Betsy Carter, LOST SOULS AT THE NEPTUNE INN

Betsy Carter, LOST SOULS AT THE NEPTUNE INN

Betsy: It’s about what lengths people will go to to find a home. In this book, there's several characters who've sort of been tossed out by their families or for some reason or another left home. There's several lost souls who come together, find each other, and even in extreme situations and even though it doesn't seem a perfect fit, they get together because they cling to each other for a home. It takes place, it ranges from the twenties to the eighties. My two main characters, one of them has a child out of wedlock and is really almost disowned by her parents. Another one, she lives in New Rochelle, New York. The other one is a Southern lovely man who has had a very difficult childhood. He has been different from everybody else. He makes his way to the North after a horrible situation. Something traumatic and horrible happens to him. They find each other. He falls in love with our main character's daughter. Her name is Alice. He falls in love with her and decides that this could be his home. Even though it's not a perfect fit, they get together and they get married. It's really the story of the evolution of that kind of relationship, making a family where there really is none, and what happens even when it threatens to fall apart. Does the family stick together, or does the family go to pieces?

Allison Winn Scotch, CLEO MCDOUGAL REGRETS NOTHING

Allison Winn Scotch, CLEO MCDOUGAL REGRETS NOTHING

Allison: I wanted it to sort of be outlandish. The notion of somebody actually acquiring regrets. Maybe some of us have bigger regrets. The notion of really tracking that spoke to the underlying, not psychosis, but who really does that? She's very rigid. She's a perfectionist, but she's made of all of these both big and small mistakes along the way. I thought that made her more intriguing as opposed to -- it's funny. My birthday was the other day and we were out. We actually went out to dinner. My son was like, "What are your biggest regrets and accomplishments?" I could name three big regrets. I'm not somebody who looks back, but I was like, "I really wish that I had gone abroad in college instead of staying back for my stupid college boyfriend." [laughter] That's my regret. The notion of having 233, I felt like that made it more interesting.

Erica Katz, THE BOYS' CLUB

Erica Katz, THE BOYS' CLUB

Erica: I still work at a law firm. It has less to do with any sort of publicity than it does the fact, similar to what I was just saying, so it's great transition, I didn't want the book to be about me. I think it loses its value as soon as people start dismissing it as a true story because people will make assumptions about me. People will start to talk about what firm I'm involved in. I think my next statement might surprise people. I'm worried that it will curtail the honest conversation about the character and the protagonist and where she made mistakes. I wonder if people are just so much more comfortable talking about faults of people who don't exist. I don't want it to be some sort of value judgement on my life. First of all, it's fiction. Second of all, I think people are reluctant to say, god, Alex really made a mistake by doing X, Y, and Z. Where was she wrong? Where did she really mess up? Where was she not a friend of women? Where were she an aggressor to her friends? Things like that. I think fiction is a really beautiful vehicle for doing that. The fact that my life parallels hers in any capacity I think makes people dismiss it as nonfiction.

Caroline Leavitt, WITH OR WITHOUT YOU

Caroline Leavitt, WITH OR WITHOUT YOU

Caroline: I had a perfect pregnancy, perfect easy delivery. The day I was supposed to go home, I took a shower in the hospital and I noticed that my stomach was really hard and really big like I was ten months pregnant. The last thing I remember is saying to the doctor, "Look at this. Isn't this weird?" He said, "Well, you had a C-section. It's probably just a blood clot. We'll just do a little operation. You can go home tomorrow." I said, "Fine. That's fine." The next thing I remember is, it was really terrifying. I do remember waking up and I thought I was in a TV show, that reality had changed, because everything was in black and white. I heard a soundtrack and a laugh track.

André Leon Talley, THE CHIFFON TRENCHES

André Leon Talley, THE CHIFFON TRENCHES

André: The painful experiences have been with me all my life. All of those experiences have been with me. They just came out because those things that I've kept bottled up in my brain, in my mind, for decades and decades -- this book was, in a way, a cleansing. It was so much a cleansing. I realize now that I've completed the book that it was a cleansing of the spirit and the soul. I feel very proud of it. It cleansed my soul. I had never spoken of my serial sexual abuse to anyone, no one in my family, no therapist, nothing. When I was growing up in the South, African American people of just modest means did not have therapists to go to. You couldn't go to your church because that was shaming. I just thought that I could not say that to anyone. I was the only child. I thought that whatever this was that had happened to me, if I told my grandmother, it would probably hurt her and she’d be very devastated, or I would be sent away to a reform school. I never talked about those things.

Sophie Mackintosh, BLUE TICKET

Sophie Mackintosh, BLUE TICKET

Sophie: I'd spent my whole life just being really sure that I didn't want to have children. Then something happened when I got to my late twenties. I'm still not sure whether it was social stuff, seeing everyone around me having babies, or whether the time was right, but suddenly I just got really broody, like so broody. [laughs] I thought it would be interesting to explore that in fiction. It was really disconcerting to have this really strong idea that I knew how my life was going to be. It was going to be childless. I was really happy with that. Then suddenly to be seeing a pregnant lady or a friend's new baby and just suddenly wanting to cry and thinking, I want that, I want that so much. I thought that would be kind of a cool way to explore it. It actually started out as a horror novel. I was looking into pregnancy and learning more about the physical side and seeing friends having babies and hearing the horror stories of labor and thinking it's such a ripe area for exploration. How could I do a different take on it as someone who has not yet had a baby but really wants one?

Lara Prescott, THE SECRETS WE KEPT

Lara Prescott, THE SECRETS WE KEPT

Lara: I was. My mom's favorite film is the 1965 adaption of Doctor Zhivago. It's also one of her favorite books. She always reminds me to tell people that because she's like, "I loved the book first." I was named Lara after Boris Pasternak's heroine in Doctor Zhivago. It was this kind of name that I hated growing up with because everyone would always pronounce it wrong. We had a Larra who was a couple years older than me in school, so all the teachers called me Laura instead of Lara. I was like, "Mom, couldn't you have just put a U in my name?" She's like, "No, that's different." It wasn't until my adult years that I started actually correcting people and saying, "No, my name is Lara. This is how you pronounce it." Now my mom thinks it's her fate that led me to write this book in the first place.

Sophie Heawood, THE HUNGOVER GAMES

Sophie Heawood, THE HUNGOVER GAMES

Sophie: I then had to learn to settle down. That's an awful dreary phase. The first person I ever learned to settle down or commit to was my own child. I suppose the book is the story of what happens. Everyone talks about growing up and calming down and settling down and then doing the kid thing. I had the kid and then had to work out, how the hell do I do the rest of it? Do I need to? What is calming down? Do you have to settle down? Why does a mother who has a child have to stop going to parties or stop going on dates? Can you commit to your child but also have that exciting private life? I think my book is an exploration of how that went.

Jodie Patterson, THE BOLD WORLD

Jodie Patterson, THE BOLD WORLD

Jodie: I have five children. One is trans. My third child identifies as a trans boy. That means when he was born, I assumed girl. I looked at the body. The doctors looked at the body. They said, "You have a girl." We named that child Penelope after grandma. Within the first year, there was all of this unrest in Penelope, and anger. By two and then two and a half, Penelope had become a bully. Penelope was pissed off, crying all the time, temper tantrums. I really couldn't figure it out. I was trying to do everything like change the diet, take out dairy, make everything vegan, read more stories, tell Penelope how much I loved Penelope, snuggle. Nothing worked until one day Penelope just said, "Mama, everyone thinks I'm a girl, and I'm not. I'm a boy." That is the impetus for my growth. So much weighs on this one kid, but as you know, a mom of multiples, your life is not one kid. It took me a minute to get out of the darkness of realizing that your kid is so different from anything you've ever imagined. That was pretty scary.

Bruce Feiler, LIFE IS IN THE TRANSITIONS

Bruce Feiler, LIFE IS IN THE TRANSITIONS

Bruce: We spent a year coding these stories for fifty-seven different variables, high point, low point, turning point. It quickly became apparent that what we had stumbled on was information about the number and pace and kinds of ways our lives are upended. Then we dug in to try to figure out, are there patterns, themes, takeaways that we can identify that can help people navigate these big life, I call them lifequakes as you know, these big life changes in a more systematic and helpful way using best practices that everybody else has, some of which they stumbled onto and some of which they do intentionally, ways of getting through these kinds of life changes?

