SINKING THE PUTT: Treat Your Presentation Like a Game of Golf!

December 21st, 2009

When I was a kid, my dad decided I was going to be a golfer.  As he explained, golf was a game that would pay off for in me in the business world someday.  Besides, I was long and lean and athletically inclined, and, according to my golf pro, looked like I belonged on the cover of Sports Illustrated.  And as I whacked ably away at the line of balls he teed up for me, and watched them arc into the distance, I half believed him.

But practice was one thing; playing was another.  Whenever I actually played 9 holes of golf (18 was reserved for grown-ups), it was a whole other story.  Time after time, I’d slice that darned ball into a bunker, or the rough, or an inch away from my brother’s head.  More often than not, and especially under pressure, those potentially hole-winning putts drove me to my knees.  The more I tried to beat the guy next to me, or hit a hole-in-one at every tee, the more frustrated and disappointed I became with my performance.  No amount of post-game ginger ale and crunchy grilled-cheese sandwiches at the 19th hold could take away the sting of a tough game. 

After a while, I decided the only way to play golf was to pretend I was practicing and to work on each shot as it came up.  I noticed I played better when I made a decision about what I was going to concentrate on that day—as in “today, I’m just going to focus on staying relaxed while I putt.”  That allowed me to leave each game feeling like I’d been successful at realizing my very specific intention, even if I didn’t beat my boasting brother.

Years later, I used the same general principle to help me better my abilities as an actor—a principle reinforced by my greatest acting instructors.  “Pick something specific to work on each time you run through the scene,” they’d suggest.  “Work on something tangible– like listening well, or staying fully connected to your fellow actors moment by moment.”  Concentrating on a specific action allowed me to focus on something I could control in an otherwise out-of-control situation.  And it kept me from focusing on things that could pull me off my game, like the critic scribbling away in the third row.

It all came full circle the other day, as I worked with a new coaching client who was struggling with the anxiety that popped up every time he turned his attention to an upcoming presentation.  When I suggested that every time he work on his presentation – in rehearsal and even when he finally delivered it–he try focusing on a simple, specific, doable action or intention, he practically leaped out of his chair:  “That’s what I do with my golf game,” he said. “Every time I play, I pick one thing I want to improve, and then I focus on it!”  We then launched into a spirited conversation about the practice of golf as it related to the practice of speaking. And he left the session intent on applying that same principle to his presentation, feeling sure it would work for him.

I had to smile:  My dad was right about those golf lessons.  They really did pay off!

BRAGGING RIGHTS: WHY IT’S FINE TO SHINE

October 1st, 2009

I see it all the time:  Amazing, capable women who choose to give their power away by disowning or belittling their considerable accomplishments.  It happened just this weekend, at a public speaking workshop that I facilitated.  Not one but two women stood up, gave presentations about their life’s work, and essentially pooh poohed the astonishing evidence of their brilliance and determination.  “So, I kind of put together several conferences,” said one woman, describing the growth of a conference series and a foundation she’d established to help bring awareness of her son’s rare genetic disease to the world at large… “and, oh, yeah, we’ve even had some international experts speak at them, so that’s been pretty good…” She tossed off her remarks in a tiny voice and in an offhand manner.Another woman spoke somewhat tentatively about the services provided by her health care company.  When she was done, and someone commented on the importance of her company’s unique services, she she seemed shocked:  “Really?” she asked. “Do you think so?”

These incredible, capable women willingly soft-pedaled their remarkable accomplishments and were uncomfortable taking credit for them.  And when I asked them to try once again to verbally express their achievements in a more confident and defined manner, they were flummoxed and flabbergasted: … “Brag about myself? That’s just so HARD,” one of them exclaimed, “I don’t know how to DO that?”

“Well, guys sure do,” said an older man, a CEO of several successful companies. “If you were a man, you’d have no trouble standing up there telling us what you’re good at and what you’ve accomplished.  It’s what we do!” 

Unfortunately, I did not disagree with him.  And for the millionth time, I had to ask myself: Why is it that men embrace their bragging rights, while women avoid them like the plague?

To answer that question, all I have to do is look back at my own childhood and remember  one of my dad’s pet expressions: “Don’t Toot Your Own Horn.” He’d toss those words at me like a grenade whenever I was overflowing with enthusiasm and pride over some accomplishment or other. I’d hear those words and automatically shrink, like a balloon, to a size that I figured was more tasteful to my father and to the world in general. I got the message:  It was, apparently, very bad form to claim your accomplishments publicly, or to declare your involvement in something that was successful, especially if you were a girl.  Girls – especially good girls (and, oh, I was such a very Good Girl) were modest, quiet, self-effacing; they NEVER bragged.  Because bragging smacked of conceit and arrogance; bragging might make you unlikable.  Worst of all, it might make you stand out, and standing out was to be avoided at all costs. Which was ironic, considering that, as a six foot tall girl in the 8th grade I already stood out like a sore thumb.  I shrugged off everything I accomplished:  Straight A’s? Oh, I had to work my buns off for them. The lead role in a zillion plays? Luck, pure luck.  Athletic Prowess?  Just a willingness to try hard, that’s all

The Good Girl syndrome still plagues full-fledged girls and fully-grown women, even in what we might consider a more enlightened 2009.  I picked up and read Rachel Simmons’ excellent book, The Curse of the Good Girl: Raising Authentic Girls with Courage and Confidence (The Penguin Press) to find out more on the subject (http://www.rachelsimmons.com).  Ms. Simmons’ hands-on work with girls, and her extensive research, underscore what I witness almost daily with the women I coach and train:  That, among other unsettling things, the Good Girl syndrome demands modesty, discouraging girls (and ultimately, women) from committing to their strengths and goals.  It also demands that Good Girls diminish and quiet their voice (literally and metaphorically), and tone down or eliminate assertive body language.

Good girls work hard at working hard, and at being perfect, compliant and ultra-nice.  They get very good at tamping down their needs, desires and true, authentic feelings in favor of pleasing other people, fitting in and being liked. And then they go out into the world and into the workforce, where the rules radically change.  Where, if you want to succeed in business, it’s not enough to be whip-smart and work your buns off:  You also have to be able to promote yourself, negotiate and receive feedback.  And Good Girls are woefully unprepared to do any of those things.  Which is one of the reasons why, once they’re out in the work force, the same Good Girls who were dynamos in middle or high school, will be in fewer positions of leadership, earning less money and asking for fewer raises than men.

The issues “Good girls” face continue to be issues for us as grown women. Because unless we are aware of these issues, and actively work on them, we won’t outgrow them.  

The women I work with wrestle with many of the same issues (i.e. an undeveloped sense of self; an ability to express their authentic voice; an inability to claim their worth) as the “Good Girl” teens Ms. Simmons describes in her book.  For example, at her Girls Leadership Institute, Ms. Simmons watched a bright and articulate teen girl struggle to complete an assignment in which she had to list her many talents and strengths. When asked why she was having such trouble with the assignment, the girl replied “I don’t want other people to think I’m conceited.” Which is eerily similar to the answers I get when I query coaching clients –grown women– struggling with the same exercise.

I’m not going to pretend I haven’t spent the better part of my own life grappling with – and coming to terms with– these same issues; it’s probably why I’m so passionate about helping other women overcome them. When I arrived in NYC as a young actress, I figured that my mere presence would somehow titillate the atmosphere to such a degree that the professional acting world would magically find me and offer me acting jobs. Needless to say, that did not occur.  Finally, I realized, no one would find me—and discover my talents– unless I helped myself stand out.  Which meant marketing my abilities and (sorry, Daddy) tooting my own horn. Because if I didn’t toot my own horn, who the heck would?   20 years later, I’m still tooting my own horn –in the right circumstance, for the right reasons:  I do this every time I pick up the phone to have a meaningful conversation about my services with a potential client who is considering hiring me to speak at their conference or to train their team.  They’re not interested in having a conversation with – and potentially spending money on–someone who pooh-poohs their own abilities and accomplishments.  They need to feel and hear –in my voice, words and attitude–the confidence I feel in what I have done in the past, and in what I can do for them in the future.So, ladies, I challenge you:   Stop apologizing for being fabulous and capable. Stop backing off of your abilities and accomplishments and embrace them with all your heart..  Have the courage and the pride to take credit for what you’ve done and who you are.  Stand up straight.  Look people in the eye. Speak so you can be heard. And claim your bragging rights. Because if you don’t toot your own horn, who will? 

 

PHYSICS AT WORK: EXCITE YOUR ATOMS AND ENERGIZE YOUR SPEAKING!

September 15th, 2009

A CHALLENGE TO MICHIGAN ENTREPRENEURS: Shout Out and Share Your Great Big Voice!

September 1st, 2009

I don’t follow tennis much, but I am well aware of tennis stars Venue and Serena Williams, sisters who turned women’s tennis into a power game with their sheer physical domination.  Picking up the newspaper last night, I read an article about these exceptional athletes, and was struck by a statement that Venus Williams made after advancing to the  finals of the 1997 Women’s Open:  “I’m tall,” she said, “I’m black.  Everything’s different about me.  Just face the facts.”  Venus doesn’t apologize one whit for who she is, and what makes her different: she just accepts it and embraces her Great Big Voice.  When tennis buffs were put off by her colorful and bold courtside clothing, Venus simply kept wearing her colorful outfits.  She is who she is, just as her sister, Serena is who she is.  And tennis has changed immeasurably because of it.

Now, I may not smack tennis balls around, but anybody who has ever met me, or seen my TOUCH THE SKY musical keynote program, knows that, like Venus Williams, I’m tall and don’t exactly fit in the typical mold. Which is fine by me. After many years of struggle, I finally decided to fully accept and celebrate everything I am.  And that message– choosing to TOUCH THE SKY, to fully show up in all your uniqueness in spite of obstacles or challenges– is at the core of my TOUCH THE SKY keynote program, and the basic premise of my work as a presentation skills coach and trainer.  My mission is the same whether I am working as a presenter or as a presentation coach or trainer: To show up– in word and deed– as fully as possible, so that I can encourage others to do the same… even and especially when the temptation is to “shrink to fit.” It takes guts to simply be who we are, fully and fearlessly, especially when what we are is, well, different from the norm.  Sometimes, when we do show up in all our uniqueness, it can scare the heck out of people, make them uncomfortable, or even drive them away.  But it can also attract towards us those people who are looking for exactly what we have to offer. And that’s why, when I delivered my TOUCH THE SKY keynote to several hundred entrepreneurs at TechTown’s Fast Trac to the Future conference in Detroit recently, I said the following words:  “Can you tell by now that this is not your usual business keynote? The guitar is a dead giveaway, huh?  This is not your usual business keynote, because I’m not because I’m not your usual business keynote speaker.  I mean, do you see any flow charts here?  How about statistics? Nope, they’re! Instead, my presentation is filled the very things that you ordinarily don’t see in a business setting.  It’s filled with the very things that make me unique: A larger than life personality and presence, an undeniable theatrical flair, and original songs and stories designed to make you feel and think! Those very things, those very qualities that make me–and this presentation, unique, will draw some of you to me, and push some of you away. I guarantee it. That’s the risk I take by choosing to be completely who I am on this platform.  And that’s exactly the risk you must take as entrepreneurs, when you go out into the world and declare your big idea with passion and purpose.  Because some people are going to call you and your idea crazy, and run screaming in the other direction.  But some people are going to want to hitch themselves up to your wagon and invest in your business and your big idea.  And the only way you’re going to find the people who want to support what you have to offer, is if you’re willing to risk showing up fully and fearlessly…. ” Venus and Serena Williams changed the face of women’s tennis by taking that risk: By being exactly who they are, whether people liked it or not.  In so doing, they’ve become world champions, inspiring others to embrace their own uniqueness, talents and abilities. As entrepreneurs, you have the power to do the same– by embracing your Big Idea and your marvelous uniqueness with every fiber of your being,  no matter how many no’s you hear or how many obstacles you face.  Because as entrepreneurs, you are the backbone and the great hope of the state of Michigan. It’s entrepreneurs like you that will put this state—and the city of Detroit—back on the map and back in business. So choose to TOUCH THE SKY:  Have the courage and the will to Shout out and Share your Great Idea and Your Great Big Voice!  The right people will hear it, support it, believe in it and be changed by it.

Preparing to Perform: Lessons from Miss Eartha Kitt

February 11th, 2009

I recently watched a PBS special about the life and career of singer, actress, cabaret artist and all-around stellar performer, Eartha Kitt.  Miss Kitt– who many of you will remember as the purring, growling, sinewy Catwoman from the original Batman television series) died this past Christmas day at the age of 81.  When asked by the interviewer how on earth she was still able to do what she loves– and do it so very well—Miss Kitt replied:   “You have to prepare yourself to do what want to do you.”  Then she went on to explain that, for her, preparing involved thinking the right thoughts, eating the right foods, and keeping negative people away, among other things.  I smiled when I heard this, having seen for myself just how seriously and thoroughly Miss Kitt took the notion of preparation. I had, in fact, spent some time in her company at a Jazz festival booked by my husband, Jim, and presented at the famed Grand Hotel on Michigan’s Mackinaw Island.  At the time, she was 79 years young. 

