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Jeremiah Timmons: Overcoming Resistance & Boosting Your Motivation · The Daily Writer

• 0:12
  SPEAKER_02: Welcome to the weekend edition of the Daily Rider.
• 0:15
  SPEAKER_02: Each weekday, we bring you a short lesson that helps you live out the four practices of a great writer: creativity, consistency, courage, and connection.
• 0:24
  SPEAKER_02: Here on the weekend edition, we take a deeper dive into those topics through conversations with writers and teaching that helps us apply what we're learning.
• 0:33
  SPEAKER_02: For more, you can visit us at dailyriderlife.com.
• 0:37
  SPEAKER_02: On today's episode, I am thrilled to be joined by Jeremiah Timmins.
• 0:42
  SPEAKER_02: Jeremiah is a writer and TV producer who's done work for Tyler Perry Studios as well as HBO.
• 0:49
  SPEAKER_02: Jeremiah also coaches writers on how to increase productivity by including wellness tools into their routines.
• 0:56
  SPEAKER_02: Jeremiah got in touch with me a little while back, and I was so glad that he did because we had a fantastic conversation about overcoming resistance as writers.
• 1:05
  SPEAKER_02: Jeremiah has had his share of roadblocks and his creative career, as we all have at times, and he's here to share what he has learned and how we can be more successful with our writing.
• 1:16
  SPEAKER_02: It was an absolute pleasure to talk to Jeremiah, and I encourage you to check out his website at thethriving scribe.com, where you can find out and also apply for his VIP Rider's Day, which is a very cool thing that he's put together.
• 1:31
  SPEAKER_02: This is an experience where Jeremiah helps you become more productive and create your signature product.
• 1:37
  SPEAKER_02: Again, you can check that out at thetrivingscribe.com.
• 1:41
  SPEAKER_02: So with that, here's my conversation with Jeremiah Timmins.
• 1:45
  SPEAKER_02: Jeremiah, welcome to the Daily Writer Podcast.
• 1:48
  SPEAKER_02: I am so excited that we're chatting today because um, first of all, you're doing a lot of cool stuff.
• 1:54
  SPEAKER_02: And um I'm excited to dig into some of these topics that we're going to chat about.
• 1:59
  SPEAKER_02: But first of all, I want to ask about your background as a writer, particularly how you came to work with some really cool entities such as HBO, Tyler Perry, and so forth.
• 2:10
  SPEAKER_02: I mean, that's like the cream of the crop.
• 2:12
  SPEAKER_02: It truly is.
• 2:13
  SPEAKER_02: So I'm really, really interested in hearing some of your background and story.
• 2:18
  SPEAKER_00: Um background and story.
• 2:22
  SPEAKER_00: The long version would be me being a nerd of a kid, but not too many friends.
• 2:27
  SPEAKER_00: And because of that, yeah, was attracted to a lot of uh comic books, graphic novels, anime, and just movies in general.
• 2:36
  SPEAKER_00: That kind of like, because I feel like we all get very well versed on story at a young age.
• 2:41
  SPEAKER_00: And then as we get older, and if we decide we want to write, it's just a matter of putting a name to what we already know.
• 2:46
  SPEAKER_00: But the short story is um in Atlanta, started writing for a bunch of local comedians because you know everybody thinks they're funny.
• 2:54
  SPEAKER_00: I definitely thought I was funny, and uh, you know, yeah, I got got a bit of a ways with that, and then Atlanta is a very, this was what, 2015, 2016?
• 3:05
  SPEAKER_00: And Atlanta at this time was still getting used to its whole like production boom.
• 3:09
  SPEAKER_00: And in this circle, these circles, it was still fairly fairly small.
• 3:13
  SPEAKER_00: So you happen to know people that know people that know people.
• 3:17
  SPEAKER_00: And I ended up through a um friend, and one of the people I've written for, um, getting a job at Tyler Perry Studios.
• 3:24
  SPEAKER_00: And at Tyler Perry Studios, if you don't know, you it's like a shark, you you stop, you die.
• 3:31
  SPEAKER_00: Uh so you have to keep moving and you have to keep producing and you have to keep getting this material.
• 3:36
  SPEAKER_00: And you know, that's just the nature of the beast.
• 3:39
  SPEAKER_00: But the trick is to do it while still maintaining a bit of your sanity, while still not, you know, while doing it in a manner that is both productive and healthy.
• 3:53
  SPEAKER_00: Um, and that's the trick, and that's what a lot of people that I worked with, particularly at Tyler Paper Studios, were um dealing with, struggling with.
• 4:01
  SPEAKER_00: But, you know, I ended up making my way to LA because there's a lot of opportunities for me here.
• 4:08
  SPEAKER_00: And I started working on insecure season four, and that was another great environment.
• 4:15
  SPEAKER_00: It was it was another fast-paced environment.
• 4:18
  SPEAKER_00: And I honestly have to say, just seeing because this is a big thing for me, and I there's only so many times you get to see something like this, where you get to see like uh people of color creatives, black creatives leading the charge in front of behind the camera, making the material, getting the stories out there, um, just a free, not free, uh, what's the word free reign, so to speak, you know, where you're not necessarily hampered and you can actually just kind of spread your wings and articulate what you want to articulate, how you wanted to articulate it.
• 4:54
  SPEAKER_00: And that was a beautiful experience.
• 4:56
  SPEAKER_00: Um, so yeah, yeah, that's that's where I am.
• 5:01
  SPEAKER_00: Catches me up to present day.
• 5:02
  SPEAKER_00: And then of course, I'm doing my thriving scribe um coaching program in which I help emerging writers, even established writers, kind of get clear on what they want to say, how they want to say it, and develop a process in which to kind of address that in again a healthy and productive manner through uh holistic tools.
• 5:21
  SPEAKER_00: Wow, that's cool.
• 5:23
  SPEAKER_00: I know it's a mouthful.
• 5:24
  SPEAKER_00: It's such a mouthful.
• 5:25
  SPEAKER_00: Like, through your water while I was talking about that.
• 5:28
  SPEAKER_02: If you can't walk us through what what kinds of things were you writing for Tyler Perry Studios?
• 5:34
  SPEAKER_02: What does that actually look like in practice?
• 5:36
  SPEAKER_02: Do you go somewhere to a writer's room?
• 5:38
  SPEAKER_02: Do you go off and do your own stuff and submit it to producers or other writers?
• 5:42
  SPEAKER_02: Like, what does that look like in practice?
• 5:45
  SPEAKER_00: Well, it's one of those things where it's kind of like you do go off and it's it's it's like you know, grade school in which you get they break the classroom up in teams, it's like you get this project.
• 5:54
  SPEAKER_00: So there'd be X amount of writers, but there'll be like three or four shows.
