“The best way to combat negativity bias is to embed as many positive experiences and memories in our brain as possible. Let’s say a friend sends you an email thanking you for a great weekend together. Don’t just say ‘well that’s sweet’ and archive it. Spend at least 20 seconds soaking in the memories from that weekend. The goal here is to really cement that positivity in your mind.” Marie Forleo
Creative anxiety is extremely common.
“The fear you feel is the juice. Use it to your advantage. Fear is just adrenaline. It’s how you’re interpreting that adrenaline.”
In this episode, Liz and Sarah invite you to celebrate Self Improvement September!
“Painful decisions are often painful largely because we haven’t made them yet. Once we make a decision, we often wonder how we could have dreamed of choosing the other choice”
“That’s true for all of us. We agonize between two things that seem awfully close. We finally choose one. And in a small or medium amount of time, we look back and wonder how we could ever have been trying to decide between them. Why did we make that mistake of thinking the two alternatives were so close when they really far apart? The answer is that they weren’t really close or far apart. It’s just a matter of how you look at it.”
Listen to the interview: Hidden Brain – You 2.0: Decide Already!Also on:
For my 35th year, my one-word goal is “Process”. I thought about ideas of acceptance, methods, planning, spontaneousness, and truth.
“Process” has a cool and useful double meaning:
(1) Accept facts and reality. In every moment there are infinite truths. You could spend the rest of your life describing every detail of a single object, a single moment, and a single memory if you wanted to. What moments are we giving our attention? What are the advantages and disadvantages of taking notice and interest in the places we are. The things we do have hidden good and bad qualities. If we become conscious of them, change and self-acceptance happen naturally.
(2) The steps involved. Anything difficult can be quickly broken down to ridiculously simple steps. Think of classical piano where you really start just knowing one note. As a microcosm for life, classical piano practice often means going so insanely slow that it would be just as hard to make a mistake as it would be to play the right notes
My one-word goal of “Balance” at age 34 helped me make hard things very easy. The habit noticing extremism, perfectionism, and excess in the world gets me to enjoy the gray areas of life. The one question of balance I love: “How can I do both?” We often place beliefs and ideals as if only one can be “right.” The truth is that all of our beliefs exist in the world simultaneously and we have to learn to live with it.Also on:
“We’re talking about us versus everyone else. How we act together or not to get things done. Can you say no to people and projects? Can you set boundaries so that you have enough space, energy and time for your own needs?
“Can you ask people for things? Are you able to make requests – Are you able to make demands even where appropriate. Are you able to inform other people what you want from them? Not just articulate it, but stick to your guns. How much are you able to negotiate with other people to get what you need.”Also on:
This is an ongoing list of ideas, techniques, and notes to help in becoming a better improviser:
Dr. Seuss: “Be who you are and say what you feel, because those who mind don’t matter and those who matter don’t mind.”
- “Accept the offer” means “tell me what your character truly thinks of this and why,” not “you have to do this now.”
- “But if someone, for example, initiates as a really dumb cartoonish chimney sweep, and they’re doing the worst musical theater version of a cockney accent, crooked elbow — and it’s just lame and dumb and you hate it, I still think you have to be YOUR version of a chimney sweep and you shouldn’t call the person out. Be your version of it and move the scene along.”
- “Add history”
- “Like the time we…”
- “Be VERY Specifc”
- “You can almost guarantee a good improvisation if each player: 1) Says just one line and 2) Bases his or her line on the last thing the other character said.”
- “You must provide reasons for everything the audience sees that doesn’t make sense.”
- “50% of what the audience thinks of you as an improviser hinges on the quality of your mime and physicality.”
- “Play the opposite emotion”
- “We all know scenes are better when you enter them with an attitude, activity, or emotion — so just pick one for yourself either randomly or in response to the other character, and you’ll have a better scene.”
- One Idea At A Time
- “Playing game” means turning “if this is true what else is true” into “if this ONE UNUSUAL THING is true, then what else is true?”
