This one is about why two buttons might be better than one.
But also about how the path reveals itself.

I mean I’m always saying: the path reveals itself as you walk on the path.
And it sounds almost floaty. Like maybe your feet aren’t even touching the ground as a beautifully animated road draws itself into existence.

But, in fact, the path revealing itself is usually messier than a teenager’s bedroom. Like the way it’s played out in my podcast.

In case you’re not tracking my every move, I publish these Substacks on Wednesdays. Then, on Sunday I do a podcast. It’s the podcast where the path has been messily appearing bit by bit.

First I was doing a whole separate podcast on Sundays. But that was too much. Then no podcast. Too little. What if the podcast was essentially the Wednesday pice but out loud, Maybe a little extra something something? Right sized. But when it was out loud, if it was really what I’d written, it felt read, not talked. The talking pieces had to be different than the written pieces. Transposed if you will.

Written work has room for the imagination. Room for the reader to think. It’s fun to make leaps on the page - almost athletic, it can get your heart rate going.

But when we’re listening to something - we want a firmer hand. We want to know what the heck are you talking about. It’s why people who are amazing talkers are sometimes boring writers if they haven’t expanded into the permissive space of the page.

So first it was figuring that I had to use the written pages as a lily pad to jump off of. Not a script to stick to.

Then. I was like: as long as I’m doing these they may as well be video. Plus I keep hearing: everyone wants video podcasts. Really? I never want the video myself. But, ok. And anyway, I can excerpt for short form video.

So, I decided to do the Sunday podcast as video. The path is revealing itself.
I found, learned to use a teleprompter app. Took some time. Felt annoyed. Results, decent. Could have been less read, could use better sound. Ordered a little RODE mic. Better. And somehow working with that teleprinter - helped me be clearer about what I was talking about.

I mean ‘the path’ sounds metaphysical. But in fact it is often very technical.

By the way - there is no rule book. There is no one way to do anything. And also things that work, stop working. That’s where we are. New tech, new platforms, new ways we watch, and listen, are constantly happening.

Then I took a look at the stats. Oy. My open rates were above my average. But the views, compared to the listens? Abysmal.

My people - you guys - were just like nope. We want to read. And listen. Not here to watch. And I’m not mad at it. Because, same.

It’s taken me a while to see stats, like other notes, as helpful data and not a damn-or-praise shitshow. Notes - whether from pie charts or executive producers - can never tell you exactly what to do. An exec might not have the solution right. Or even the so called problem right. But almost always when they bring it up, there’s something. It would amazing if the could just say that. I don’t know, but something. Stats kind of do that. They don’t suggest the solution. Or even target the exact problem But they do say I don’t know, but something really clearly. If you are willing to listen.

So what were the stats telling me?

Go back to an audio only podcast. But keep doing the video. Hmmm. There a moment when the path reveals itself when you’re likes this a wrong turn? Yiu look around. Nope. This it.

So now, on Sunday I’m going to record the audio in Substack, and the video on the phone - at the same time. Yes I could strip the audio from the video. But the decision is: one more button or one more process. I’m going to try one more button first. That’s the next step.

And we’ll see.

It’s pushing my buttons that I have to push so many buttons. Am I a production studio? Well, yes, we all are. The work changes. The process is part of what we’re making.

Infinitely Yours,
Beth

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Before you start fixing, rewriting or asking someone else to read it, there’s an important step: learning how to read it yourself.

This week, I’m talking about how to read a rough draft — what to look for, what not to get distracted by, the three pens I use, how to follow the thread, and why compassion is as important as rigor at this stage of the creative process.

The goal isn’t to decide whether you like it. It’s to see what you’ve made clearly enough to find your way to the next draft.

Infinitely Yours,
Beth

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There are so many different points in a project. From the blue sky to the fine tuning. The trick is to know where you are and how to navigate it. One of the trickiest places is reading your rough draft.

Why?

Because most of the time we read, we are reading finished work. And on top of that reading things we choose - that we presumably admire, and even aspire to. And whether or not your final draft can live up to any of that is the eventual question. But the first question is how to read your rough draft so you might have a hope of growing it into the best that it can be.

Print out
This seems obvious but people often don’t. We’ve gotten used to doing everything on the screen. But something happens when you print out. It becomes real in a different way. It becomes external. Yes, you can edit on your computer, but you are more your computer than you are a piece a paper. There’s something about holding it in your hands. It’s outside of you. Closer to a book. Or a show.

And before you print out, make sure you double spaced. You might be writing in single space so you can see more on the screen. But on paper you want air. Blank space. Room for the reader to imagine, think, feel. Don’t make the pages so dense that you - the only but very important reader here - can barely get through them.

And, this seems obvious, but in case you don’t, please put a page number and a date in the header, along with even a temp title. Because at some point you’ll be walking to get coffee and drop the pages. You’ll write another draft. And which is which? Do your future self a favor, make a header.

Pens and paper
You need 3 pens.
A pen. Your favorite or a random, but a writing pen.
A highlighter. I favor yellow for this. It’s so perky and sunshiny.
And a Sharpie. Black. That goes without saying I think, but just in case you are thinking purple or something crazy, stay basic here.

The Highlighter is for the high lights! Run it over your favorite things. Lines you are delighted with. Did I write that? Yes you did! Lines that feel central to the whole thing. Important paragraphs. The ones that clarify everything else.

The Sharpie is your weapon of choice for most of this. Use it to delete. I like a wave through the text. A line, paragraph. Even a whole page. Maybe you like x’s. I’m not mad at that. I just love the feeling of making a wave. Maybe you prefer the loopy editor’s delete sign. But whenever I come across it in my drafts - I can never remember what it specifically refers to. Which word, idea, lines? So I use the wave. Also I always feel the wave is less judgy. It’s not bad, honey. It just doesn’t go there, or anywhere in this piece. Let it go.

Then there’s a squiggle. In the margin. The squiggle is so important. It means - something. Not sure what, but something’s not right. Clarify. Think about.

The Sharpie is also good for arrows. Maybe you love it but it should come earlier or go later.

Sometimes it’s not general uncertainty about a section. But a specific simple question. Go for a question mark. And maybe a word. Why? Who? More? The zucchini story?

And then the pen. Use your regular pen sparingly. You don’t want to get distracted writing. You will want to “fix” things. But writing too much while you are reading your rough draft will prevent you from reading through and getting a sense of the whole thing. Getting a sense of the whole thing is what you are after. But you might hear a line or even a paragraph - or have clarity about the structure you want to note. So. Keep a pad nearby. Use it sparingly but that piece of paper is gold.

Who are you when you read?
You are more than one person. You are of course the same person who wrote the thing. But you are also not that person. Literally you have changed. You became the person who has already written the thing. Believe in the magic of words. You’re a writer after all. Know that some transformation has already taken place. So, by name and astrology sign etc - same person. Atomically? Changed.

And you are also imagining yourself into the future you. The one who will have written the next draft. They’re a better writer than you. Partly because you did such a good job reading your rough draft.

And to that end. You are also not you. Free choice: your ideal reader. The person you are trying to help, or entertain. Your agent. Your editor. But while you are those people you are the most enlightened version of them. The one that knows what comes next isn’t finished either. It’s just the first draft. But they are excited for you to get there and cheering you on.

The thread
You want to look for places you lost the thread. Do you know what story the author - that’s you! - is telling the whole time? Is there any point where you have that lost feeling. Do you know what the story you are telling is? Use the Sharpie if it gets lost. STORY?! You might need a SET UP. Or to pull out the THEME.

Be compassionate with yourself
This is not the time to be brutal. Rigorous? Ok. Tough love? If you really need to. But maybe a more helpful attitude is willing. Willing to see, to understand, to shepherd, to listen, to receive instruction, to love yourself for getting this far. To see the road ahead.

Are you bored?
Ugh. Notice that. Delete or rewrite. Squiggle away. Maybe you didn’t get to the real truth somewhere. You wrote all the boring things around that one hard thing you don’t want to say. Say the thing. I know the boring details were so boring to write and you worked so hard at them. They’ve done their job. Delete.

Know when to take a break
If you really feel full, done for the day, don’t make yourself read more.

Lie on the couch, take a walk or get on your yoga mat. You are mentally and emotionally digesting.

What’s missing
One thing you may not have notes about when you finish reading, is what’s missing. But as you are making dinner you remember the bathtub story that goes between the braces and the Fourth of July. Fine, you were rushing to get through a draft. Just make a note. Just write the simple phrase bathroom story - or whatever ha ha - on the page when it occurs to you. Don’t try to write the whole story in now.

The big idea
You’ve been walking the path and this rough draft is helping you see where the path is leading. The big idea here is to finish reading the rough draft with a map to the first draft. The map of just the next step.