Holly Martyn, WOULD IT KILL YOU TO PUT ON SOME LIPSTICK?

Zibby Owens: Holly Martyn is the author of Would It Kill You to Put on Some Lipstick? She's a writer, storyteller, memoirist, mother, frequent flyer, and former Wall Street executive who shares her many adventures in life, travel, and dating.

 

Welcome, Holly. Thanks for coming on "Moms Don't Have Time to Read Books."

 

Holly Martyn: Thanks for having me on, Zibby.

 

Zibby: We spoke about a month ago on my Instagram Live show, which was much fun. I loved talking to you then. I wanted to hear more from you now, so that's how we got here.

 

Holly: I know where our conversation kind of lit up the last time we spoke was when -- you're a divorced mom as well. Now you've remarried. We had started to get into some of the psychological aspects of being a single mom and being divorced and dating, which I think you could relate to as well.

 

Zibby: Yeah. You want to talk about that? That sounds juicy and good. [laughs]

 

Holly: I think part of what you have to do when you are deciding to get divorced or going through that process and dating is to kind of get your head on straight. One of the things that I realized as I was writing the book was that I felt this huge sense of shame about being divorced. I felt like in many ways our society reinforces that view of women, particularly single women and single moms. Would you agree with that?

 

Zibby: You know, I think just sometimes people don't know what to do with things that don't fit in all the right boxes, necessarily. I think when you go from the world of being part of a couple to then not, particularly the people who were still part of couples don't exactly know how to handle it. I think they immediately feel badly for you when maybe you don't need any sympathy. People make a lot of assumptions about what you must feel or you must think. I think some people, and I don't know if you experienced this, didn't know how to, I know at least when I got separated and then divorced, didn't exactly know how to deal with me or talk to me or what it meant for them. I think that's the other thing. When a close friend or something gets divorced, and I don't know if this happened with your friends, people are like, if it could happen to her, it could happen to me, or I better stay away, like it's contagious or something.

 

Holly: Yeah, divorce cooties.

 

Zibby: Exactly. Back up for two seconds and tell everybody the name of your book, why you wrote your book, what's in your book. Then let's go back to this.

 

Holly: The name of my book is Would It Kill You to Put on Some Lipstick?: A Year and 100 Dates. It's a memoir/manual about the first year after my divorce as I grappled with being a single mom and having to date again. I was absolutely flabbergasted that I was twice divorced. I thought I'd never have to date again. Frankly, I'd never really dated that much ever. I decided to chronicle the experience of trying to rebuild my life.

 

Zibby: How'd it go?

 

Holly: I think we talked about this last time. The backstory was that I had been sitting in a spa feeling sorry for myself. I happened upon an article about a woman in a position similar to mine. She was a widow in her late thirties with a newborn. Her husband had died of cancer. She crossed paths with the late Joan Rivers who knew the woman well enough to look at her and say, "You're kind of letting yourself go. Would it kill you to put on some lipstick? Set up an online account. Go on a hundred dates. You'll meet somebody." I was struck by that. I thought, wow, could it really be that simple? That's the motivation and the idea behind my memoir. I found that the book got away from me in the best of ways. It's a little bit like Sex and the City meets Eat Pray Love. I talk about a lot of the funny dates, the heartbreak, and then also what's happening with me in my head and my heart as I try to reconcile my life up until this point. That became a big thing that I was looking at as I was dating again. I really didn't want to make the same mistakes I'd made in the past. I wanted a fresh start. I thought, this is really my chance to get it right this time.

 

Zibby: I always make proclamations like that. This time, I'm not going to snap at my kids. This new year, now I'm going to be patient. I'm going to not repeat the same things that have been my default coping. Somehow, they keep creeping back in. Did you find that happened to you?