- REPEAT and HEIGHTEN
- A Clear, Explainable Idea
- Unusual Thing – Reaction – Justification
- “Another way to break this down is that the initial unusual thing is the PREMISE.”
- “And then the reaction and justification combine with that premise to give us a GAME.”
- “Whatever feels most comfortable, I think, I feel, I need, I want are all equally strong ways to find the core of a character.”
- “Play – Engage in things that are genuinely fun and you like. “
- “Let yourself fail/
get rejected – accept that failure/ rejection is natural. “
- “When faced with a decision : pick the choice that always tells a better story.”
- “Problem: Saying Too Much Information Solution: Say Only One Line at Time”
- “Problem: Using Words Without Emotion Solution: Act Your Way Through the Scene”
- “Problem: Scenes are Too “Nicey-Nice” Solution: Let Yourself Get Angry”
Pirate, Robot or Ninja? UCB Vet Billy Merritt’s Theory on the Three Types of Improv Performers
- “A pirate is happiest when he swings on board a boat ready to attack and has no idea what will happen next.”
- “A robot player is always analyzing, running the program of the scene.”
- Ninja – “There is just as much honor to not being the main player in a scene.”
- “MISSION IMPOSSIBLE – Players initiate two person scenes with the wildest, crazy-detailed quests/needs that they can imagine.”
- “It is left to us janitors to slay the dragon.”
- “Build me a robot that makes robots and runs on souls.”
- “They seek solutions. They pursue options.”
- Don’t discuss. Try.
- Literally, say “Let’s try it…” and then try it
- Confidently engage the environment.
- “Have your group of improvisers form a circle, with no one in the middle (unlike the UCB’s original Premise Lawyer exercise).”
- “Choose a person to start, and have them declare an absurd statement or belief (e.g., “I believe that drinking lava is good for your health!”)”
- “Then, go around the circle clockwise, and have everyone else provide a rationale or “why” for that absurdity (e.g., “It burns the fat off your bones!”).”
- “When you get back to the original person, skip to the next person in the circle, have them declare an absurd statement, and repeat the above process until everyone has had a chance to do so.'”
The Pretty Flower format with John Windmueller – Improv Refinery
- “Not my monkey.”
- Exercise: “Listening down to the last word.”
- The last word of the previous line is the first word of the next line.
- Straight character: Play a version of yourself.
- Next level: Make straight person compelling and interesting while still be straight.
- Straight/Crazy Exercise: “You’re awfully paranoid to be a X.” Partner says “Yes I am.”
- “We are much dumber when doing our scenes.” Use stupid simple direct moves:
- Literally, say “TANGENT HERE” – break the game. Go back. Rest the game by having a fun tangent
- MOVE YOUR FEET – in a way that helps your character. Do something. Get an object.
- EMOTIONAL CHOICE – Start with only a simple good or bad emotion
- Love or Hate /
Thumbs Up or Thumbs Down
- Positive Observations
- Negative Observations
- Love or Hate /
- “Add missing info (who/what/where)”
- “Raise the stakes/
Make things important”
- “Want something from the other character”
- “Make the problem the game. Repeat the problem”
- ‘Observe and reflect on your partner “You seem distracted”‘
- “Direct on stage. (Gift self, other character. Bring in a gifted character)”
- “Recap what you know. Acknowledge and repeat the information so far”
Writing for Improvisers
- ‘“She asked me how to spell orange,” is way funnier than writing, “Yeah, she’s dumb.
” Details will bring your characters to life and make your dialogue funnier.’
- “Make active choices in your scenes.”
“The art of good conversation is an art. There are no hard fast rules. Conversation is an improvisation. It happens in the moment. It’s about a toolbox that you bring to that improvisation. The more tools in your toolbox the better the conversation is going to be. The more options you’re going to have.
“Some people have different sized toolboxes. Part of the skill of sharing good conversation is about sharing some of those different tools, those different skills.
“We learn good music by playing with people with people who are better than us. We learn any good art by participating by doing it with people who bring more to the table, who have more experience in that medium.”
Dan Post Senning, The Emily Post InstituteAlso on: