Wednesday, August 31, 2016

Help An Author

Wednesday, August 31, 2016
Author Deborah Lott is looking to interview people about the intersection of social media and psychotherapy, specifically women who've felt their therapists' social media presence had some impact on their therapy. She's also looking to interview clinicians who have had issues with their own social media presence and clients or their clients' social media presence.

The interviews are for the second edition of her book  IN SESSION: The Bond Between Women and Their Therapists which she'll be re-issuing as an e-book.

What happens when clients learn too much from their therapists' Facebook pages, and vice versa? Should you google your therapist? Should therapists google their clients? How do therapists preserve a professional relationship with clients if they have personal life information posted on social media?

Tuesday, June 7, 2016

Spotlight on POPS The Club

Tuesday, June 7, 2016

POPS The Club is devoted to enhancing the lives of those students who have been impacted by the pain of the prison system (aka POPS) -- those with incarcerated loved ones and those who have been incarcerated themselves. Spear-headed by Executive Director Amy Friedman, POPS establishes and sustains high-school clubs that offer students community and emotional support as well as opportunities to publish the writings and artwork they create through the club.

Glorious Owens is a soon-to-be-graduating senior at Venice High School where she has participated as a member of POPS The Club. She's from South Central LA and is one of eight kids. As a writer, she recently won first place in the Beverly Hills Literary Society contest, and one of her essays will also be performed at the "Street Angels" gala evening to benefit POPS on Monday, June 13th at The Kirk Douglas Theatre.

Glorious will be attending El Camino College this fall where she'll be studying to become a social worker, and South Central Scholars will be mentoring and guiding her through college and university.

To read her prize-winning essay, click here!

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Karin: What is your relationship to POPS?

Glorious: My relationship to POPS is that my father, my grandmother, my cousins -- almost half of my family, maybe a little bit more -- have been incarcerated at one point or another, on my mom's and my dad's side. And some of them have been affiliated with drug addiction. My mom's side - her dad and her mom were drug addicts. On my dad's side - his dad and his mom were drug addicts. So all my life -- all 18 years -- I saw things. It was like a vision of a movie. You think none of this could happen in someone's life, but it does. It actually happens and what do you do with it?

Like what? What are some of the visuals in your movie?

Basically I have seen people selling drugs, face to face. Somebody in my family getting caught for it and sent to jail. Someone getting beat up, jumped. Seeing my grandma in jail, going to visit her. Going through the process of literally taking almost everything off and getting searched. It feels degrading and makes you never want to go there. And my dad - I had never seen my dad in prison - but every other year it seemed like he would go back for something. He would always clean himself up and then go back. And my parents would say, he was 'on vacation, vacation, vacation' because I was little. But I knew better. I was like, why would he go on vacation for one to two years and not come see his kid?

They didn't take you to see him?

No, because they thought I didn't know!

But you went to see your grandma.

I went to go see my grandma, because we were super close -- we were like two peas in a pod. We always hung out. She was basically my babysitter and I was always with her no matter what the time was. When she went, I was one of the first people to know, because me and my grandma were that close. And she knew I understood what was going on, she knew I wasn't a slow child. And she just told me what happened, 'Okay, I'm going for this, and I'm gonna be gone for a while. Just make sure you send me mail and come see me,' and all of that stuff. So it was one of those traumatizing experiences, 'Now my grandma is going, like what's going on?' And it was continuous blows.

Someone that I love is getting taken from me. Now I have to go back, and someone I love is being taken from me again. I have to keep going, I have to keep pushing.         

Keep pushing what?

Keep pushing like... they want you to succeed. Everybody wants you to succeed. But they keep doing stuff bad, so why do I have to succeed when you can't even do it? It's like, 'What's the point? You guys aren't even gonna be here to see it. So why should I have to do anything?' It was stupid, I don't know why I would think that it was a really good excuse to not do anything.

And then you continue the cycle.

It's like... okay, I have to keep fighting, I have to keep doing homework. I'm gonna be somebody when I grow up. I'm gonna make sure everybody's alright, they don't have to worry about money. It always seemed like we were worrying about money. Anything that had to do with it ended up around money. So it was like... okay, I'm gonna be somebody who can make money and make sure that everybody in my family is okay, everybody's set. I don't have to worry about anything. But it felt like I was always the one who cleaned up the mess. Even though they don't think that, they think they did it on their own. Of course they think that!