Jim and I went to pick up Miss Kitt at the ferry docks the evening before her performance. I fully expected Miss Kitt to be as expansive, slinky, glittery and diva-esque as the persona that I had seen slithering across  a television or teasing the lyrics of I WANT TO BE EVIL in her vixen’s voice.  Instead, the woman who came forward to meet us was a silent, tiny, plain-clothed little thing, without a shred of makeup, as reserved and pulled tight as an oyster.  She barely spoke a word to us as the horse drawn carriage pulled us up the steep hill towards the long, white-pillared porch of the Grand Hotel.  As a performer myself, I knew enough to respect her need for silence and distance.  I simply shut my mouth and joined my husband in accompanying her to her sunny, airy, stunning hotel suite.  She took in the panoramic view of the smooth cobalt surface of Straits of Mackinaw, put her hands on her hips, rolled her eyes and spoke:

“If I had known it was going to be this fabulous,” she said, “I would have brought a man.” “Well, Miss Kitt” said my husband, “that can ALWAYS be arranged.”

She smiled.  We smiled. She spoke again.

“What time am I performing tomorrow “2 pm, “ Jim replied. 

“God,” Miss Kit said, rolling her eyes, “ it’s HELL being Eartha Kitt at 2 o’clock in the afternoon.”  And then she put her hands on her hips and laughed, a big rich throaty laugh. 

When I look back, I realize that that simple question, “what time am I performing tomorrow,” catalyzed the start of Miss Kitt’s preparation countdown and her metamorphosis into the Eartha Kitt (Big E, Big K) people would be paying to see.. Because the Eartha Kitt we expected to dazzle us required time, work and preparation, emotionally and physically.  And I was privileged to observe some of that preparation, which occurred in phases over the next 12 hours.

At 9 am the following morning, Miss Kitt showed up at breakfast, five hours before show time, wearing a silky turban, long fluffy false eyelashes, a face gilded with makeup and a colorful kimono—a far cry from the undecorated woman we’d met at the ferry docks the evening before.  Wide eyes turned toward her as she swept into the dining room, holding herself like a queen, flirting with maitre D as he seated her.  Once fortified with breakfast, she made her way down to the Grand Hotel’s tea garden stage to do an official sound check with the members of her trio.  As my husband and I finished our breakfast, we could hear Miss Kitt warming up her voice with a song or two. Then she put the band through their paces, going over parts of a song again and again. Next, word trickled up to us that Miss Kitt required a lounge chair and a tuxedoed waiter to serve her champagne for an improvised bit during her show.  My husband scurried to procure them.  Miss Kitt was exacting and specific.  She knew precisely what she needed and wanted.  After all, as she had declared, “you have to prepare yourself for what you want to do.”

An hour prior to her 2 o’clock performance, Miss Kitt retired to her dressing area.  No visitors allowed: she needed space and silence.  Again, this was all part of her preparation ritual.

At 2 o’clock, I sat eager and breathless in the front row, ready to see the final iteration of Miss Kitt. The emcee hushed the audience and spoke: “Ladies and gentlemen, Miss Eartha Kitt”

With upraised arms, Miss Kitt swept out of the wings, swathed in a dramatic, long cloak held aloft by a small, scurrying assistant.  The assistant whipped off the cloak with a swoosh, revealing  Eartha Kitt, Big E, Big K in all her gloriousness:  Hair perfectly coiffed, nails long and red, heels glittery and high, stretch velvet gown slit up to there and revealing a very toned leg.  She growled.  And then she did a backbend that brought the back of her head almost perpendicular to the ground.  The crowd gasped!

For two hours, Miss Kitt sang, kicked up to her nose, teased grown men enough to make them blush, made us laugh until we cried, made us cry until we laughed, and otherwise showed us how to take the stage (and an audience) prisoner.  As I watched Miss Kitt in full fiery performance, I thought of the silent, unadorned, reserved woman I had met the night before at the ferry dock.  In less than 24 hours, she had done whatever it took to bring herself to full performance power.  Relying on a lifetime of training and preparation—countless dance and yoga classes, vocal and dance warm-ups, attention to nutrition, costume, makeup, song choices, hours of rehearsal– Miss Kitt had helped transform herself into the stunning, incandescent performer who had me hanging on her every word and gesture.  And she had done so even though– and especially because—as she’d put it, “It’s HELL being Eartha Kitt at 2 o’clock in the afternoon.”