• 5:58
  SPEAKER_00: So TV shows or movies or TV shows.
• 6:01
  SPEAKER_00: Okay, TV shows.
• 6:02
  SPEAKER_00: There's uh, you know, other people, there's departments in which they handle this and they have their own processes for that, but I was mainly focused on the TV side.
• 6:08
  SPEAKER_00: And then what they'll do is they'll you'll get like work with three or four writers, and you'll go and break off.
• 6:14
  SPEAKER_00: You can stay in the studio, you can, you know, at the time, you could go to a coffee shop and you could do whatever.
• 6:19
  SPEAKER_00: Um, but yeah, back in the old times, the old days BC before Corona.
• 6:26
  SPEAKER_02: Um that I am totally gonna use that.
• 6:29
  SPEAKER_00: I love that.
• 6:31
  SPEAKER_00: But no, uh, and you could break away, and what would happen is that you would have your assignment, you would have three or four episodes to write for three or four different shows.
• 6:40
  SPEAKER_00: So you and you have to have those episodes done, and it'll be like 30-minute comedies.
• 6:46
  SPEAKER_00: Um, so don't get me wrong, it's not easy by any means, but there's a difference between like a 30-minute comedy and like an hour drama.
• 6:53
  SPEAKER_00: Okay.
• 6:54
  SPEAKER_00: So, you know, just page length being one of them, and then different things to consider.
• 6:59
  SPEAKER_00: Uh, but you'll have those episodes to write.
• 7:02
  SPEAKER_00: So you're working, you're you have like several plates in the air spinning at the same time.
• 7:07
  SPEAKER_00: And you have to remember, you know, the rules, the characters, the beats, the not only the story arcs, but character arcs for each particular show as you're writing them.
• 7:19
  SPEAKER_00: And for those in the audience that even that's done that with one show, it can be a bit maddening, you know, just to be as detail-oriented as possible.
• 7:28
  SPEAKER_00: So to try to do that with three or four, you have to have certain things in place.
• 7:33
  SPEAKER_00: You have to have certain structures and frameworks, a certain apparatus.
• 7:37
  SPEAKER_00: Um, and I will say this it works like a well-oiled machine, Tyler Perry Studios.
• 7:42
  SPEAKER_00: They wouldn't be able to operate otherwise.
• 7:44
  SPEAKER_00: They work like a well-oiled machine.
• 7:47
  SPEAKER_00: It's like that, you know, NASCAR, that pit stop, which they dismantle and reconstruct a car in 45 seconds with you know clockwork precision because uh you just gotta keep moving.
• 8:00
  SPEAKER_00: Um, so that was thinking about it now.
• 8:04
  SPEAKER_00: Uh I'll almost miss it.
• 8:08
  SPEAKER_00: The seamlessness in which things run.
• 8:11
  SPEAKER_02: From a uh from a business perspective, excuse me, sorry.
• 8:15
  SPEAKER_02: From a business perspective, how does that work if you have your own production studio?
• 8:20
  SPEAKER_02: So obviously Tyler Perry is a huge name in entertainment, lots and lots of things under his name.
• 8:25
  SPEAKER_02: Does he still own the content?
• 8:27
  SPEAKER_02: Like when when when he produces or his company produces the TV show, does he license that to a network?
• 8:34
  SPEAKER_02: But he still owns it, or how does that actually all work?
• 8:37
  SPEAKER_02: Um, and the here's the reason I'm asking that is because I'm curious how how you go for what's the advantage of being, let's say, someone who's a who's a writer or a director or actor versus you have a studio where you're actually creating the content yourself and you own it.
• 8:52
  SPEAKER_00: Maybe that I'm probably not even making any sense with that question, but no, no, I it it it does, and it I see what you're saying.
• 8:58
  SPEAKER_00: Um now keep in mind, I it's one of those things I'll I'll be honest.
• 9:03
  SPEAKER_00: Insecurity about me is that I can think about the creative all day and I'll get lost in that.
• 9:10
  SPEAKER_00: It's essentially you right, you get paid the daydream, I feel like.
• 9:14
  SPEAKER_00: You get paid the fantasy.
• 9:16
  SPEAKER_00: But my business, you know, know-how, the things that you learn in B school, I always feel like it's not as polished as it should be.
• 9:25
  SPEAKER_00: So what I'm gonna do now, and as I proceed with the answer to your question, is gonna be like um my pretty much educated guess.
• 9:34
  SPEAKER_00: Uh so I know by being in a WGA or you know, whatever uh guild that you're in, whatever union that you're in, that if you were to produce something for TV, excuse me, if you were to produce something for TV, you are tied to that in a way.
• 9:53
  SPEAKER_00: You don't necessarily yeah, you don't necessarily get residuals, residuals, but there's a certain amount of monetary compensation.
• 9:59
  SPEAKER_00: My cat needs to get outside the office because he's mistaken.
• 10:02
  SPEAKER_00: It's all good monetary compensation that you get um uh for the life of the license, or as the show goes on, blah blah blah.
• 10:14
  SPEAKER_00: But what the producers particularly is in Tyler Perry's case, what makes this awesome is that he is the A and B of it all.
• 10:23
  SPEAKER_00: He creates the content, puts the pieces in place, uh, owns the content, and he also produces the content and gets it to air on these networks that in which he has partnerships with.
• 10:37
  SPEAKER_00: Okay.
• 10:38
  SPEAKER_00: So it's like, for lack of a better term, double dipping.
• 10:41
  SPEAKER_00: So I would say, and that's great, that's a great thing actually when you want to be.
• 10:44
  SPEAKER_00: You don't want to like it just enables you to have more ownership and more of a say in the direction because you're not making it to standard for anybody else, you're not making it to market for anybody else, you're making it to market for you.
• 10:57
  SPEAKER_00: So he I love it, yeah, yeah.
• 11:00
  SPEAKER_00: And yes, there's um, I believe the networks come to him for the content.
• 11:05
  SPEAKER_00: I believe the networks are getting a part of what he has going on because they need him at this point more.
• 11:12
  SPEAKER_00: They need the content, they need the episodes, they have the viewership that loves the content, and if they don't have it, if they don't license it from him, then they're the ones um falling by the wayside.
• 11:24
  SPEAKER_00: Yeah, whereas he will be fine, he can take it to somebody else.
• 11:27
  SPEAKER_00: So he definitely flipped the dynamics of that.
• 11:30
  SPEAKER_00: I love that so much, right?
• 11:32
  SPEAKER_00: Right.
• 11:33
  SPEAKER_02: So essentially, you will you have the distributors coming to you, asking you to distribute your content, therefore you can set the terms of it of the relationship, which is different than so much of how we normally think of the creative process, which is I'm gonna make this thing that I'm gonna see if I can find someone to buy and distribute it.
