER_00: when your writing is glossing over something that you didn't wish was true.
• 19:36
  SPEAKER_00: For example,
• 19:37
  SPEAKER_00: I recently read a biography,
• 19:39
  SPEAKER_00: and I won't Go to which one because I actually enjoyed it
• 19:43
  SPEAKER_00: and I don't want this autobiography to be unfairly colored because
• 19:52
  SPEAKER_00: the author had had a very traumatic formative experience that lasted a number
• 20:00
  SPEAKER_00: of years.
• 20:01
  SPEAKER_00: And throughout the writing of this piece there was a constant level of I don't want
• 20:09
  SPEAKER_00: to say necessarily denial,
• 20:11
  SPEAKER_00: but there was this facade that the author was trying to put forward that was like,
• 20:18
  SPEAKER_00: everything's okay now,
• 20:20
  SPEAKER_00: I've healed from this trauma and I've made peace with it and everybody's fine now.
• 20:27
  SPEAKER_00: It was repeated so often and not held up with any real evidence.
• 20:36
  SPEAKER_00: So my bullshit meter went off throughout the last quarter of the book
• 20:41
  SPEAKER_00: because I didn't believe that these things could happen and
• 20:47
  SPEAKER_00: the author was just coming to terms with those things that everything was fine.
• 20:54
  SPEAKER_00: Methinks thou doth protest too much.
• 20:57
  SPEAKER_00: I think it's really important for us to hone that meter inside ourselves.
• 21:02
  SPEAKER_00: Number one,
• 21:03
  SPEAKER_00: because it's a useful tool to have in a very complicated world to be able
• 21:08
  SPEAKER_00: to suss out who's being truly honest and who's trying to tell you what you want
• 21:15
  SPEAKER_00: to hear or what they think you want to hear.
• 21:19
  SPEAKER_00: But also as an artist, we can tell when we are papering over something.
• 21:25
  SPEAKER_00: And trying to protect or deny a reality that we've experienced because other people can tell.
• 21:34
  SPEAKER_00: And once again,
• 21:36
  SPEAKER_00: I'm sorry,
• 21:36
  SPEAKER_00: but to be the best artist you can be,
• 21:39
  SPEAKER_00: you need to put out work that you are confident in your own honesty
• 21:44
  SPEAKER_00: about those experiences.
• 21:46
  SPEAKER_00: So avoid the trap of cool.
• 21:48
  SPEAKER_00: Add to the conversation.
• 21:51
  SPEAKER_00: Make sure that what you are adding is coming truly from yourself
• 21:57
  SPEAKER_00: and what has impacted you from the original work.
• 22:01
  SPEAKER_00: Provide your own unique perspective on that original material.
• 22:07
  SPEAKER_00: Add other material that can compare and contrast and other influences to make a brand new stew.
• 22:15
  SPEAKER_00: Develop your bullshit meter.
• 22:18
  SPEAKER_00: And that thing, that narrative thing that you are like, no, that's too crazy.
• 22:24
  SPEAKER_00: That's too much.
• 22:25
  SPEAKER_00: I can't do that.
• 22:26
  SPEAKER_00: That's definitely something that you should explore.
• 22:30
  SPEAKER_00: We had this really good conversation in our writers group last night
• 22:33
  SPEAKER_00: about how your characters get a say.
• 22:38
  SPEAKER_00: And sometimes they will be obstinate.
• 22:41
  SPEAKER_00: They will demand that you
• 22:46
  SPEAKER_00: They will demand that you write them a certain way.
• 22:49
  SPEAKER_00: When you build them to such an extent that they are real voices that come through
• 22:57
  SPEAKER_00: the page,
• 22:58
  SPEAKER_00: they are going to start dictating their own behavior and you have no choice but
• 23:04
  SPEAKER_00: to follow it.
• 23:06
  SPEAKER_00: Because as soon as you start to force them into another direction, you are going to hit that.
• 23:13
  SPEAKER_00: That false tone you're gonna hit the gong of a lie and your audience will hear
• 23:22
  SPEAKER_00: that jangling sound and that's something that you want to avoid at all costs
• 23:30
  SPEAKER_00: and I think this is true whether or not you are Inspired by a piece of work
• 23:37
  SPEAKER_00: and are trying to incorporate it into your own story or if
• 23:43
  SPEAKER_00: the story is directly coming from you.
• 23:47
  SPEAKER_00: Although, let's face it, nothing is 100% our own.
• 23:54
  SPEAKER_00: We are children of a media age and we have been ingesting story from the beginning
• 24:01
  SPEAKER_00: and With each successive generation,
• 24:05
  SPEAKER_00: there are more and more and more and more and more and more stories to ingest and
• 24:10
  SPEAKER_00: to consume.
• 24:11
  SPEAKER_00: So our stories are really a continuation of all the stories that have come before.
• 24:18
  SPEAKER_00: We have to both admit that, embrace that, accept it, run it through our systems.
• 24:27
  SPEAKER_00: And let it come out with honesty and integrity.
• 24:32
  SPEAKER_00: So that's it, right?
• 24:33
  SPEAKER_00: That's simple enough.
• 24:34
  SPEAKER_00: Why don't you just go do that?
• 24:36
  SPEAKER_00: Okay.
• 24:38
  SPEAKER_00: I know.
• 24:38
  SPEAKER_00: It's not the easiest thing in the world.
• 24:40
  SPEAKER_00: But that's what we sign up for.
• 24:44
  SPEAKER_00: Alright, my storytellers.
• 24:46
  SPEAKER_00: That is it for me today on the Imperfect Impulse.
• 24:53
  SPEAKER_00: I hope you have a wonderful upcoming week.
• 24:57
  SPEAKER_00: And my voice hopefully will just continue to improve even though I can't stop talking.
• 25:03
  SPEAKER_00: So that's it.
• 25:06
  SPEAKER_00: I'm Bree O'Connor and this has been the Imperfect Impulse.