But you always have someone who helped you get somewhere, even though you worked toward it yourself. Somebody helped you along the way to get where you are. Somebody who told you to get your life together... somebody who helps you, literally sits you down right there as you do your work. Or a passerby who happens to give you a hello that gonna make you smile for the rest of your day. It was always one of those things -- always being positive, always knowing how to help somebody. You never know what somebody's going to be going through.

So that's basically how I was, always a smile. There's no reason not to have a smile! Even if you're sad.

What gave you the motivation to rise above?

I didn't want to be like them, at all. I know jail is not for me. I know that I don't want to be on the streets. I know I don't want any type of pain to be inflicted on my family -- emotional, mental -- I don't want any of that. What I have to go through, I don't want them to ever have to go through. I don't want to have to add on to anything. It's already enough.

When it comes to POPS, how has it helped you?

It gave me a voice to whatever I'm thinking. Like how I'm talking to you now... I couldn't do this last year, at all. I don't tell anybody my business. I used to never even speak about anything. And then I came to Mr. Danziger's class and he told me about POPS, and he had us write stories about our lives. And that's when I was like, 'I actually get to tell my story? Are you sure?' And he was like, 'Yeah, you get to tell your own story. Write down everything that happened in your head and everything that you know happened.' And not be judged for it. Not have somebody tell you, 'Are you sure that actually happened to you? Are you positive? That's not how it went.'

Everybody has their own story to tell, and everybody has their own perspective on it. But it was my perspective. This is what I felt; this is what happened when I see it. And people get to read that and understand. And you have people in POPS who understand what you went through because they have gone through the same situation. And so that's why it was a very good experience for me.

Was there anything challenging about it?

Just writing the story. And actually telling people my story, that was the hard part. Because it was like, 'I don't want people to really know about me. That's none of their business. This was my story, but do I really want to put it out there?' That was the main thing. I've never been big on talking about myself but now I get to talk about myself full force. So what do I do? I was like, 'Okay, I'll give you a little bit.' And Mr. Danziger was like, 'No, I want more. I want you to actually put your whole life on the paper.' And that's what I did. It was my life and other peoples' lives. My mom would tell me stories about how her and my dad met, or how they would play basketball together,

I was playing basketball from elementary school all the way up to my freshman year, and I still play with my dad. Sports was the main affiliation with our family. In order for you to go somewhere you have to do a sport. And so this was something that I didn't have to do a sport for! I didn't have to work out. I can actually do this and get noticed for it -- besides having to do volleyball or basketball or run track. So it was a big eye-opener for me. I didn't expect this. I didn't even really expect anyone to notice me. I've always been a team player, all these team sports, team, team, team. I was always doing something for somebody. I was always fighting for somebody - for something, for your school, for a friend. You want to win because it's what all of us want. And this was something that was just for me. Even though it's technically for somebody - it's for POPS. They helped me. So I'm giving something back.

But it's your story.

So what did you realize after the fact, in writing down your story, that you didn't know before?

There's always gonna be one or two people who have gone through the same thing and don't know what to do. If they're in that situation in that moment and they see my story, they might go the opposite direction. Instead of doing what their friends or somebody else told them to do, they'll take the right road. I want people to understand that they're not alone in whatever they're going through. They're not alone. Even though they may think, 'You'll never understand my story.' Everyone has a different story, but there's always going to be a similarity to your story.

What about the personal aspect?

It's still one of things, like, I don't like you knowing! Because now when people see me, you see my story, not me. It's like, 'That's how you are, how can you change that fast? How can you be so positive? You're faking it.' That's how I feel like people see me. I can tell you my story, but I'm a completely different person from my story. I'll do my best to help anybody in need in every possible way that I can. It's like, 'How can you go from this background to this?' I don't know how to tell people the transition; I just tell you my story.

Isn't part of your story how you changed -- how you grew through it -- how you've transformed and become the person that you are? Or is that still evolving in terms of what you've written?

I feel like it's still evolving because all that stuff is still me. I feel like they see that part, and that's the bad part. That's still me. But I'm still pushing forward to that other me, the one I want to be.

That's a beautiful story, I'd love to read that.

One of Glorious's pieces will be read at the gala evening "Street Angels" to benefit POPS The Club at the Kirk Douglas Theatre on Monday, June 13th. Read below for full details.

*     *     *     *     *

A Gala Evening to Benefit
POPS The Club

"Street Angels"

Monday, June 13th
6:30-9:30 p.m.