• 11:51
  SPEAKER_02: You know, it's like, man, you want the people coming to you.
• 11:54
  SPEAKER_02: That's a much more advantageous place to be.
• 11:56
  SPEAKER_02: If you can get there ultimately, no, that's great.
• 11:58
  SPEAKER_00: And the closest parallel I can think about is like Elon Musk, is where Elon Musk could have easily made the Tesla or the company could have made Tesla and he given it to a dealership.
• 12:09
  SPEAKER_00: But then you start to think, oh wait, why do I need a dealership?
• 12:14
  SPEAKER_00: Exactly.
• 12:16
  SPEAKER_00: You know, and that's not a one-to-one comparison.
• 12:18
  SPEAKER_00: That's the closest thing I can think of, in which you're both the uh manufacturer and the distributor.
• 12:24
  SPEAKER_02: Kind of like Apple in a way, yeah.
• 12:28
  SPEAKER_02: Versus Microsoft, where Microsoft makes, you know, they don't they make the software, but primarily their software is used on machines that are made by other people, as opposed to Apple, which gets they double dip, they make they make the brains, but they also make the bodies of this stuff.
• 12:46
  SPEAKER_02: So yeah, definitely an interesting business component to all this.
• 12:50
  SPEAKER_00: And I think I honestly I feel maybe it's just the uh proletariat in me, but I feel like once you control the means of distribution, you can have a bit more of a less structured corporate, like think of how many properties that we've seen in a television or film medium that were just for lack of a better term, like brutalized or butchered by going through this um corporate morass of opinions and notes and things that honestly just bogged it down for no reason.
• 13:20
  SPEAKER_02: Maybe and film critics, critics who don't know anything, who are just their whole job is to sit back and find fault with everything, which is like yeah, I mean it's a whole other discussion.
• 13:31
  SPEAKER_00: But I I don't I don't envy them.
• 13:34
  SPEAKER_00: It's good money if you can get it.
• 13:35
  SPEAKER_00: It's a good you know, if that's what you like to do.
• 13:38
  SPEAKER_00: There's there are those who actually find like intelligent.
• 13:41
  SPEAKER_00: I find like I like reading critics sometimes because it's like intelligent commentary, and it's some that provide like you know, a referendum on our times, just like a bellwether by things that may have been acceptable before and may have been and may not be acceptable or so you know in vogue now.
• 13:59
  SPEAKER_00: Um and it's somewhat of a good gut check because no nobody's beyond criticism.
• 14:03
  SPEAKER_00: Nobody's beyond criticism, right?
• 14:06
  SPEAKER_00: But a lot of the times it seems very and maybe this I'm just biased, but a lot of the times it seems very um arbitrary.
• 14:14
  SPEAKER_00: And like you say, you you gotta find fault, otherwise you don't get your check.
• 14:18
  SPEAKER_02: So yeah, I I got there's definitely a component to film and TV critics, and uh I think this is particularly true with like Star Wars community, fan communities that are super passionate about the thing that they love, where it it's so much easier to be a critic on the sidelines and to find fault with everything.
• 14:39
  SPEAKER_02: It's easier to do that than to actually go make something yourself.
• 14:42
  SPEAKER_02: So I think people who who do criticism uh for a living or partly for a living, I think that is a way for many of those people to be close to the thing that they love without actually taking a risk, you know, because they can sit back and make their YouTube videos, they can make their YouTube analysis videos all day, but they're not actually out there making anything, they're just finding fault with everything else.
• 15:04
  SPEAKER_02: And um, I don't know.
• 15:06
  SPEAKER_02: I I guess I have a lot of respect for people like you who go out and you're you're making the stuff that everybody else is consuming, and it's so much more of a powerful place in culture to be the creator rather than just the person who's reacting to what everybody else is creating, I think.
• 15:22
  SPEAKER_00: Well, yeah, it's it's and we were just talking about we spoke a little bit before the episode started, and and we're talking about you know, people who uh you were telling me about this your students and how they're or when you were teaching, and how if they were struggling with something that they had just come to you, you can help them.
• 15:43
  SPEAKER_00: I can help, I can help you.
• 15:44
  SPEAKER_00: You can't heal what you don't reveal.
• 15:46
  SPEAKER_00: I can help you if you that's good.
• 15:48
  SPEAKER_00: But if you don't let me know, it's a Jay-Z line, so I just thought I love that.
• 15:53
  SPEAKER_00: I love that.
• 15:54
  SPEAKER_00: Yeah, um, but is that if they don't come to you, then you can't help them, if only for the fact that you have no idea what they're dealing with.
• 16:02
  SPEAKER_00: Uh so when it comes to people who say are adjacent to certain industries, like um, or certain whatever, it could be whatever field, but they're not doing it, they're just adjacent to it if they haven't taken a leap.
• 16:17
  SPEAKER_02: And where they're a lot of teachers are like that, by the way.
• 16:20
  SPEAKER_02: Yeah, there's a lot of college, there's a lot of literature college professors who secretly wanted to be novelists and and book writers, but they didn't have the courage to actually do it themselves.
• 16:31
  SPEAKER_02: Wow, that sounds really harsh.
• 16:33
  SPEAKER_02: No, I've been in education for so long, I I kind of think I've earned the right to say that to some degree.
• 16:39
  SPEAKER_00: Yeah.
• 16:40
  SPEAKER_00: No, don't get me wrong, I'm not I'm not a fan of hand holding anybody because you know you do a certain disservice if you like just completely coddle people, but again, it's kind of a school of two minds.
• 16:51
  SPEAKER_00: Um, yeah.
• 16:53
  SPEAKER_00: Because I I I do believe that we have to meet people where they are and whatever circumstances they find themselves in, even if they're just like not exactly like you say, they're teaching, but they're not writing the book or writing the novel or doing anything that they really wanted to do with the skill set that they have.
• 17:11
  SPEAKER_00: In my experience, there's always an underlying factors or notion, or you know, like things that contribute to that.
• 17:16
  SPEAKER_00: Like life gets in the way.
• 17:18
  SPEAKER_00: You wanted to write a book.
• 17:19
  SPEAKER_00: Oh, now you got two kids and you're in a relationship, and now you got to provide for them.
• 17:22
  SPEAKER_00: And you may not have all the time in the world to sit down at your desk and break story.
• 17:27
  SPEAKER_00: And you know, that goes on for so long that it just becomes your life and your original um ambitions kind of get fall by the wayside.
• 17:35
  SPEAKER_00: I get that, I totally get that.
• 17:37
  SPEAKER_00: Yeah, I do too.