 

Holly: One thing I did do well is that I decided to keep an open mind. What I found was that because I'd already had a child, I'd had my attempt at a happy traditional family, I thought, this time around, rather than dating and maybe being with someone, marrying somebody that I "should" be with, what if I just cleared the decks and kept an open mind about age, income, all of those things, just being totally openminded and openhearted to who I might date and to not be bound by societal ideas of what I should be doing?

 

Zibby: That sounds like something you can achieve. [laughs]

 

Holly: What is great is that what was different this time around for me when I was dating is dating apps and online dating didn't exist the last time I was single. Suddenly, the dating landscape had changed. It really opens up opportunities for you to meet people that you would've never crossed paths with otherwise. In the past, we tended to date and marry the people we worked with or the people we went to school with or the people that we met at church or synagogue, people in our circle. Technology allows us now to really break right out of that. It's exciting.

 

Zibby: How did your daughter handle your hundred dates?

 

Holly: At the time, she was eight, nine years old. She was a hilarious peanut gallery. I don't know if you saw my book trailer, but there's a moment in the book trailer which literally happened exactly as in real life. I thought, I'm going to update my wardrobe. I'm going to try to be a little more chic. I'm going to get out of my mom garb. I go out and I buy this big fluffy jacket and get on some cool jeans. I'm getting ready to go out on a date. I walk out. I say to my daughter, "How do I look?" She looks me up and down head to toe and says, "You look like a werewolf." [laughter] She was always correcting me. I'd come out and she'd go, "Don't you think you need a camisole under that?" I tried to be really honest with her about the things that were going through my head. I wanted her to start to think about, who should we be with? Who shouldn't we be with? Why? I would only introduce her to somebody if I had become serious about the person. Even if she hadn’t met the person, she would say, "How's it going with X, Y, Z?" I would give her a cleaned-up version for a child, but explain, "I broke up with him because he treated me this way," or "It's going well because..." I wanted her to learn. It was something that I was never taught. How do we be treated well in love?

 

Zibby: Yes, it's so important. The whole thing of dating when you have kids is such a crazy experience. I remember when I was already in a relationship with Kyle, who became my husband, I was about to introduce them. I remember asking the kids, "If you could design a perfect guy for me to date, what characteristics would be important to you?" I remember holding my breath thinking, I hope they pick some of the things that he has. [laughs]

 

Holly: Did they?

 

Zibby: They did. He's a pretty great guy. I was lucky, but I was sort of holding my breath there. I think that one of them said that he had to play with dolls. I had a little kid too. He didn't meet all of the boxes, but the ones that he could meet that were reasonable. At least, I wanted them to know, not that they could pick who I ended up with, but that their input really mattered to me because it was a decision that was going to be for all of us and not just something that would benefit or affect me. They were integral players in the whole thing.

 

Holly: It's a new member of the family. It's a big deal.

 

Zibby: It's like adopting a grown-up. [laughs]

 

Holly: Exactly, and their family and maybe their kids. Did Kyle bring children as well?

 

Zibby: He did not. No, he's just been a great stepdad to my four kids. I told him, "I'm not having more kids, so you should just run the other way and go marry some young, pretty thing who wants to have her own family. You should just do that." He's like, "No, I want to be with you." He probably regrets it. [laughs]

 

Holly: I'm sure he does not.

 

Zibby: Obviously, that would add a layer of complication to things. No, we didn't have to deal with that. Going back to your book, having gone on all these dates and realized, perhaps, what's more important to you and what's not as important to you, going forward, what are some of the most important things you learned? What are some of the things that if somebody else was like, "Gosh, where do I even start in this process? I'm totally overwhelmed," what would your advice be for that person or all of that?

 

Holly: I would say the first thing is to ask yourself if you're really serious about wanting to have love in your life again. Some people approach it halfheartedly and say, yeah, maybe. Or maybe they're not really being honest with themselves. For me, I realized I did want to find my person. I did want love in my life. I was willing to commit to it. I wasn't going to do this in a half-assed way. I was going to go for it. The whole premise of the book kind of set me up to do that. It gave me the discipline. I started to approach dating in my forties with a plan and a commitment. I told myself that whenever my daughter was with her dad I would not stay at home and Netflix and eat pizza. I would go down to the local wine bar or go into the city to a restaurant and eat dinner up at the bar. If someone spoke to me or started a conversation, I would talk to people. I would start to expand my circle.