And here’s the kicker.  We– the audience that stood to give her an ovation at the end of her remarkable show– never had a clue that Miss Kitt had just been diagnosed with the cancer that would eventually take her life. I have no doubt that the years of training, combined with the steps she took to be thoroughly prepared, allowed her to rise above her medical condition, and give a performance that knocked our socks off. If Miss Eartha Kitt was (and in my heart still is) not a poster child for why training and preparation matter, then I don’t know who is. 

 

DEDICATE YOUR WORK AND WATCH IT SOAR!

November 18th, 2008

Last night I watched the semi-finals of Dancing with the Stars while lying in bed eating dinner with my husband and my three cats. Tease me all you want, but it was a whole lot more fun to watch people in satin and sequins salsa dancing and fox-trotting than, say, watching doom and gloom on the TV news, or a blood and guts flick on the Spike channel.

In any event, Lance Bass, a contestant who used to perform with the boy-band, N Sync, did something unusual to help him get a leg-up on the competition:  He brought his beloved granddad to the show and dedicated his performance to him.  Lance was going to do a foxtrot, and figured since his granddad had grown up dancing this particular dance, some of his grandfather’s latent abilities might rub off on him.

As it happened, Lance nailed his foxtrot, even after one of his dancing shoes fell off (!!) halfway through his dance number.  His grandfather was jubilant. Lance was ecstatic:  He got the highest points he’d ever received on any dance routine thus far.

Here’s my point:  By dedicating his performance to his granddad, who was sitting in the audience, cheering him on, Lance imbued his performance with a meaning greater and deeper than usual.  He danced, this time, not just for himself, but to honor another.  And, as a result, he danced better, with more focus and abandon than he had ever done before.

Authors dedicate their work to others all the time:  Open up just about any book, and you’ll notice a dedication at the very beginning.  Actors do this, too:  They’ll dedicate a particular show to someone they love or admire—their mother, a person who is sick or ailing, the ghost of Sir Lawrence Olivier, whatever works for them. And when they do, the act of dedicating their work in another’s honor gives their performance greater focus, meaning and purpose, and often elevates the quality of their work. 

According to Daniel H. Pink, the author or a wonderful book I’m currently reading called A Whole New Mind: Why Right Brainers Will Rule the Future, dedicating your life or your work to someone you admire or something greater than/outside of yourself gives it a richer and more fulfilling meaning and purpose. So why not give it a try? The next time you have a difficult task to perform—a tricky presentation to give, a tough phone call to make– dedicate your task to someone you love and admire.  If it worked for Lance Bass last night on Dancing With the Stars, it can work for you.

STOP PREPARING, AND JUST DO IT!

November 13th, 2008

When I teach presentation skills to my coaching and training clients, I always tell them to prepare to the point that they know their material inside out.  Because, as jazz musician, Bradford Marsalis points out, “If you’re not prepared, it’s too late.”  Of course, this applies to anything you’re trying to accomplish in life, not just public speaking.But then there comes a point where you need to stop preparing and just DO it.  This requires a necessary leap of faith that is terrifying to many people. And so, they keep preparing, and stay stuck.Several years ago, while living in southern California, I participated in a weekend retreat designed to challenge fears and perceptions.  One entire day was devoted to tackling the elements of a rope-challenge course.  For those of you unfamiliar with rope challenge courses, suffice it to say that participants are safely led through exercises that involve the use of ropes in ways that make you come face-to-face with your fears, particularly the fear of heights. Participants work in teams, pairs or alone, building teamwork, trust and self-confidence, doing such hair-raising things as leaping off the top of a tall tree towards a swinging trapeze or walking across a tightrope. It is not for the faint of heart.

Let me say right off the bat, that I have a colossal fear of heights.  So the ropes challenge course both terrified and (strangely) attracted me.