The Kirk Douglas Theatre
9820 W. Washington Blvd.
Culver City 90232

This special storytelling evening features a group of professional actors performing a sampling of the stories and poems by the students of POPS the Club. Celebrity readers include Amy Landecker (Transparent), Adina Porter, (The Newsroom/True Blood), Stephen Bishop (Moneyball), Ana Ortiz (Ugly Betty/Devious Maids), Veronica Falcon (Queen of the South), and Maximiliano Hernandez (Marvel's Agents of S.H.I.E.L.D.).

The event begins at 6:30 for wine and hors d'oeuvres as well as the opportunity to meet the students of POPS, with coffee and dessert served after the performance.

If you can't make the event, please consider offering a donation!

Monday, May 9, 2016

Two Summer Writing Workshops

Monday, May 9, 2016


July 12 - Sept 6
8 Tuesdays, 10am-1pm
Location: SF Valley (Encino)

For full details, visit:

This 8-week workshop invites you to explore the restorative power of writing as we unravel defining events in our lives and our interpretations of them. Each participant begins by choosing a story to tell. We then devote ourselves to uncovering, deepening and shaping our narratives, giving them structure and infusing them with clarity. The goal is to complete a draft of your healing story, and in the process, also discover the transformative nature of storytelling and bearing witness to the stories of others.

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The Art of Writing Memoir

July 14 - Sept 8
8 Thursdays, 10am-1pm
Location: Santa Monica

For full details, visit:

This 8-week workshop is designed to guide you in developing, writing and completing a short memoir piece or personal essay. Through specific tools and creative techniques, you will learn the building blocks of memoir that will support you in crafting a piece that is mined and sourced from your innermost truth. The small group environment offers a safe, dynamic space where your most transcendent work can emerge.

For the final session, Deborah Lott will be visiting as a guest author and teacher to listen to the completed works and offer her feedback on where they might find a home in the marketplace.

Monday, March 14, 2016

Journal Conference 2016

Monday, March 14, 2016

Journal Conference 2016:
Pioneering the Next 30 Years

May 19-22, 2016

Hendersonville, North Carolina

Kay Adams is celebrating her 30th year as a pioneer in the field of journal therapy and journal writing. The Journal Conference 2016 will gather with the pioneers of the past, present, and future at the beautiful 1300-acre Kanuga Conference Center, a mountain retreat setting near Asheville, North Carolina. 

This Conference is for YOU, if you are a journal writer of any level of experience, or a therapist, coach, facilitator, or helping professional who uses journals with clients, or as someone who is Interested in the use of journal writing for healing, growth, and change.

Thursday, January 7, 2016

Aspen Words

Thursday, January 7, 2016

Aspen Words encourages writers, inspires readers, and connects people through the power of stories.

The summer workshops (June 19-26, 2016) are designed to accommodate both experienced, published writers and promising, emerging writers who have yet to publish their work. The majority of writing workshops are determined by a juried admission process that requires a manuscript submission; however, there is also a Beginning Writing workshop and a Readers' Retreat, which are non-juried and first-come, first-served.

Juried Workshops:
Fiction: Maria Semple, Dean Bakopoulos, Antonya Nelson
Memoir: Darin Strauss, Abigail Thomas
Poetry: Rowan Ricardo Phillips
Young Adult Literature: Deborah Wiles
Novel/Memoir Editing: George Hodgman

Application Deadline: February 26th.

Friday, October 23, 2015

A Conversation With Kelly Carlin

Friday, October 23, 2015

Born in Dayton, Ohio in 1963, Kelly Carlin grew up watching her father, George Carlin, become acounter-culture hero with his comedy. As a child, Kelly explored her own creativity by writing skits and doing imitations (her Ethel Merman was quite good for an eight year old). She began her professional life in her teens working behind the scenes with her mother, Brenda, on various shows for HBO that continued into her twenties.

In 1993, at the ripe age of 30, she graduated from UCLA, Magna Cum Laude, with a B.A. in Communications Studies. While at UCLA, Kelly discovered her voice as a writer, which led her to a career in writing for film and TV with her husband Robert McCall. After her mother's death in 1997, Kelly found her true calling - autobiographical storytelling- through her first one-woman show, "Driven To Distraction." In 2001, Kelly stepped away from the entertainment business to pursue her masters in Jungian Depth Psychology from Pacifica Graduate institute. She studied mythology, Jungian psychology and the intersection of art and the sacred.