• 17:38
  SPEAKER_00: Somebody's struggling with it, like, and even if somebody makes a criticism that I don't wholly agree with, I like to think that I can conjure at least a little bit of grace within myself to be like, Yeah, and then you guys maybe there's some truth in it.
• 17:50
  SPEAKER_00: Yeah, maybe there's some truth in a criticism, more you know, probably yes, or maybe they're just dealing with their own thing.
• 17:56
  SPEAKER_00: Like if somebody just starts argument with you for no reason, you know, yeah, like you're dealing with your own thing, and this is nothing that I can't, you and I can't both walk away from and try to learn from a little bit better in the future.
• 18:13
  SPEAKER_02: Absolutely, man.
• 18:14
  SPEAKER_02: I love that.
• 18:15
  SPEAKER_02: I love that.
• 18:16
  SPEAKER_02: Well, I do want to ask you about a couple things here.
• 18:19
  SPEAKER_02: Um, and actually, I've got a list of things.
• 18:22
  SPEAKER_02: Uh I don't have time to get into all these, but you're doing so many cool things with how you're helping writers, how you're serving people, and the things that you have gone through yourself to get to where you are.
• 18:35
  SPEAKER_02: That means I wish we had hours to dive into all this, but one thing I want to ask about is this this really I think is an important topic is overcoming resistance as a writer and as a creative.
• 18:46
  SPEAKER_02: I know that's something that that you have dealt with yourself just by definition of being in the entertainment industry.
• 18:53
  SPEAKER_02: You've got to overcome the sense of resistance.
• 18:55
  SPEAKER_02: So I'm curious if you can talk a little bit about what you have learned about how to overcome that resistance, that fear, that that impulse we have to run the opposite direction whenever we're doing something scary.
• 19:07
  SPEAKER_00: It's manifold, man.
• 19:08
  SPEAKER_00: It comes in many different ways.
• 19:10
  SPEAKER_00: Um, to name a few, and I'll be brief because I know I have a tendency to rain.
• 19:13
  SPEAKER_00: But uh one of the witches I've seen is that whole thing where like familiarity breeds resentment.
• 19:21
  SPEAKER_00: And there's nothing you become so familiar with as your own work and your writing and your own perspective.
• 19:26
  SPEAKER_00: So it's a lot of the times where the clients that I work with, they will have an idea and they'll be supercharged, really excited about it, and then they'll get to work and then they'll start losing steam because the more they get acclimated, because you know, writing is kind of like chiping away at like sculpture.
• 19:41
  SPEAKER_00: You're seeing the shape that's underneath by you know doing revisions and edits and going back and looking at your storyboard and just how you map the whole thing.
• 19:49
  SPEAKER_00: You're getting to the heart of what it really is as opposed to what you thought it would be.
• 19:54
  SPEAKER_00: And a lot of people tend to lose steam when it comes to that because they become so familiar with things that it loses resonance with them and loses its impact with them.
• 20:04
  SPEAKER_00: That's not just talk about its inherent value or inherent resonance because you and I, you know, with fresh eyes looking at the story, would see be like, oh, this is marvelous, keep going.
• 20:14
  SPEAKER_00: Even them, if they took some time and distance away and didn't continuously, you know, burn the candle at both ends when it comes to completing the project, they can come back to it after a period and be like, oh, well, this is amazing.
• 20:25
  SPEAKER_00: I'm gonna keep going.
• 20:26
  SPEAKER_00: So that's one way in which I've noticed.
• 20:28
  SPEAKER_00: Another would be perfectionism.
• 20:31
  SPEAKER_00: Which, yeah, you know, it's it's a it's a thing.
• 20:34
  SPEAKER_00: And I've noticed it particularly because, and I say this because this is where my focus is um this industry has certain uh aesthetics, and people who look like me, uh, black and brown people, aren't necessarily as prevalent as you know the next person.
• 20:52
  SPEAKER_02: So it's it's people who look like me.
• 20:55
  SPEAKER_02: No, a white middle-aged guy.
• 20:57
  SPEAKER_00: It's the realities of the situation, and there's progress being made, but for the time, like if you were to enter any, if you were to enter a room right now and you were the only man, it wouldn't be you you would notice.
• 21:08
  SPEAKER_00: You wouldn't notice.
• 21:10
  SPEAKER_00: And there's a lot of rooms in which there's like only one or two.
• 21:13
  SPEAKER_00: And so when it what happens is you find yourself becoming less of a person, less of a writer in your own individual right, and you become representative of like your entire demographic.
• 21:23
  SPEAKER_00: There's been rooms in which I've been in, in which there's only one woman, and then she would only be consulted when there's like a storyline or plot or be, you know, like a plot line that directly involves like a woman's perspective.
• 21:38
  SPEAKER_00: You forgetting the fact that she's also a human being.
• 21:40
  SPEAKER_00: Exactly.
• 21:41
  SPEAKER_00: Exactly.
• 21:42
  SPEAKER_00: Like a shared lived experience as much and as valid as anybody else.
• 21:45
  SPEAKER_00: So these things tend to happen.
• 21:47
  SPEAKER_00: And when that happens, just being on this on that side of it myself, you think that you have everything has to be perfect.
• 21:53
  SPEAKER_00: You have to constantly justify why you're in that room, and you have to always, always, always prove yourself.
• 22:00
  SPEAKER_00: And you know that your colleagues that don't share your demographics, they don't feel like that because they don't have to feel like that.
• 22:06
  SPEAKER_00: And that is not to strike them or indict them.
• 22:09
  SPEAKER_00: I envy that.
• 22:10
  SPEAKER_00: I want that.
• 22:11
  SPEAKER_00: That should be the way it always is.
• 22:12
  SPEAKER_00: We don't constantly like just you being hired and you being in that room proves that your voice has value.
• 22:19
  SPEAKER_01: Yeah.
• 22:19
  SPEAKER_00: That's it.
• 22:20
  SPEAKER_00: That's the sole determining vacuum.
• 22:22
  SPEAKER_00: You don't need to, you know.
• 22:24
  SPEAKER_00: Um, but, anyways, yes.
• 22:26
  SPEAKER_00: So perfectionism is another, and just the sense of self.
• 22:33
  SPEAKER_00: You know, you a lot of people.
• 22:36
  SPEAKER_00: Yeah, I've been I've talked to 21-year-olds that knew their voice or that were confident in their voice, and I've talked to 60-year-olds that were not.
• 22:45
  SPEAKER_00: Um, you it's a matter of knowing who you are, what you want to say, and who you want to say it to.
• 22:52
  SPEAKER_00: Those are the three key points that I find that uh helps in building your sense of self.
• 22:57
  SPEAKER_00: Okay, can you repeat those?
• 22:59
  SPEAKER_00: Yeah, yeah.