The first ropes challenge I faced was, so I was told, a simple one, in that it did not involve climbing up a rope or a ladder:  “All” we had to do was take turns leaning off the side of a cliff, tethered to two ropes commandeered by the ropes course instructors.  To prepare for the experience, we were carefully instructed in the correct way to strap on the harness we would be wearing while dangling into the abyss, and shown how the belay ropes attached to the harness worked to prevent injury.  We were given helmets and shown the proper way to secure them to our heads. We each took turns feeling the tension on the rope attached to an instructor as she dangled off the cliff.  I, of course, asked a lot of questions:  How secure were the belay lines?  What if something went wrong?  Should we look down?  As far as I was concerned, I would have preferred preparing forever, and avoiding altogether the spine-chilling moment of hoisting myself off the side of a cliff with a wing and a prayer.

I managed to put myself as far back in the line as possible, watching with amazement and horror as person after person strapped themselves into the harness, walked to the edge of a cliff, yelled “ready,” and then slowly leaned out over a 300 foot drop.  The line moved much, much too fast, until, finally, it was my turn to buckle on the harness.  I truly didn’t want to go.  Wasn’t there more to do, more to prepare, so that I would be completely safe?  Was my helmet on right?  Was the rope secure?  The rope course instructor watched me with a knowing smile.  “You’re ready,” he said “just do it.”

And so, I did.  Somehow, I managed to make my feet move toward the cliff’s rocky edge.  “Now let go and lean forward” the instructor ordered.  And I did that too, my heart pounding like a bad headache, leaning slowing out into the cool fall air. “SNAP!” the ropes attached to my harness locked into place.  And there I hung, at a 45 degree angle, the scruffy gray-green of the southern California hills spread out beneath me.  I had done it! And, oh, it was a beautiful thing.

Afterwards, once my pulse had slowed and my legs had stopped trembling, I wondered:  Why had I let myself be so scared?  Because the fact of the matter was this: Actually DOING it wasn’t nearly as hard or scary as PREPARING to do it.  There comes a time when preparation must end and you must just do it, whatever “it” is.

When you must simply pick up the phone and make that call, send that letter, have that conversation, take that action, step onto that stage.  So stop letting preparation stop you from doing what you know you need to do. And just do it.

LESSONS FROM AN OLYMPIAN: WHEN YOU FALL, GET BACK ON THE BEAM

August 21st, 2008

Every night this week, I’ve screamed like a kid watching the American Olympic Team swim, dive, leap, run, and spike balls across nets.  I’ve loved watching Team U.S.A. win, especially Ann Arbor’s own Michael Phelps, who, as of this writing, did the impossible and won a record-breaking goal of 8 gold medals for his swimming prowess. But I’ve loved watching our team members lose, because it’s been there that I’ve seen the greatest courage saw the greatest courage and the hardest lessons learned.Take the case of the American women’s gymnastics team, and most particularly Alicia Sacramone.  I’d already taken an interest in her simply because she attends Brown University, my old alma mater, and had been splashed across the front cover page of my latest Brown Alumni Monthly magazine.  So I got all excited when her name was announced last night and it was her turn to leap onto the balance beam and do her thing.  “You GO girl,” I yelled, as she strode up to the apparatus, a piece of wood four inches across and four and a half feet off the ground. “Show em how it’s done.”  And she did, alright. She showed the entire viewing audience how to leap onto a small strip of hard wood, land like a shaky stork on, off balance leg, and fall unceremoniously back to the floor.  The crowd gasped.  I gasped. Her forehead knotted.  But here’s where it got good: Darned if Alicia didn’t just pick herself up, set her jaw, leap back onto that beam and keep going all the way through the rest of her set. She didn’t kick and swear at the beam.  She didn’t run off the floor, crying.  She simply took a breath and got back on beam.Wow.That move cost her team a whopping eight tenths of point.  Alicia must’ve known that as she was tumbling to the ground.  But she still got back on that beam and kept on going.Here’s my point—and it applies to facing obstacles in life as well as facing obstacles and fear as a public speaker:  When you fall, get back on the beam. Really, it’s that simple, (and, yes, that difficult).  When you fall, get back on the beam. Even with those nasty little voices in your head cutting your ego into ribbons. Even with your fear and your embarrassment taunting you like schoolyard bullies, so that all you want to do is run, run, run sobbing to the shelter of the nearest bathroom stall, swearing never again to make another cold call, fall in love or give another presentation.  When you fall, get back on the beam.  Because when you do, you lean three things: 1. You cannot be stopped unless you choose to be stopped.2. It’s better to dust yourself off and try again than wish you had. 

3. You are more resilient, determined and able than you can even imagine.  Even in public, with all eyes on you.

So, Alicia Sacramone, thanks for falling, and getting back up again.  You’re a champion in my eyes.