Kelly is a speaker, hosts The Kelly Carlin Show on SiriusXM, and "Waking from the American Dream" on SModcast Network, and has been touring her present one-woman show, "A Carlin Home Companion," since 2011.  Her memoir, A Carlin Home Companion: Growing Up With George, was published by St. Martin's Press in September 2015. 

*   *   *   *   *
Karin: Could you start by sharing in your own words how you would describe your memoir, "A Carlin Home Companion"?

Kelly: Oh yeah absolutely.  And I love that phrase 'in your own words'.  My dad made fun of that once; like 'who's words would I possibly be using?' is his response.  It's such a great little thing in speech that we do that we don't even think about.

So this book for me was really put into motion by my desire to share what they say in AA 'my experience, strength and hope'.  I went through so much in my life and ended up on my feet, and with a sense of myself and some wisdom. And I really wanted a chance to share that and to give people who might be stuck in some of these similar situations a little bit of light at the end of the tunnel to walk through.  So that's really the impetus of where it came from.

And then since my dad died, what also has come up for me is to be able to share aspects of my father that he never shared with his fans so that people could get a real idea of the whole human being that he was; the father, the husband, the artist and the man. And then of course the dance we did; the father-daughter dance we did, putting aside my mother for a moment, around me finding my own power and strength and voice. And the dance I did in relationship to him and his career and his personality and my own expectations; I really wanted to share that, too.

Karin: How did you go about balancing his story versus your story? When you talk about it now it just seems so clear. Was it always that easy to distinguish?

Kelly: I've been privileged to have had done some real work around this stuff because four-and-a-half years ago I began developing a solo show with the same title. And Paul Provenza, my director, helped me a lot; really us just trying to find the clear narrative. Now in the solo show, we do focus on my father a lot in the first half and I played videos of my dad's career. So he's on-stage in video form and then I'm telling family stories around those different eras. As the show progresses, less and less of the George Carlin shows up and more and more of my story shows up, which is somewhat similar in my book. My book's structured a bit differently, but what I've come to tell people about my solo show is people come for the George and they stay for the Kelly. So I have some experience around balancing these two narratives.  

But I knew I wanted this book to be my book and my editor wanted it to be my book. The fact that it's Carlin and there's a picture of me and my dad on the cover, yes that gets you more attention in a world of books where there are thousands of titles a year. To find a little niche on a bookshelf somewhere is important and to catch someone's eye is important, but it's not a biography of my dad.

I knew that this was my story. I knew that I would tell it from first a daughter's perspective, a child's perspective, and then adolescence, teen and then my twenties and then a maturing adult.

Actually when my dad's autobiography came out, we posthumously published it. It's called Last Words and it was really based on taped conversations with Tony Hendra who was a friend of my dad's and a great writer in his own right. And when I got the galley and there was a chapter on my mother, there was a chapter on some other different people in my dad's life and there was no chapter on me, I was heartbroken. I thought that my dad hadn't even talked about me. I was really confused. And Tony even said to me at that time, 'I decided not to put a chapter in there of you because you have such a rich story to tell in your own right and I wanted people to be curious enough so that when your book does come out there would be a real hunger for it.'

Karin:  Wow, that's great motivation, and endorsement.

Kelly: Totally. And that's when I knew; it was like, 'Oh yeah I do have a great story to tell and even Tony Hendra believes that.' So yeah that was part of my motivation.

Karin: During the process of writing the book, did you ever struggle with him upstaging it?

Kelly: It's always been a delicate balance, and I spent a lot of my years defining myself up against my father and still do. I mean it's just a natural part of what happens. I think having the book out now I feel very relieved because it's done. It's like my story with my dad is done, you know? In reality it's about our whole family; my mother is a huge part of the story too. So it's really about a family struggling through some things and how we all end up healing each other as well as we can. And we're all humans; we don't heal perfectly. But the reality was, I knew what my narrative was; I knew where I wanted to end up, which is who I am today. The scaffolding of my solo show helped me with this a bit; I had to go back to really decide what do I put in?  And I had to put in the things about me where I was giving myself away. So a lot of my story is about giving myself away and living through my dad's shadow and having no sense of self and fighting for it and discovering it and finding my way. 

So it's all in there; the part of being stuck in the shadow and the part coming out of it. But I was really, really lucky that I had a publisher and an editor that said to me, 'This is your story'. I don't think I would have signed up for anything else.

Karin: Does it feel exposing?