• 23:00
  SPEAKER_00: Uh, who are you?
• 23:01
  SPEAKER_00: What culmination, what series of events has occurred to bring you to this point in your life with this perspective, with this pathology, this mindset?
• 23:09
  SPEAKER_00: Um, what do you want to say?
• 23:11
  SPEAKER_00: I promise you, whatever you got to say, the internet is proof positive, but whatever you got to say, there's gonna be an audience for it.
• 23:17
  SPEAKER_00: You just have to work on your messaging and how you want to say it.
• 23:20
  SPEAKER_00: You know, what do you want to say?
• 23:22
  SPEAKER_00: What are your themes?
• 23:23
  SPEAKER_00: What strikes with you, and who are you talking to?
• 23:27
  SPEAKER_00: Who are you talking to?
• 23:29
  SPEAKER_00: I'm not going to recommend um a Star Wars movie to somebody who is really, really into Tom Clancy or novels, or you know, I'm not going to, you have to know your audience, basically.
• 23:46
  SPEAKER_02: You've got a great book outline there, by the way.
• 23:48
  SPEAKER_00: What is that?
• 23:49
  SPEAKER_02: You've got a great book outline there, though, by the way.
• 23:51
  SPEAKER_02: So I because I'm a ghostwriter, I'm always thinking in terms of books and online.
• 23:55
  SPEAKER_02: So so seriously, I if you ever write a book, I hope that you consider writing a book on voice.
• 24:01
  SPEAKER_02: Where literally, like section one, you're talking about who are you, section two, what events have brought you here?
• 24:07
  SPEAKER_02: Section three, what do you have to say?
• 24:09
  SPEAKER_02: And then who are you talking to?
• 24:10
  SPEAKER_02: Your audience.
• 24:11
  SPEAKER_02: I mean, wow, that's that's fantastic.
• 24:13
  SPEAKER_02: No, that's you've got a lot of really good stuff right there.
• 24:16
  SPEAKER_00: No, it's cool.
• 24:17
  SPEAKER_00: And I figure, I figure it's like one of those things, and thank you.
• 24:20
  SPEAKER_00: Um, but it's like, you know, once you have those things down, everything else comparatively, comparatively is gravy.
• 24:28
  SPEAKER_00: It's like when it comes to writing a script, for instance, you get the hard work is in pre-planning and mapping out the story, breaking the story, and you know, deciding which way it's going to go, building the rules of the world, getting that uh serious Bible, or you know, whatever you may be doing now.
• 24:42
  SPEAKER_00: Um the easiest part is writing a script.
• 24:47
  SPEAKER_00: Because you're just you're just implementing what you've already established.
• 24:50
  SPEAKER_00: Everything else is written.
• 24:52
  SPEAKER_00: You're just the script is just, you know, for you for the reader, for the viewer, you know, for the audience.
• 24:58
  SPEAKER_00: The script is just, you know, a means of what's the word I'm looking for, like a conduit to relating that story because the pre-planning materials and the promo materials and everything else that you reconcile prior to that already has a story.
• 25:10
  SPEAKER_00: The script is just the script is just a streamlined version of that.
• 25:14
  SPEAKER_02: Man, that is cool.
• 25:15
  SPEAKER_02: That is cool.
• 25:16
  SPEAKER_02: It is so neat to hear you talk about this stuff because I've always been into screenwriting and movies and storytelling.
• 25:22
  SPEAKER_02: And of course, you dive into this a lot more, um, into the things that you help clients with and so forth, which is so cool.
• 25:30
  SPEAKER_02: So I appreciate you sharing just a little slice of this with us.
• 25:33
  SPEAKER_00: No, it's it's awesome because it's it's I find, and again, with this side of things, you you know, we're Tyler Perry HBO, you're in a room of people who chose to be there.
• 25:48
  SPEAKER_00: Yeah, you know, it's it's not like they were plucked off the street, they chose to be there, and that's how they got in that room through you know their efforts to get there.
• 25:57
  SPEAKER_00: But with what I'm doing, and you know, as far as it's the reaching out to writers and being like, hey, you know, maybe you considered this before, maybe you haven't, but I don't even know you the know, I don't even need to know you to know that your story has value.
• 26:12
  SPEAKER_00: Um, you meet a wider variety of people.
• 26:16
  SPEAKER_00: Uh uh golly, uh like uh I can I told you I have I had one conversation, one of my finds is like 21 years old, just about to graduate college, um, really wants to be a screenwriter, and he's taking his first stab at it.
• 26:29
  SPEAKER_00: Another 60, she had her family.
• 26:31
  SPEAKER_00: She lived her life, she and she still has a lot more life left to live.
• 26:36
  SPEAKER_00: And she's like, Oh, I want to try this now.
• 26:38
  SPEAKER_00: And I you you don't meet that, you know, diverse array of people, yeah, all in the same, you know, all writers on any lot.
• 26:50
  SPEAKER_00: You don't, yeah, you know, so this is it's it's amazing, and it's an amazing experience, a period of discovery for me.
• 26:57
  SPEAKER_02: I don't uh this is gonna sound incredibly naive.
• 27:00
  SPEAKER_02: I understand in 2021, but I really wrestle with the mentality that that so many people have where they just kind of want to insulate themselves within groups of people that are just like them, they look like them, they believe like them, and so forth.
• 27:15
  SPEAKER_02: You know, I I guess it just kind of seems obvious to me, and I I know not everybody thinks this way, but my life is enlarged, my life is made better when I spend time around people who are different than me.
• 27:28
  SPEAKER_02: When I hear their stories, when I hear about their life experience, when I hear their perspectives on things, like that that enhances my life.
• 27:35
  SPEAKER_02: That excuse me, that that makes me better, that helps enlarge my perspective.
• 27:41
  SPEAKER_02: I it helps me become more empathetic to other people who are not like me.
• 27:45
  SPEAKER_02: And I'd I really the older I get, the more I struggle to understand why everybody does not think that way.
• 27:50
  SPEAKER_02: And I understand a lot of people don't think that way, but it's very, very frustrating because I'm like, man, we need more screenwriters, we need more directors and producers and artists, musicians of every conceivable kind of background, because it enriches and it enlarges everybody else's experience.
• 28:08
  SPEAKER_02: And I really struggle to understand why not everybody wants that, you know.
• 28:13
  SPEAKER_02: Maybe and then maybe that's the question of our day.
• 28:15
  SPEAKER_02: I don't know.
• 28:17
  SPEAKER_02: But I'm sure I'm sure everybody who is a part of any screenwriting team comes up against that same thing because we need more stories, we need more diverse stories, we need a wider variety of stories and perspectives, I think.
• 28:31
  SPEAKER_00: Oh, you're absolutely right.