 

That opened up a whole new world. It opened up a whole new world for me not only in terms of people that I might date. I made great women friends. I've made great professional contacts. That's one thing that happens to people when they get divorced. You kind of lose some of your friends. You lose some family members. People tend to take sides. It's really important when you get divorced to expand your circle. Expand your circle with fresh, positive people who are going to support you in this new phase of your life. It's an opportunity. It's painful, but it's also an opportunity to do some spring cleaning. Then the other thing I did to get the dates was I did go on dating apps and try different apps. I got some dates that way. I met some wonderful people that way. Then the third thing that I did was I put the world out to friends and family. Hey, I'm single. If you know of anybody who's single and you want to set me up on a blind date, I'll go on it. I was really openminded about it. I figured it's one hour out of your life to go have a coffee or go have a drink. Again, I met wonderful people that way too.

 

Zibby: Can you share where you ended up in relationship land?

 

Holly: It's funny. I wrote Would It Kill You to Put on Some Lipstick? about four or five years ago. It covered a year of my life. I don't want to give away the ending, but let's just say the formula worked. I did meet somebody really wonderful. Since then, he and I are not together, but remain good friends. Our daughters remain good friends. Not too long after that, I ended up being in a two-year relationship with somebody who set me up on a blind date. He and I are not together anymore. We're still actually very close friends. I can't say that I've regretted anybody I've dated or any relationship I've been in. I think the further I get into dating, the more I realize that I every combination of two human beings, it's like new chemicals. It's always new and fresh. Just when you think that you've seen it all, met every personality type, you just never know what's around the corner. It's really exciting. I'm dating. I have a few stalkers. [laughter] Of course, I haven't really been able to see anybody very much in this pandemic.

 

Zibby: I love what you just said about every new interaction between two people creates new chemicals or whatever because it's so true. I feel like in every relationship, it's not just you learning about them. A new piece of you kind of rises up to meet them as well, a new version of yourself. You can snap into it so quickly, not dramatically different, but just a slightly different version. Does that make sense?

 

Holly: Absolutely. I read something today on Instagram. Someone had a quote about just how dating can trigger us, positively or negatively, into parts of ourselves, parts of our childhood that we may not even know is there. Whether we can face those triggers and those feelings, both positive and negative -- then this is also happening in the person you've met -- can also determine whether you choose to stay in that relationship. In some cases, it spurs you to bolt, right?

 

Zibby: Totally. I also realized -- I try to give advice to friends who are dating about this. I used to say, what was wrong with this guy? I don't know. I would highlight something about him. I didn't like his shirt. I didn't like the way he folded up his sleeves. I didn't like that he wore a necklace. I don't know, something stupid. But it wasn't that at all. It's just sometimes it's so hard to put a finger on when you don't know why, but it just wasn't right. It's so much easier to say this particular external thing is what did it when that has nothing to do with it.

 

Holly: It's hard to come up with a shorthand for friends or even acquaintances of, "Oh, you're not with so-and-so anymore? What happened?"

 

Zibby: Right, that too.

 

Holly: What's the sound bite to get them off your case?

 

Zibby: Relationships are so multilayered. There's so much that goes into every relationship, dating, marriage, our ex-husbands. It's so impossible to sum up any of it. What happened with your ten-year -- no, there's no one answer. It was a lifetime of something.

 

Holly: I write about this in Lipstick as well. My relationship with my ex-husband, the father of my daughter, has completely changed. We are truly friends. He has a girlfriend he's been with for six or seven years now. We get along great. It wasn't that in the beginning. We were all just, I don't want to say enemies, but there was no trust. We had to build a new relationship and a new extended family for our girl that we love.

 

Zibby: I think time is so critical. Things change so much over time after divorce, even with the friends. I don't know if you found this with your friends. Some people who I felt like at the very beginning were vocal opponents or did things that really hurt my feelings right at the beginning have since, now that it's been five years or so, come around and said, "You know what? I regretted my behavior. I'm really sorry for that." I feel like time in divorce, and probably in everything, it just changes so much for you and the people around you and also your relationship afterwards. Time itself just changes so much.