Kelly: It feels a little weird at times, but as my friend Sara Benincasa reminded me the night before my book was published and I was absolutely freaking out, no matter what 'I' in your memoir is a character and that every person in you memoir is a character and you are not that person and you are not your book and that it is after all a constructed reality like everything else is in our lives. And that really helped me. Yeah of course there are particulars out there, but I know that I shared those particulars because they were pertinent to my story and what obstacles I needed to overcome and how I overcame them. But I've always been a person strangely enough who's felt more comfortable telling a room full of strangers my secrets than sitting among my dad or my mother. That's part of our story in the Carlin family. Here my dad was this great truth teller on stage and yet because of the nature of the dysfunction and the alcoholism and the drug addiction we were all in denial all the time and we were all pretending. We were all really good at pretending everything was okay and just the irony of that. So that was my training in some ways. It's very strange.

Karin: Did it really make a difference that it was published after your dad had passed away?

Kelly: For me yeah, absolutely.

Karin: In what way?

Kelly: I've had freedom. I feel a real freedom. I think people who have 
parents who died understand the freedom that comes with that. Even if your parents are not famous and even if you're not looking to tell your story out in the world, there's something that happens. Obviously there's grief and loss; that is very real and very deep, but at the same time there's a little more space for a person on earth without your parents there. Part of the work to do after a parent's death is not only to understand that they are physically gone from your life and they're not there to kind of watch over your shoulder, but that whatever you have internalized about them whether real or not your job then is to get right with that internalized version of them, too. Because if it's an internalized negative version of them, their negative voice is still going to haunt you and it has nothing to do with the person; it's the thing that you've internalized. It's your inner work to do. So even after my mom died and then even after my dad died, I had work to do around that kind of stuff to really get into a right relationship with them and own up that the negative voice in my head from my dad even when he was alive which thought that, 'Oh he's not going to like it if I write about this or I tell about this,' might have been true on some levels, but that was really my negative voice that I'd put on him. So it was just easier for me for him not to be here with me to do that work because of his fame and his place in the culture. He's such a force of reason and wisdom and truth-telling and all of that - that that was a lot for me to compete with while he was here.

Karin: If you were to point to the most challenging aspect of writing this book, what was it for you?

Kelly: I think it was having to slow down enough to go into some traumatic themes in my life and to slow down enough so that I could articulate them as a writer so that the audience and the reader could really live it with me. And therefore then having to go into the pain of my past and re-live it, not just as a witness narrator but as a person living it in order to really be able to use language to describe what it feels like to be in the room with a person when your mother's angry and drunk. Or you're in the room with your abusive boyfriend; you're not sure what's going to happen kind of a moment. And really having to slow down and feel those things again and realize that, 'Ah, ugh', you know? So those were hard moments to do and not fun chapters to have to dig into, but I found a way certainly to do that and was lucky to have some kinds of exercises I could do that helped me do it in a way that was safe.

Karin: Can you share those exercises?

Kelly: Yeah, one of which is an NLP exercise, which stands for Neuro-linguistic Programming. And what it is, is you do a visualization of yourself and become a witness to yourself, as if you're looking at your life and you figure out which direction is future and past for you. For me, my future is forward and my past is back; some people it's left and right. It changes for whatever your wiring is. And so you see your future laid out in front of you, you see your past laid out behind you, and you turn around and you go into your past.  And I would go into my past and see the numbers, the years ticking off.  And so whatever event I was writing about, say it was my mother's alcoholism when she was really, really sick with it, you go back to a time before you were affected by the trauma and you're trauma free. And so it's not in your body and you connect to that feeling in your body as being trauma-free and then you take an angled trip down into this traumatic scene you want to be witnessing. So I did that and I was able to go into our family's home where we lived up in Tellem Drive in the Palisades where both my parents were crazy on drugs and alcohol and my mother almost died from alcoholism; it was like the darkest years of the Carlin life. And I was able to walk around the house trauma-free and go into every single room and remember all the furniture, where everything was. I mean it was absolutely an incredible experience of memory. And that allowed me then to feel safe enough in that space to go and find my alcoholic drunk mother in a room.

Karin: Wow.

Kelly: Yeah. And then be able to really let the little girl be there with her and be able to write about what that feels like; what that feels like, what's in the air. So I wasn't re-traumatizing myself by doing it some other way. And it was a really effective tool for me.