And remember. It’s not about liking it - it’s about seeing what needs to be done to get a first draft. Then you are going to invite a few very trusted readers into your world.

Did I mention I'm proud of you?
You did it!
You finished a rough draft!

xx
Beth

Need help knowing where you are in your project? What it needs next? Book a call with me.

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Who you talk to, when you talk about it, and how much you say can help a project become more itself — or leave it overexposed before it’s ready.

In this episode, I talk about finding the right ears, protecting work while it’s still becoming, why even people who love us can have complicated reactions to what we’re making, and how talking about finished work can become part of the creative process itself.

Because talking about the work should help the work — both in the way it becomes itself and in the way it finds its people.

Talk soon,
Beth

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And if something I’m talking about here connects to something you’re working through in your own creative life, I’m someone you can talk to. And yiu can book a conversation with me here.

There are two parts to your - my - our work.
There’s the work itself.
And there’s the talking about the work.

Let’s talk about
talking about it.

I was coaching a client yesterday
who’s working on a brilliant and tender book.
She’s about to see some of the people in the book.
Those people are happy she’s writing it.
Or so they say.
And so she believes.
And it may be completely true.

But over the years I’ve had so many clients show up deflated
After talking about their project.
Sometimes because it was undercooked
and they weren’t ready.
Sometimes because they told someone without ‘the ears to hear’.
That might mean a person we’re close to
But who doesn’t get ‘the process’.
Or it might mean someone who feels threatened by their work,
Those people sometimes claim to want us to do the project.
They might actually believe it.
But underneath there is something else.
A current of resistance.
Because this would mean change.
The creator will be - free, famous, depressed, evolved, less stuck etc.
Different.
Which will change the relationship.
It might have to do with being competitive.
Or protective.
Or both.
They can sincerely want the book/show/project to be successful for you
and simultaneously be threatened
by what its existence will change for them.

On the other hand if you don’t ever talk about the work
You end up living in an airless room with it.
You want to somehow steer away from being either
Over-exposed
Or hidden.
The Scylla and Charybdis of talking about it.

Talking about the work should help the work.
That’s what we’re aiming for.
Both in the way it becomes itself
And in the way it finds people.

I’m also at the point in developing It’s A Lot
When I am starting to have to talk about it.
Yesterday we finished the press release for the shows at The Lyric.
Writing it made me realize I need to go back and refresh the touring packet.
The show keeps becoming itself.
Therefore the language around it keeps changing.
But finding the language also helps the show become itself.
It’s the best kind of feedback loop.
It has to happen a bit at a time.
Because as always…
The path reveals itself as you walk on it.

I remembered recently
An early victory
Was winning the senior art prize at Brown.
My advisor told me confidentially
I hadn’t received it for the work itself
(photographic monoprints)
But for the way I had written about the work.
Honestly? I was hurt.
It hadn’t occurred to me I was being rewarded for writing
Or that writing would always be the lamp lighting my path.
I didn’t really get that, and I used the money
to build a darkroom in my first place in NY.
Never once used it.
Moved on to making one-of-a-kind books.

But here’s the thing.
As necessary as talking about the work is.
There will always be something in your work
that can’t be talked about.
That’s just for the people who are there.
In the room, the book, the theater, the gallery.
That magic thing.
Shhh.

With Infinite love and gratitude,
Beth

PS The thing itself at the Lyric Hyperion. I’d love for you to be in the room with me. Tickets here.

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In this episode of The Infinite Creator, I talk about creativity in emotionally challenging times, compartmentalization, second chances, and learning which windows to open — and which ones to close — so you can keep making the work that’s yours to make.

With Infinite Love and Gratitude,
Beth

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Once upon a time, during my darkest days
During the beginning of my second chance
I asked an uber successful friend of mine
if he had any strategies he used for work
when he was feeling emotionally distraught.
He laughed.
I hadn’t meant to be funny but was happy to amuse.
Sure, he said.
Compartmentalization.
Huhn.

I tried it.
Although I’m not sure what exactly I tried
when I tried it.
Maybe hyperfocus.
Imaginary blinders.
Driving while crying.
Pretending the task at hand was the only thing that existed.

Of course easier said than done - pretending when your work is creative.
Stand up, storytelling, memoir.
All that stuff that comes from your life.
If your life - ll the upsetting things - are in a lock box while you’re working
what is there to make work about?