A PLATTER OF POPPIES

September 19th, 2007

As soon as she gave her hand to him in marriage, the giving began in earnest:

When he balked at spending time with her beloved extended family, she gave in.

When he refused to let her relatives call her by her childhood nickname, she gave over.

When he belittled her dream to act in community theatre productions, she gave it up.

Bit by bit, she gave in, gave over and gave up precious pieces of her very essence, until, under her husband’s stern, unyielding and belittling ministry, she shriveled to the merest wisp of her former self– her passions, her dreams, her sense of worth dried up, blown and scattered like dirt in the wind. “I gave away such essential parts of myself,” she remembers, “that my mother considered me dead.”

And yet… and yet…even as she willingly gave away pieces of her soul, what remained of it rallied forth with panache and brilliance: She birthed and adored several beautiful children. Needing additional household income, she forged a successful career as a sales executive. At work, she felt brave, capable and appreciated.  At home, she felt shut down, shut off and utterly unseen by a husband whose needs came unequivocally first.

So, when the little voice inside her whispered “Could be more!” it was not only a wonder she acted on it, but a wonder she even heard it in the first place.  “Could be more…  More of you… More of what you love… More of what you need…” it hissed in the deepest recesses of her being.  And slowly, step by determined step, she began to heed it, paving the way for her departure.

By the time she filed for divorce, she had managed to firmly instill in her befuddled– and ultimately stunned– husband the tools and the skills to manage the house and she children she had been caring for almost single-handedly.  “I wanted him to be able to take care of himself, and I wanted to know he could take care of the children when they visited him,” she explained.

Pleasantly, but firmly, she helped her husband through and out the front door of the house in which she’d lived with him since she left her parent’s home, and into an apartment of his own.  In the process, she took him to Macy’s to help him feather his new nest, a last vestige of her habit of clucking over his needs.

In the houseware section, a porcelain platter stopped her short.  Large, white and gleaming, it was covered with the flaming orange-red of blooming poppies.  Her hands reached for it almost automatically, greedily.  “I want this,” she thought, surprised. It was nothing like the dishes she had owned since she had given her hand in marriage.  The poppies burst off the plate, wild, passionate, messy.  She stood, transfixed, her oblivious husband a few feet ahead of her. “This could be for my new home,” she thought.  “My new life.”

At that moment, her husband turned around and noticed her tight hold on the platter of poppies.  “That,” he said, “is one of the ugliest things I have ever seen. You’re not actually thinking of buying it, are you?”  For a moment, she hesitated; old habits tempted her to put the platter down and dismiss it with a shrug.  Instead, she took a deep breath,  squared her shoulders and looked her soon-to-be ex-husband in the eye:  “You bet I am,” she said. “And I’m going to get the matching dinner set as well!”

And though her husband rolled his eyes, she never even noticed.

A Platter of Poppies.  A declaration of courage.  A reclamation of self. 

WHEN WE DWELL IN BITTERTOWN: Moving Beyond Misery

July 17th, 2007

It’s happened to all of us:  Just when we think things are going swell, something or somebody comes along and knocks the stuffing right out of us. Demoralized, mis-understood, mis-treated and miserable, we pack our bags and move to Bittertown, where we threaten to remain for good… or at least until we get our come-uppance…someday… somehow.  Some of us never make it out of Bittertown.

Bittertown:  Where, to quote my own song lyrics (BITTERTOWN, © 2007 E.Kelakos) “the coffee’s always black and it burns you going down”… Bittertown, where the café’s are filled with has-beens and never-weres… where you share and celebrate your wounds, point a wagging finger at  “them…the ones that did this,” mutter yourself into a dark and fruitless corner… Bittertown… where all roads lead in, and none lead out.

Bittertown is a darkly comforting place.  You’ve been there.  And so have I.  Just visited it this morning, in fact, after I was stood up by a new client who was supposed to begin two days of intense coaching on his keynote presentation. Yep, flat-out stood up. Despite a signed contractual agreement, this person left me swinging in the breeze… No phone call.  No e-mail.  No explanation.  No apology. No nothing.  To make matters worse, when I tried to phone this so-called client, at a number where I’d easily reached him before, the number was no longer accepting messages.

