Focus on the LOVE

Tatiana: Never try to win over the naysayers and the haters, put all of your energy into impressing the people who were supporters of you from the beginning.

Ru Paul: That is very wise. Because you know what? I ain't got time for the people who hate me, I'm too busy loving the people who love me.

Tatiana: Exactly. 

My husband and I love to watch Ru Paul's Drag Race because it is fantastic television with occasional life guidance.

In the second episode of All Stars, Season 2 (airing now), Ru Paul was interviewing the Drag Queens as they prepared their impersonations for the upcoming snatch game challenge. Tatiana and Ru had this meaningful exchange about paying attention to critics.

This rocked my world and I've been living by these words ever since.


Haters? Naysayers? I'm too busy loving the people who love me.


In this vein, I've got some catching up to do with my readers, since I haven't posted an entry in my blog since April.

I'm back in Vancouver, settling in nicely - and ready to resume sharing my discoveries and focus in improv and living in the moment yet again. I'm working on two new shows that premiere this month with LOVEly teams that will include more and more folks as we go. (posters below)
Thanks for joining me.


Now, stop trying to win over naysayers and focus on the LOVE.

Upcoming Dirty Little Secrets Improv Show in VANCOUVER!

LIGHTS! Debuts Oct 11th.

Nicole Visits NYC!

Sarah visits NYC

Jamie visits NYC

Shef visits Vancouver

Colin Visits Vancouver

Finding the "Button"

I'm writing today about happy endings.

The very last line or beat of a scene is called the "button". The button can be a funny line that sums up the whole story, or a pun that ties everything up in a funny way, or simply the final remark. When you get good at delivering a button, you can dramatically improve the lasting impression of your scene.

The button is hard to master - it's half in the delivery and half in the content. I've seen many terrible scenes (because they were not going anywhere or not clear) vindicate themselves because an improvisor quips in with a clever ending line that makes everyone feel better. The button saved the scene! I've also seen many great scenes seem to fizzle at the end because they couldn't find a neat way to wrap it up.

Thinking of a good button .....

So here's how to master the button: It's a mix of delivery and content.

The delivery: The button has a certain definitive sound. It usually ends on a downward inflection versus an upward inflection that would make it sound like a question and continue the scene. This aurally suggests to the audience that the scene is done. "And that's why I'll never eat cotton candy before going to a bike shop ever again!" Try reading that sentence with a downward inflection at the end. You can make it FEEL like the end of a story by going up on the word "ever" and down on the word "again". The delivery can indicate that it's the final line. Get used to feeling when a scene is coming to a close and experiment in the timing around delivering that button. There will be a window of opportunity when it's clear that the scene needs a good button to end on. Sometimes it can be sooner than you think.

The content: A good button sums up a scene. It can be what a character learned from the situation, what was experienced in the scene, or simply a positive note. This is the time to think back on the suggestion that inspired the scene, what happened to the characters, and what the audience liked about the scene. Ask yourself if there are any loose ends that you could tie up in that final line. Is a pun coming to mind? If none of these options are obvious, you can always end on a positive note "... and that was the best trip to the doctor I've had since she used to give me lollipops." Ending positive will always be a good note to end on, whereas a negative ending can be a drag if your joke doesn't land.

Jon Snow's button is often "winter is coming"

So, pay attention to endings! They often contribute to your overall reaction to a scene. Master buttons, and feel confident that you're going to tie everything up at the right time with the right words.

And, scene!

Why accept offers?

A wonderful performer friend (Conni Smudge) shared this on FaceBook, and it spoke to me about improv:

It hit me because I'm in the middle of a few Wayne Dyer books at the moment (all given to me by my mother), and because it relates to accepting offers.

In improv, I strive to be hyper aware of "offers" - information that the other improvisors are giving me about the environment, characters, relationships, and situations happening in the scene.

Scenes are brilliant when improvisors are listening to each other's offers and accepting them by immediately incorporating the other person's information to co-create a moment.

See your scene "as it is", rather than "as you think it should be" by listening to and accepting offers. Know what is being established, enjoy it, and then add on.

Accepting offers allows you the ability to co-create.
You earn the right to make a new offer that will build on the one you just accepted.

It's the reason why we say "YES, and..."

I'm not sure if I'm giving or receiving an offer here