Honestly it wasn’t the best years of my work.
But I knew I was rebuilding.
I knew I’d been given a second chance.
BTW - we always say given a second chance.
Not taking a second chance.
Because you can take a chance.
But a second chance?
That’s a matter of grace.
A gift.
You can’t take it.
You can only be given it.

So I felt some - responsibility - to make the most of it.
It was why I wanted to compartmentalize.
So I could do the tedious parts of the creative work.
Without having to feel every little feeling all the time.
And I had a new rule.
Don’t waste a crisis.
Compartmentalizing helped me do that.

As I rebuilt my life it didn’t feel so dangerous to connect things again.
But one day I realized
It was like I’d compartmentalized inside a shipping container.
You know how shipping containers into homes?
I’d built windows.
I’d compartmentalized… with a view.
With some porousness.

And I was learning when I could open the window.
Close the window but peer out.
And when I really had to draw the blinds and turn my back into the room.

I’d built walls. But it was almost like they were there in order to build windows.

A gloom with a view.

Infinite love and gratitude,
Beth

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PS at UnCabaret we open windows like crazy. This Friday the only show this summer and it will be… breezy. Come hang out with me and my hilarious friends. Get your ticket to ride here.

Dealer’s choice.

I ordered a better mic.
I’ll keep figuring out the tech.

Thanks for being here while I do.

With infinite love and gratitude - and now with a picture…
Beth

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PS if you are in LA we have the last UnCabaret of the summer next Friday, July 31. Still some room in the room, love to sparkle things up with you there. Grab your tickets here.

When I chose to make Pick Your Next Project
I thought I was creating
a guided experience for creatives
choosing what to make next.

And I was.

But by the time I finished,
it had also become something else.

Every creative project changes the person making it.
As we change - we make different decisions.
We make different things.

That’s the infinite loop of creative practice.

We make things.
The things make us.
Then we make different things.

And of course, this one changed me.

We often think choosing is about options.
Naming them, prioritizing them. Eliminating them.

I think it’s about seeing.
Recognizing what matters.

What matters to you.
What matters to the world.
And what is ready to move from imagination into matter.

The series isn’t just a way to find the right project.
Though you very well might.
It’s a way to become the kind of person who knows how to choose.
Again and again.
As you change.
As the world changes.

Each episode teaches a tool—deciding, constraints, your triangle, patterns, story, alignment.

And in some ways those are all part of one thing.
They’re really ways of learning to see.

Episode 1: Start Where you Are
Episode 2: Your Questions
Episode 3: Why Me? Why Now?
Episode 4: What’s Your Story?
Episode 5: Your Triangle
Episode 6: What Not To Do
Episode 7: Fear And Hope Invenstory
Episode 8: My Constellation
Episode 9: Where Do You Go From Here

Every episode includes a companion exercise, gathered into a workbook you can return to whenever you're choosing your next project—or simply trying to hear yourself think.

With infinite love and gratitude,
Beth

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You’ve done the work.
Now it’s time to begin.

In this final episode, I bring the Pick Your Next Project process together and talk about how to turn clarity into momentum.

Once you’ve chosen a project, the next step is building a simple structure to support it — what I call the Triangle of Momentum.

By setting supportive boundaries, taking consistent action, and surrounding yourself with the right people, you create the conditions that allow creative work to move forward.

Creativity isn’t a single decision — it’s an ongoing cycle of choosing, making, learning, and choosing again.

You can explore this step further in the Pick Your Next Project Workbook, which includes guided exercises to help you apply what you hear in this episode.

With infinite love and gratitude,
Beth

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After all the inner work of choosing your next project, it’s time to look outward!

In this episode, I introduce the idea of your constellation — by placing your project at the center of a creative constellation.

This visual method of mapping influences and communities helps you envision your work out in the world, seeing it as others will — in relationship to other work. By understanding that context, you can better understand the work itself and how audiences might find it.

Rather than comparing or diminishing yourself, your constellation helps you see the patterns that create visibility and a sense of belonging.

You can explore this step further in the Pick Your Next Project Workbook, which includes guided exercises to help you apply what you hear in this episode.

With Infinite Love and Gratitude,
Beth

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Fear and hope.
Two powerful and connected forces shaping our biggest creative decisions.
Well, our whole lives.

In this episode, I invite you to take inventory of both. I actually call it the invenstory. Because they do tell the story of your past and help you create the story of your future.

By naming your fears clearly — instead of avoiding or generalizing them — you can begin to understand how they influence the projects you choose.