No one had ever recommended doing it that way.  I just decided, "Well I'm going to try this," because I knew I had to go back in this house and I was resisting writing that chapter. I was like, 'Aggghhh! Who wants to fucking write about this shit' you know? Because really all of your resistance comes up in your body and it's healthy and smart because it's trying to protect you. And so I kind of figured out this little mind game to do.

Karin: Thanks for sharing that.

As you know, I have been offering memoir workshops for a few years now, and I've been struck by how the participants are nearly all female. I know you feel strongly that there is a larger cultural shift going on in the 21st century around women owning and telling their stories. Can you speak to that?

Kelly: Yeah sure. I think women, especially our mothers and our grandmothers and then all the way through the mother lines, haven't been part of the grander narrative of civilization. We play supporting roles; we play roles behind the scenes. Essential roles, I mean Jesus Christ we birth the babies. And through the millennia we supported the men who were the warriors and the leaders and the business tycoons and all that kind of stuff.  Not saying that there weren't important women in history certainly, but history was written by men and therefore our stories have not been accessible to us.  And so I think even we don't feel like we have stories. And so I really believe, especially in this Oprah-age, you know Oprah was one of the first women on TV in the mainstream media to start giving us a voice about our internal lives and what we're living and empowering women to come forward and tell their stories. I think about Phil Donahue also; he was doing that, too. But that was really the beginning of it.

There is this claiming; so much I hear women saying the phrase finding my voice. 'I want to find my voice. I want to live my authentic life. I don't feel like I can express all of myself.' And I think this just comes from these unspoken, unseen, invisible rules of our culture, even though it is 2015 and we have come a long way baby, as they say. When you think about the full scope of human history, this is just the beginning of women finding their voices. I mean it's been a hundred years since women got the vote in this country, so it's not a long time. And so I think women are in great need to connect to other people's stories, to find a room safe enough to tell our stories. Virginia Woolf is the one who talked about a room of our own, that you have to feel safe in order to come out and tell these stories. Not only have we not been allowed to tell our stories, but that when we do come forward to tell our stories, we're then defined by the mainstream culture and we're seen as whatever; too emotional or too this or too that or whatever it is. But this is all changing and it's really actually an amazing, kind of a golden age for women.

Most of the heroes in our mythology and comic books and the media are these kind of male versions of heroes. But how heroic is it for a mother who will do anything to protect her children? Or the sacrifice that women have made in order to keep the world spinning forward? These are just as heroic.  

I think it's really a unique time, so it doesn't surprise me that women are 
showing up in these rooms and wanting to do this work. Part of the reason I write is to understand myself, so it's not surprising that women are turning to writing classes to find out who they are and to figure out their own relationship with themselves and what they believe, and who are they in the world and in our culture.

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To learn more about Kelly, visit:

To buy her book, visit:

To subscribe to her podcast, visit:

To learn about her SiriusXM Radio Show, visit:

Monday, August 24, 2015

Build A Free LIttle Library

Monday, August 24, 2015

Celebrate the International Literacy Day on September 8th by creating your own Free LIbrary Library. For those who are not familiar, A Free Little Library is a "take a book, return a book" gathering place where neighbors share their favorite books and stories. In its most basic form, the Library is a book exchange whereby anyone can stop and pick up a book (or two) and bring back another book to share.

Download this special kit with instructions on how to build and maintain
your own Free Little Library.

Sunday, May 31, 2015

Word. Notebooks

Sunday, May 31, 2015

Make your life a little bit more productive and organized with these fantastic - and aesthetically pleasing - Word. Notebooks I just discovered. Included is a system for managing your to-do agenda, with a simple approach that I find refreshingly do-able. You might don it with a leather cover jacket.

They also have something called The Adventure Log notebook which is designed for you to document and remember all your amazing trips and expeditions and fun-filled outings.

Perhaps a great gift for the writers in your life?

Check it out HERE!

Thursday, March 26, 2015

A Story Idea Each Day For A Month

Thursday, March 26, 2015

Every April for the past five years, the screenwriting blog Go Into the Story runs a popular series called A Story Idea Each Day for a Month. All year long, the editor Scott Myers scours news sources for potential script ideas. He selects 30 of them and posts one each day in April. The ideas are free for you to use for your own projects.

This year 30 more story ideas to send your way starting on April 1st.

Watch for it here.

Check out last year's series here.

Wednesday, March 4, 2015

Life Lessons from a 100-year-old Dancer

Wednesday, March 4, 2015

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