• 28:33
  SPEAKER_00: And you because you only know what you know.
• 28:35
  SPEAKER_02: I only have Yeah, exactly.
• 28:37
  SPEAKER_02: I know a little sliver, a tiny, tiny little sliver.
• 28:40
  SPEAKER_02: I want to know, I want to have a bigger sliver, you know.
• 28:42
  SPEAKER_02: Uh that sounds weird to say, I guess, but yeah, I want to have I want to have a bigger perspective on life.
• 28:48
  SPEAKER_02: That's not just my little tiny confined perspective.
• 28:51
  SPEAKER_00: No, and that's right.
• 28:52
  SPEAKER_00: And I feel like here's where I get a little Marxist, here's where I get a little bit like conspiratorial, you know, those people that like lean in real close and create your personal space, and it's like, hey man, we got all the people out here, right?
• 29:03
  SPEAKER_00: You got the screenwriters, you got the directors here, but it's the system, it's being recognized by the system, and you have to work in the system because that's it is all these you have these artists, and there is we're chock a block full.
• 29:15
  SPEAKER_00: You know, nobody's lacking for creatives of any particular demographic or you know, experience.
• 29:22
  SPEAKER_00: Um, but it's a matter of this system working to recognize and to make space for those stories, right?
• 29:30
  SPEAKER_00: Right, and that's a work in process right now because this system as we have it is the biggest means like Western media.
• 29:37
  SPEAKER_00: You got you can fly to any one point in the Middle East or a remote part of Australia, and they know who Jerry Seinfeld is, they know friends, yeah, they know uh rap music, you know.
• 29:53
  SPEAKER_00: So it's a matter of having this system make space for those diverse arrays of stories, as opposed to just like you know, very picky and choosy.
• 30:02
  SPEAKER_00: Um, but you're absolutely right.
• 30:06
  SPEAKER_00: And I don't know, it's it's it's uh because again, uh there's no it's one of those things where I'm not gonna pretend I have any insightful suggestions on how to fix like fundamentally, but I do know it's not any one solution, it's like Voltron.
• 30:24
  SPEAKER_00: There's gonna be many solutions coming together.
• 30:26
  SPEAKER_00: I love the Voltron reference, yeah.
• 30:28
  SPEAKER_00: There's many solutions coming together to address one overarching problem.
• 30:34
  SPEAKER_00: But what I can say is that it doesn't hurt like me.
• 30:38
  SPEAKER_00: I I find myself writing um female characters a lot for in a different particular way, those who female characters whose trauma whose um what do you call it, whose personality and character isn't modeled after trauma inflicted by a man.
• 30:56
  SPEAKER_02: Yeah, because that's so much of what's out there, right?
• 30:59
  SPEAKER_00: And I I see that a lot, and I'm not again not knocking people who written that because those that is a very real, ongoing, persistent thing, so much so to which it's almost normalized in our culture.
• 31:12
  SPEAKER_00: So that store, those stories need to be told.
• 31:14
  SPEAKER_00: It's just I haven't seen so much media in which blah blah blah, you know, whatever.
• 31:21
  SPEAKER_00: But again, I'm a guy.
• 31:22
  SPEAKER_00: So who am I, do you know, to kind of like co-opt a woman's experience or to speak on what it's like?
• 31:31
  SPEAKER_00: So what I try to do is to safe check my blind spots, is there are certain people that I consult with, that I do my research with, even if it's just such a problem.
• 31:41
  SPEAKER_00: Like um, do you have time for do we have time for a little tangent?
• 31:45
  SPEAKER_02: Yeah, of course.
• 31:47
  SPEAKER_02: It's my podcast.
• 31:48
  SPEAKER_02: Yeah, we have time for whatever we want to have time for.
• 31:50
  SPEAKER_00: Okay, and it's the little things, you it's the little things, the devil's in the details.
• 31:55
  SPEAKER_00: Um, I remember reading this one piece.
• 31:56
  SPEAKER_00: It's um a studio, I'm not gonna name it, but it's definitely, I feel like every other week you see a scandal about it, a network.
• 32:04
  SPEAKER_00: Um, and they had this showrunner uh that was doing the show, and he was writing it with his writers, and it was like two female staff members, and the rest of them are guys.
• 32:14
  SPEAKER_00: And the scene they were writing is with two women, they were walking into a building and they were doing a walk and talk, they were walking into a building, and then they get on the elevator, and before the elevator doors can close, a guy gets into the elevator, homeless man, and then you know it's supposed to be one of those little funny little gags that play in the background.
• 32:32
  SPEAKER_00: And um, so while the women they're still talking and they're having a conversation of two women, the guy in the background, a homeless man, begins disrobing, taking off his clothes, and you know, like kind of doing like a little wash-up because I guess he was going to use the restroom or whatever.
• 32:48
  SPEAKER_00: And then in the scene, the women, the female characters don't notice, or then maybe there's uh society living.
• 32:55
  SPEAKER_00: I'm just, you know, men living in the it's just what to expect.
• 32:59
  SPEAKER_00: It's our world.
• 33:00
  SPEAKER_00: And this it's supposed to demonstrate how inured they are to you know certain things that would make other people squeamish and to show that they're tough and all that good stuff.
• 33:08
  SPEAKER_00: And but you're reading it in the female, the women, the women writers, the female writers on staff, they were like, no, no, no, no, no, no, no, no.
• 33:20
  SPEAKER_00: Women would notice.
• 33:21
  SPEAKER_00: That is a uh uh klaxon, that is uh DEF CON one.
• 33:27
  SPEAKER_00: That is, you do not want to be in an enclosed space with a man who thinks it's appropriate to get to get naked in front of who knows what else he's capable of.
• 33:37
  SPEAKER_00: It seems obvious, right?
• 33:39
  SPEAKER_00: And I'm not so precious about my sensibilities to say that uh, you know, initially, I would have thought that initial run and that perspective of how that's even was constructed.
• 33:48
  SPEAKER_00: I was like, oh, that's cool, it shows that they're tough, fine, whatever.
• 33:51
  SPEAKER_00: But then it took that perspective, that lived experience of being a woman who also happens to write and try to articulate your lived experience to be like, no, it seems small to you, but this is actually a very big thing, and that costs a very big role at this um particular studio because it it matters, these little things that would easily float by me matters, so that's why I try to consult on things that even I think are minuscule.
• 34:18
  SPEAKER_00: Because I know I probably think they're minuscule, because it's never I've only had to consider it as minuscule.
• 34:24
  SPEAKER_02: Well, we all have blind spots, don't we?
• 34:25
  SPEAKER_02: Yeah, we all have a limited perspective on the world.
• 34:28
  SPEAKER_02: We all have these certain glasses that we wear that we see life through.
• 34:32
  SPEAKER_02: And so I I will have been married 25 years next month, and I I still see it every day, you know.
• 34:39
  SPEAKER_02: Like, um it doesn't matter who you are, your your kids, your spouse, your parents, your friends, um, everybody has a different set of glasses they look at life through, you know, glasses that consist of our of our experience and our emotions and personality and all that stuff.
• 34:55
  SPEAKER_02: So it's important to I guess first of all, understand that we have our our own perspective and then learn to hey, can I use your glasses, help me see things through your lens and your perspective?
• 35:07
  SPEAKER_00: That's really important, and that only makes a fuller, richer picture.
• 35:11
  SPEAKER_00: Yes, it makes it better.
• 35:13
  SPEAKER_00: We need all eyes on a particular, like I can write something, and that's great.
• 35:18
  SPEAKER_00: I wrote it, that's awesome.
• 35:20
  SPEAKER_00: But the moment, the moment I hand it off to somebody else, the moment I there's any production on it, or you know, somebody's okay, we're gonna take this and then we're gonna bring everybody else into it because then it's not mine anymore.
• 35:39
  SPEAKER_00: It's not wholly mine.
• 35:43
  SPEAKER_00: Your artist makes their music, the moment they put it out there, it's not wholly theirs anymore.
• 35:48
  SPEAKER_00: Exactly.
• 35:48
  SPEAKER_00: It becomes everybody's, and it becomes our responsibility to make sure this story is told with some sort of fidelity to not only the real world, but to the truth.
• 35:57
  SPEAKER_00: All good stories point back the truth, and so like to pretend otherwise, you know, you know a sh a crappy story, pardon me.
• 36:05
  SPEAKER_00: I don't want to cuss, you know a crappy story when you see it.
• 36:10
  SPEAKER_00: Like you were talking, you were talking before about having a diverse array of people in a room.
• 36:14
  SPEAKER_00: Like whatever lived experiences you've had, if you were to see it depicted on screen and it wasn't necessarily authentic or you know, this, that, and a third, it it would ring hollow because you you know it in your bones that this is just whatever, and you can easily read it, and you can tell there was a laziness on perhaps on the creative staff because you could have easily gotten somebody in there to be like, okay, how can we make sure this resonates with those who actually live this way?
• 36:41
  SPEAKER_00: Right.
• 36:42
  SPEAKER_00: Exactly.
• 36:43
  SPEAKER_00: So to not do that, I I think it's not only like a bit lazy, but it's a dereliction of responsibility.
• 36:50
  SPEAKER_02: Yep.
• 36:50
  SPEAKER_02: You know, one thing I have learned from from ghostwriting books for business clients is that collaboration almost always makes everything better.
• 37:00
  SPEAKER_02: And in the author community, we we sort of have this idea many times in in the writing space of man, I wrote this book, I did this, I did that.
• 37:10
  SPEAKER_02: But when you bring in other other good voices to something, it almost always improves the final product because they're catching things that you don't see and they're adding stories, they're adding perspectives.
• 37:20
  SPEAKER_02: And that's that's wasn't I I wasn't expecting to learn that when I got into ghostwriting, but it's been a major, major lesson that I've taken away from it.
• 37:28
  SPEAKER_02: And I know that's it's been the case forever in the entertainment world where most everything is created by more than one person, you know, scripts, music, um, storylines, TV series, and all that stuff.
• 37:42
  SPEAKER_02: So it's fascinating, really fascinating.
• 37:44
  SPEAKER_00: I I I come, I read another thing that I thought was pretty awesome.
• 37:49
  SPEAKER_00: Um like I like It's Always Sunny in Philadelphia, you know, because it's funny and it's well written and all that good stuff.
• 37:55
  SPEAKER_00: But I I didn't I never lived around in that area, so I guess I missed a bit of nuance.
• 38:00
  SPEAKER_00: And I find one of the reasons why, one of the many reasons why this show is such a powerhouse in longevity and just strength, like endurance, comedic endurance, is um because of their authentic depiction, even in the minor things of just like the mannerisms, the vocal inflections, the the that New England patois, that kind of like way in which people from that area speak and perceive a situation down to the molecule, down to the molecular level.
• 38:29
  SPEAKER_00: And that became apparent.
• 38:31
  SPEAKER_00: I was reading about um that HBO show Mayor of Easton, and Kate Winslett was talking about out of all the accents she's done, even some that are like sci-fi movies, and she speak in languages that are not even, you know, people just made up, like alien language, like they did in or whatever they did in Game of Thrones.
• 38:49
  SPEAKER_00: She's like, that accent that she does, the Pennsylvanian accent, was the hardest because it's so specific and it's so detail oriented, and they have people on set as consultants just being like, nope, nope, you didn't pronounce it right, you didn't do this right.
• 39:02
  SPEAKER_00: Somebody from this area, they wouldn't look at it like this, they would talk about it, you know.
• 39:07
  SPEAKER_00: And it's so because they wanted to know they knew who they were speaking to.
• 39:11
  SPEAKER_00: And they, I believe that show is kind of like um amalgamation of different cases specific to that area throughout, you know, the last 30 years.
• 39:21
  SPEAKER_00: And so they knew who they were talking to.
• 39:23
  SPEAKER_00: This specific area in a specific area, with the exception of it's always sunny, and like maybe one or two other things aren't used to being wholly represented.
• 39:29
  SPEAKER_00: So they were for like a richer, better story all across the board and several different properties.
• 39:38
  SPEAKER_00: Wow.
• 39:39
  SPEAKER_02: Man, we've covered a lot of ground in this conversation.
• 39:41
  SPEAKER_02: Yeah, this is a lot of a good stuff.
• 39:43
  SPEAKER_02: I had no intention of going most of this place, but this is what happens when you have cool people on your podcast is you have to be able to do that.
• 39:48
  SPEAKER_00: I apologize for such bad things sometimes.
• 39:50
  SPEAKER_00: It's hard to do.
• 39:51
  SPEAKER_02: Oh no, this has been wonderful.
• 39:52
  SPEAKER_02: I absolutely love it.
• 39:53
  SPEAKER_02: I really, really do.
• 39:54
  SPEAKER_02: Um, well, before we wrap this up, Jeremiah, could you share with us about your you've got a couple things that I would really love for you to share about your VIP day for writers, also workshop webinar, anything that you want to share with us where writers can take advantage of your mind and your experience and they can connect with you on a deeper level and really take their writing to a whole nother level.
• 40:16
  SPEAKER_02: So anything you want to share about that would be Oh, of course, of course.
• 40:19
  SPEAKER_00: Um I have a workshop.
• 40:23
  SPEAKER_00: It's three ways to eliminate perfectionism and finish your draft.
