If there is one thing that Youngman has learned in the three years of creating this podcast, it is the fact that the best creative output comes when you share your own story.
Often times, it takes time and effort to figure out what that story is.
In today's episode we are going to explore the fact that your story doesn't have to reach a completion for you to start sharing it. You simply have to share what’s inside of you. The closer you can get to that message, the better it will be… not necessarily in quality, but in the weight that it carries for you and for others.
Full shownotes: http://yourcreativepush.com/tellyourstory
“That’s the glory of sharing your story. It doesn’t have to be a story. It simply has to be what’s going on inside of you. As concrete or as confusing as it may be to you.”
"There are a million ways that you can get off-track from telling your story. And all of them are very quick derailments."
"Sharing your message is THE THING. That's the focal point and the guidepost that will put you on the right path."
"When we're talking about using your art to tell a story, what better story is there than the story of your life?"
Daniel Robinson is a television writer for ABC’s hit drama How to Get Away With Murder.
He’s self publishing his first novel, First They Ignore You, a deeply personal work of fiction that explores the decade it took for him to establish his career in Hollywood and the lifetime it continues to take for him to battle with his personal demons who mostly manifest as an intense desire to drown anxiety and self-loathing in a sea of fast food.
Full shownotes: http://yourcreativepush.com/danielrobinson
-How the skills of a basketball player translate to the creative realm.
-Seeing things being done at a professional level, and what that did for his mindset.
-Writing for a television series with a team versus writing for yourself.
-Being a mercenary with your creative skills.
-How everyone has their own story to tell.
-Putting himself on the page via dialogue between his characters.
-How his editor was able to bring out the best in him.
-Pushing himself to “dig deeper.”
-Calibrating his sensitivity to make it a tool.
-Guarding your attention and dealing with distractions.
“I was fortunate in that I was consumed by this almost pathological belief or vision that I could accomplish anything.”
“Storytelling is such a powerful thing. Once people feel like they’ve told their story, it can lift so much weight off of their soul.”
“Those dopamine feedback loops are so addictive.”
“As an artist, you have to guard your attention. There are so many distractions nowadays that it’s hard to push those things aside, channel your inner voice and do that work that is so important.
“You have to free yourself from any expectation of what this thing is supposed to be, where it’s supposed to take you, what it’s supposed to do.”
“What the world needs is charged up, thriving, vital people who are passionate about what they are doing.”
Suzanne is an asexual woman with a great love for writing erotic romance and enjoys spending her time confusing people with that fact. She believes there is a need for heightened diversity in erotic fiction and strives to write enough stories so that everyone can see themselves mirrored in a protagonist.
Her new book, Playing Around, is available April 15!
Full shownotes: http://yourcreativepush.com/suzanneclay
-Writing erotic romance as a way for her to investigate the wide range of sexualities and sexual behavior.
-How she was able to see sexual interest and activity as a form of character motivation.
-Why she felt it was important to start writing queer romance.
-How and why she began sharing her work.
-The experience of working with NineStar Press.
-How she lets her characters explore and tell the story (and how that affects the editing process).
-Being a “Plantser.”
-The initial fear and guilt because of her religious upbringing.
-Aphantasia and how that affects her writing.
-Her strategies for dealing with depression and anxiety.
-Using programs like Omnifocus and Habitica to help her manage her time and organize the tasks that she needs to get done.
-The rewarding experience of writing commissions.
“Sometimes I’m waiting for a reader to stand up and say, ‘You know, it’s really not that serious and you’re putting way too much thought into all of this about your characters.’”
“As I began to research into possibly publishing some of my material, I realized exactly how big the small press and independent queer author community was.”
“I think if I had been exposed to more works like that when I was younger, then it wouldn’t have taken me until I was 25 years old to recognize my identity and my place in the queer community.”
“It’s very hard sometimes to trust my characters and believe that they are telling me what I need to hear.”
“You’re going to bring breathless, beautiful, boundless, bountiful life to your creation – the kind that brings people to tears when they realize they are not alone.”
John Wentz is a contemporary painter whose work is an exploration of process and technique. Working within the classical idiom of the human figure, his goal is to reduce and simplify the image to it’s core fundamentals: composition, color, and mark making.
John was born and raised in the San Francisco Bay Area. He has had 3 solo exhibitions in San Francisco and numerous group exhibitions both nationally and internationally. His works have appeared in many publications and have won multiple awards.
Full shownotes: http://yourcreativepush.com/johnwentz
-How he landed in fine art after his foray in illustration.
-How a Gerhard Richter exhibition changed his life and remapped his brain.
-Art being about discovery and experimentation.
-The power that comes from disconnecting in order to do some soul-searching.
-Cave paintings and how we have always been creating art, and even risking our lives to do so.
-How he has struck a balance from his former lifestyle of a donut a day and being disconnected from friends and family.
-How he picks his subjects and how he paints them.
-How he was taught that he should never paint anybody that he knows, and why he is rebelling.
-Why he purposely doesn’t analyze certain aspects of his process in order to maintain some of the magic.
-Why and how he started creating his assemblages of his art, photography and reclaimed items.
-The story behind his series, “Navigation Unknown.”
-How he chooses which ideas to move forward on.
-The dark ways in which social media platforms are controlling your creative process.
-Dealing with anxiety.
-Turning your list of priorities upside down so that you get to your creative passion before all of your other “needs.”
-His new course at the NOH/WAVE Academy.
-The differences between living in Paris and the United States.
“For me, making art is about discovery and experimentation.”
“Just unplug and take time for yourself. It’s okay to not be connected.”
“There are certain aspects of my process that I don’t analyze too much because I want to keep that unknown to it.”
“Making it is only fifty percent. The other fifty percent is getting it in front of an audience and creating a dialogue.”
“On paper, being a painter is the worst business plan imaginable.”
“The people that I end up working with and being friends with are great people to be around and they ignite something inside of me.”