So, how did I feel?  Lousy, with a big L.  It wasn’t just the money that I had expected in return for my services.  It wasn’t just the fact that I’d painstakingly rearranged my schedule (and the schedule of some existing clients) to accommodate this no-show. It wasn’t the four phone calls, the fax and the many emails I’d taken the time to write and send to this person.  It was the fact that, in the end, he failed to treat me with the consideration due another human being.  And that’s when the road to Bittertown beckoned.

I thought about it:  Wouldn’t it feel good to roll around the rutted streets of Bittertown, let myself gnash and wail and fling my fist at the heavens?  “How could this happen to me?” I could cry?  I could check into the grimy Bittertown hotel, draw the dingy blinds, drop into a creaky bed, pull the linens over my head and stew in my self-righteous anger.  Aaah! The Sweetness of Blame!  The oblivion of Avoidance!

I stood there for a moment, tasting the tempting, acrid smell of Bittertown, feeling the familiar  just-punched ache in my gut, the helpless hopelessness— All too familiar sensations to any one of us who has come face-to face with something promised and not given.  Something expected and not delivered.  When the job falls through.  When The relationship fails. When the promotion is given to someone else. When the red skis don’t appear under the Christmas tree (OK, so Santa didn’t come through when I was seven…).  We all know—and sometimes love—the sights, smells and sensations of Bittertown.

I remember my first few trips to Bittertown, back when  I was a young actress just starting out in NYC.  Every time I didn’t get the role I had auditioned for (which was often), I ranted and wailed and trundled stoop-shouldered into Bittertown.  “What was WRONG with those people?” I wailed to the equally distraught and disgruntled denizens of Bittertown.  “How could they not cast me? Don’t they realize what it took to go in for not one but three callbacks?  They made me improvise with the other actors, they had me learn bizarre interpretive dances, they insisted I learn and sing three new songs… but they DIDN”T GIVE ME THE PART!!!!  It’s just not FAIR!.”  And my fellow wretches in Bittertown would nod in grim understanding, sucking down their black coffee, sugar a mere memory.

For those first few years in New York, I stayed for long stretches of time in Bittertown, a regular in the decrepit hotel, feeling good and sorry for myself. After a while, yanked by a twinge of hope, I’d take a few disgruntled steps out of town, and back into the land of the living.  And I’d audition again.  And more likely than not, wind right back up in Bittertown. Stuck as a duck in muck.

Then, one day, something shifted:  I got a part.  A good one.  A role in an HBO movie, the part of French Diplomat’s wife… the director liked me so much that he promised to make the part even larger.  I had gone to three auditions to nail this part, beating out other, older, established actresses who actually WERE French.  The movie shot in Israel, somewhere I’d lived for seven years and had been longing to visit again.  I was ecstatic. This was a dream come true. How wonderful was this?  ! 

At my agent’s urging, I got my passport updated and waited for the travel arrangements to be made.  I also called everybody I knew and shared the good news.  Bittertown seemed like a distant memory.

And then the phone rang, not more than one week later.  It was my agent, with the news that the “suits” at HBO (who had never met me, nor seen my audition), had decided that they could save money by hiring an Israeli women to play my part.  The role that had been bestowed onto me, that had held such promise, had been unceremoniously whisked away.

And oh, how my heart was broken.  Oh, how I wanted to point my sorry little self towards the familiar haunt of Bittertown and never leave. 

But here’s the thing:  I didn’t go. Sure I moaned and groaned and shed a few tears for an hour or so.  But then I got up and made a couple of new cushions for my living room chairs.  Nice ones, at that.  And after the cushions were done, I went to the gym and worked out, hard. And when I was done with that,  I went back home, sat down messy and sweaty at my desk and addressed a few promotional postcards.  And despite how lousy I felt, I also felt pretty good.

So this morning, when I realized my would-be client was just not going to darken my door, I let my eyes drift towards the murky shadows of Bittertown.   I took one step onto Bittertown’s dusty Main Street. And stopped in my tracks. “Naaaaaaaaaaaah.”  I thought.  “Don’t need to go there.”   Then I sat down at my computer and  wrote a scathing email to the so-called client who had stiffed me;   I followed up some leads I’d made at a recent conference; I assembled –and then drove to the post office to mail– a promotional package to a  speaking client;  And I wrote this Blog.

Because here’s the thing: If I’d chosen to hang my head in Bittertown, I would have given my heart, my soul, my purpose and my potential to an errant client who, for whatever reason—and unlike me– didn’t have the courage to show up.  And one little step away from Bittertown is one BIG step towards a life that is utterly and richly my own.