At the same time, by cultivating and understanding the nature of your specific hopes - and recognizing how a hope is different than a wish - you reconnect with what your true heart’s desire is. Both in terms of what you want to make. And who you hope to become.

Together, these two inventories offer a deeper way of choosing your next project: not by eliminating fear, but by balancing it with a clear vision of what you hope for — and by learning to notice the “green lights” that signal possibility.

You can explore this step, and the whole process, further in the Pick Your Next Project Workbook.

With Infinite Love and Gratitude,
Beth

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Sometimes the most helpful step in choosing your next project
is knowing what not to do.

In this episode, I share some of the most common traps creatives fall into when trying to make an important decision.

From beating yourself up about past choices, to endlessly postponing the moment of picking, to listening to the many “shoulds” that surround creative work — these patterns can keep even the most talented people stuck.

By recognizing these traps and gently shifting away from them
you create space to make a clearer, more honest decision
about what to do next.

You can explore the whole process in the Pick Your Next Project Workbook.

With Infinite Love and Gratitude,
Beth

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There are many things - maybe even an infinite number of them - that make you who you are. But three of them often carry particular gravity and clarity, and can be key to picking your next project.

In this episode, I introduce The Triangle, a deceptively simple tool that I have been using for years with clients and students. It helps you go deep, and identify three defining qualities that shape how you move through the world. They shine a light on your best material.

By placing these qualities at the corners of a triangle - with your creative life at the center - you can begin to see more clearly which projects are aligned with your story as well as who you are - and which ones may fight your nature.

Your triangle becomes a decision tool, helping you choose projects that are fed by your life rather than starved by it.

You can explore this step further in the Pick Your Next Project Workbook, which includes guided exercises to help you apply what you hear in this episode.

With Infinite Love and Gratitude,
Beth

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It’s true you have lots of stories. But also, only one story.

In this episode, we explore how your stories — the experiences that shape your life — can help reveal the projects that are meaningfully yours to make.

I invite you to begin collecting the stories that have formed you. Then to start looking for the thread that connects them.

Why? Because answering the question What is my story? can also help answer another one: What project does my story compel me to do?

You can explore this step further in the Pick Your Next Project Workbook, which includes guided exercises to help you apply what you hear in this episode.

With Infinite Love and Gratitude,
Beth

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Why Me? Why Now?

Why is this your project—and why is now the moment to begin?

What makes you the one to bring it to life? What is yours to bring to it?

Projects are like butterflies. They land on us, and it always feels magical. Purposeful. With a butterfly, you can only guess why it chose you. With a project, you don’t have to guess. You can understand why it found you, and why it found you now.

In this episode, I introduce one of the most powerful questions in creative decision-making: Why me, why now?

Every project lives at the intersection of personal experience and timing.

When you recognize why a particular idea belongs to you — and why this moment in your life and in the world is calling for it — the path forward becomes much clearer.

Ready to explore your own answer? Download the Pick Your Next Project Workbook, the companion to this 9-episode podcast — and let it guide you from listening to actually choosing your next project.

Infinite love and gratitude,
Beth

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Your Questions

Questions come before answers - but in our rush to find the answer, we sometimes skip this step. It isn’t always immediately clear what our real questions are, but discovering them is one of the most important parts of the creative process.

In this episode, we explore how curiosity becomes a creative compass. The questions that stay with us over time—the ones you can’t stop asking—often reveal the direction your creativity wants to go. Instead of forcing an idea, you begin by listening to what’s already alive in you.

You can explore this step further in the Pick Your Next Project Workbook, which includes guided exercises to help you apply what you hear in this episode.

With infinite love and gratitude,
Beth

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Do you believe in love at first sight?
I do.
Maybe it believes in me.
But also I believe
The very same love takes time to unfold.

It’s the lightning bolt at midnight
And then the dawn.
The combo pack.
The glimmer and glow.

I’m no expert on love though.
Just doing my best to dance to the music.
But decisions.
Those I do somehow know about.
And sometimes I do think
Making a decision
Any decision
Not just swipe directions or move in dates
Any decision
Is like falling in love.

And just like love
We think of decisiveness as a flash.
As I constantly remind myself
the root of decide - cide - like homicide
Means to cut away
A slash.

And deciding is that necessary violence.
But even so
It's cumulative.

We love the instantaneous.
But it’s scary.
We ignore the cumulative
But it’s shaping us.