• 40:26
  SPEAKER_00: Um, you can find it by going onto my IG page, Jeremiah P.
• 40:30
  SPEAKER_00: Timmins, or by going to thetrivingscribe.com.
• 40:33
  SPEAKER_00: And essentially it addresses, I'm speaking of writers, but I feel like even you can take it to all aspects of your life.
• 40:39
  SPEAKER_00: It addresses how to build a sense of self, how to identify your voice, how to kind of curb that innate instinct to kind of like compare yourself to others and to be defined by somebody else's successes and your own failures and how that's kind of like losing dynamic.
• 40:55
  SPEAKER_00: Um, and it's just about what, 20, 25 minutes, but I found in my experience and those who've given me feedback that it is immensely helpful and just kind of clearing the brush of it and figuring out how it is you want to build your process.
• 41:10
  SPEAKER_00: Another thing I do that I find is a very good introductory for writers who are just kind of like getting in the groove of their project, any particular project, is I offer a VIP day.
• 41:21
  SPEAKER_00: It's called Done in a Day.
• 41:23
  SPEAKER_00: So that's where we take the pre-writing materials, the beat sheet, the outline, where we take our promo materials, where we take the story map, and we also construct the script all in eight hours.
• 41:38
  SPEAKER_00: That's cool.
• 41:39
  SPEAKER_00: It's gonna be a gauntlet.
• 41:40
  SPEAKER_00: But if you've been struggling with any particular aspect of your process for months, because I know it can wog people down for months or years, or you find that you always tend to stall out in the middle of your script.
• 41:52
  SPEAKER_00: Um, this is a great way to just kind of like doing that sprint, running that lap uh and getting it done.
• 41:59
  SPEAKER_00: So you have a product, you have your first draft, you can revise upon it later on, you can submit it as a sample if you're looking for uh representation, you can use it as a sample if you're looking to get staffed.
• 42:09
  SPEAKER_00: Um, and it works very well in a lot of regards.
• 42:13
  SPEAKER_02: Man, I love that.
• 42:15
  SPEAKER_02: Thank you so much.
• 42:15
  SPEAKER_02: I'll have a link to that in the show notes, of course.
• 42:18
  SPEAKER_00: Yeah, yeah, but no, I appreciate you.
• 42:21
  SPEAKER_00: Um, like I said, sharing the platform.
• 42:22
  SPEAKER_00: It's awesome to talk with you.
• 42:24
  SPEAKER_00: It's been a very organic and free-flowing conversation.
• 42:27
  SPEAKER_00: Um, that's something I always hope for.
• 42:29
  SPEAKER_00: And it's just really cool.
• 42:31
  SPEAKER_00: I don't know if you can see it, but I'm really big in his uh speed racer model car.
• 42:36
  SPEAKER_00: So there's right shoulder there, it's a work of art.
• 42:39
  SPEAKER_00: Oh man.
• 42:40
  SPEAKER_02: Yeah, I watched it all the time when I was a kid.
• 42:41
  SPEAKER_02: I wanted to be Speed Racer as a kid and always loved that cartoon and loved the Mach 5.
• 42:47
  SPEAKER_02: And right above that, I've got the of course the um the Back to the Future 2.
• 42:53
  SPEAKER_02: Yeah, and uh TIE Fighter.
• 42:55
  SPEAKER_02: So I just love all those kind of nerd 80s vehicles, you know.
• 42:59
  SPEAKER_00: No, I've been admiring because I've been looking at he's got this complete wall of books behind him, honestly.
• 43:04
  SPEAKER_00: It's and he I've been trying to recognize the titles and point them out throughout our conversation, and it's been a nice little game of kind of like follow-up.
• 43:12
  SPEAKER_00: And then I see these little uh tchotchkis of um, you know, the speed racer, the lorry, and the TIE fighter, and it's all super awesome.
• 43:21
  SPEAKER_00: So just having that conversation and having this visual feast alone um has been a great way to spend this morning.
• 43:27
  SPEAKER_02: Cool.
• 43:27
  SPEAKER_02: Jeremiah, thank you so much.
• 43:29
  SPEAKER_02: This has been an absolute blast.
• 43:30
  SPEAKER_02: It's been an honor having you on the show, and um hoping we can connect again soon sometime as well.
• 43:35
  SPEAKER_00: Awesome, awesome, I would love it.
• 43:38
  SPEAKER_02: Hey, I hope you enjoyed my conversation with Jeremiah.
• 43:40
  SPEAKER_02: Wasn't that fun?
• 43:41
  SPEAKER_02: He is such a positive and fun person to talk to.
• 43:45
  SPEAKER_02: I just loved having him on the show.
• 43:47
  SPEAKER_02: My biggest takeaway from this conversation is that we are our own worst enemies.
• 43:53
  SPEAKER_02: You know, most of the work that we do as writers is in our heads.
• 43:56
  SPEAKER_02: I mean, yes, we're using computers and pens and pencils and notebooks and those kinds of things, but really the vast majority of our creative work is in our heads, and we've got to overcome the resistance that oftentimes holds us back.
• 44:09
  SPEAKER_02: So that voice you hear in your head, the one that's trying to drag you down or tell you that you're not talented or that you're not worthy, you've got to get rid of that guy and realize that you do have talent and you do have something to offer to the world.
• 44:23
  SPEAKER_02: So get out of your own head, keep pressing on, and keep on doing the work, most important of all.
• 44:29
  SPEAKER_02: And also, I want to encourage you to check out uh Jeremiah's site, which is thethriving scribe.com, in addition to checking out his VIP writer's day, which you can find more about at his website.
• 44:40
  SPEAKER_02: Thanks so much to Jeremiah for being our special guest today, and hope you enjoyed this episode.
• 44:45
  SPEAKER_02: It was a blast.
• 44:46
  SPEAKER_02: So thanks for listening.
• 44:48
  SPEAKER_02: Thanks so much for listening to today's episode.
• 44:51
  SPEAKER_02: I want to take a moment to let you know about our daily writer membership community.
• 44:55
  SPEAKER_02: You know, one of the very best ways to develop better habits and impact more people's lives with your writing is to spend time around other successful writers.
• 45:04
  SPEAKER_02: So if you're tired of feeling isolated and chasing success on your own, then I know you're gonna love the daily writer community.
• 45:11
  SPEAKER_02: For years, I searched for the kind of writing community that I would want to join, but I can never find what I wanted, so I created my own.
• 45:18
  SPEAKER_02: Some of the features include weekly writing sprints, monthly community calls, book discussions, calls with guest experts, and much more.
• 45:27
  SPEAKER_02: For more info, you can visit dailywriterlife.comslash community.
• 45:31
  SPEAKER_02: Thanks, and I'll see you tomorrow.