I think it’s hard to truly believe the idea
That deciding can - almost has to
Be both things at once

And for creatives especially
One of the biggest lies we tell ourselves is:

If I were really committed,
I’d already know.
I’d already have decided.

And sometimes you have.
Just in a way that’s harder to see.

Commitment often reveals itself over time.
The path reveals itself as you walk on it.
Every step is a decision.

But oh.
How we love The Origin Story.
The stories about The Moment when everything changed.
I know I do.

I tell the origin story of UnCab that way when I have to.
It is actually possible to boil it down to a flash.
But when I get a chance
to tell the real story
The cumulative story
The flash - well it’s still there.
And in a way it’s brighter.
The whole story
is like one of those old timey sun reflectors
Beaming the singular moment up onto a Bain d’soliel-ed face.
That’s an insane metaphor.
But I will let it stand.
Because I think it holds.

We love stories about the moment everything changed.
The decision. The leap. The light bulb.

I was standing at the fork in the road.
And I took the one less traveled.

People sometimes ask me about the decision
To become a comedian.
Did I always know?
When did I decide?
What was the moment.

If there was That One Moment it was this.
I was walking in New York.
My boots were clip clopping.
There must be some science around
the brain state created by
That boot heels on cement

Somehow I had the thought
Life is weird.
You finally get it
And then you die.

PS I wasn’t dying.
At least no more than we all are at any given moment.
And no one I knew who had died
Had told me anything like:
Wow I really get it now.

Still, I had this very clear tjought.
And my next thought was:
Wow, that’s either tragic
Or hilarious.
And if it can be either
Maybe we get to pick?

And if we get to pick
Why wouldn’t we pick hilarious?

And if we pick hilarious -
If I pick hilarious
Shouldn’t I commit more fully to being funny?
Not occasionally.
Or accidentally.
A lot of the time.
And on purpose.

And I know,
That might have been me
thinking my way past emotions.
Past the fear of doing one of the scariest things
an artist could want to do with their art:
enter the snake pit
of the comedy club world.

That walk was the singular moment.
But before that,
there was also watching the Tonight Show with my parents.
Laughing at the comedians - being puzzled by them.

And there was this strange multi-purpose room
my friends group had claimed at Brown.
The Funny Room we called it.
As in odd.
But also as in funny.
We had a ritual around Boston creme pie.
And there was a square cut out between the room and the hall.
We used that for shows.
When I talk about my so called snap decision about comedy
They look at me like I’m crazy.
What about the Beth Show?
In The Funny Room?

But what I remember of that time is
I was also a modern dance choreographer
and found an antique clown costume -
it was so beautiful - muted and soft -
not the way we think of clowns now -
I have a time lapse photo of me in that costume.
There isn’t just one moment.

And the night I saw Dick Gregory.
But I didn’t know how to say: yes, that.
Until later.
After I had the singular moment.

We decide in an instant.
But we’ve been deciding.

We decide in an instant.
After cumulative decision making has been working its magic.
We leave after a fight.
Say yes to a persistent ask.
Buy a ticket.
Suddenly.
Love at first sight.
After finally learning to see.

With Infinite Live and Gratitude,
Beth

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If you made it all the way to the end of this piece, I’m guessing you might love my audiobook, So You Need to Decide. It’s about the decisions that shape our lives—in work, love, family, creativity, and more. It’s a quilt of my own stories and insights, woven together with conversations I had with icons like Bob Odenkirk, Phoebe Bridgers, and Isaac Mizrahi about the decisions that changed everything.

🎧 Listen here.

Before choosing your next project, before deciding where you’re headed, you need to know where you are.

Pick Your Next Project is a nine-part guided audio experience designed to help you choose your next project—and, in the process, become the person who can make it.

In this opening episode, I introduce the core idea behind this life-changing work.

Deciding what to make next is one of the most important decisions on a creative path. Every creative work begins with a decision—but the project you choose doesn’t just shape your work. It shapes you. And maybe even the world.

Instead of searching endlessly for the “right idea” - the one that will become a bestseller, win an award, or turn into a hit show - start by locating yourself. Take stock of your life, your energy, your experiences, and your circumstances. Clarity doesn’t come from looking farther ahead. It begins by knowing where you are.

Explore this step further in the Pick Your Next Project Workbook, with guided exercises to help you discover where you are now—and where you want to go next.

See you in the next episode.
Beth

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The one is about learning to make laughs, finding your own rhythm, and discovering that the path to your voice isn’t always a straight line.

With Infinite love and gratitude,
Beth

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