 

Holly: It's just what we were talking about a minute ago. When one couple splits up, it often motivates your circle to look at their own marriages and their own relationships. Sometimes what you're hearing in terms of their feedback about your split-up is really more about what's going on with them than what's going on with you.

 

Zibby: Yes. I wish I had known that the day that I was going around telling everybody. Some people would burst into tears. Some people would be like, "How do you feel?" Some people would just be like, "How could that happen?" It's a lot. You have to take on everyone else's stuff.

 

Holly: Yeah, at a time when you're feeling, chances are, pretty depleted.

 

Zibby: Yeah, probably. I don't know. Anyway, your book, so how long did it take, the actual writing of the book? Did you like it enough that you would want to do another book? If so, what would that be? If not, what's next?

 

Holly: It took a year to live it. Then it took about another three years to write it. I literally have ten different incarnations of the book. The tenth was the one that went to press. What's exciting, what's happening in the last few months, and I can't give too much detail, but I've actually been approached to turn it into a television series.

 

Zibby: That's awesome. I'm so happy for you.

 

Holly: Thank you. We're moving along. It would be sort of like a divorced Sex and the City. There is this episodic nature to a hundred dates. I'm definitely interested in being a writer on that project. I would definitely commit myself to that. I don't see myself as someone who's going to spend the rest of her life writing about her love life. I've started my next book which is called Drinking with Mimes. It's stories of me back in the day when we could still do this, jump on an airplane, show up in a new country, unscripted by myself and write about the people that I meet on the road, the stories, the crazy adventures. That book has been going really well. I think it's a great sequel, but not only to show that just because you get divorced and even if you haven't found somebody yet, you can still have these great adventures, and I did. The first trip I did, I went to Punta Mita, Mexico. Then I went to Copenhagen for Christmas. By the way, randomly met Katy Perry at the time when she was there. [laughs]

 

Zibby: Oh, my gosh. That's a good title, by the way, Copenhagen for Christmas.

 

Holly: Yeah. Then I got a bonus trip at Christmas. A friend of mine who's a writer said, "You got to go over to Sweden and meet my brother. He's a mime." That's why it's called Drinking with Mimes. He's a literal mime, you know, the people that don't speak. You're with me? [laughs]

 

Zibby: I'm with you. I'm following you.

 

Holly: Then from there, I went to Lisbon for New Year's and ended up meeting this fabulous gay man who owned a small palace and invited me to his New Year's party.

 

Zibby: Why not?

 

Holly: Why not? That was the start of the book. Once we get out of this COVID situation and I'm able to travel again, I want to finish off that book.

 

Zibby: Excellent. Do you have any advice to aspiring authors?

 

Holly: The only advice I have is don't give up and just keep at it. I literally got up at five o'clock in the morning for fourteen years before I got published. Just dig in and don't give up. The writer that I thought I was at year one and what my voice was then bears almost no resemblance to what I write now. It's a process that you just have to go through. There's no shortcuts. Enjoy that process. If you enjoy the process, then whether you're published or not really becomes irrelevant.

 

Zibby: Very true. Awesome. Holly, thank you. [laughs] I feel like I had a little mini-therapy session of my own here about all the stuff that happened five years ago. Thank you for sharing your experiences and your great book and all the rest. Thank you.

 

Holly: Thank you so much. Take good care.

 

Zibby: You too. Bye.

 

Holly: Bye, Zibby.

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Sandy Abrams, BREATHE TO SUCCEED

Zibby Owens: Sandy Abrams is known as the C.E.'Om founder, not CEO, C.E.'Om. She has written two books, Your Idea, Inc. from 2010 and Breathe to Succeed. She shares her simple and powerful breath and mindfulness tools that fueled her entrepreneurial journey over the past twenty-five years. Now she is a C.E.'Om and currently leads the Breathe to Succeed and Beverages and Breath workshops, customized Breath and Mindset training for entrepreneurs, leaders, employees, women's groups, and she speaks at a variety of conferences. She also just launched the "C.E.'Om" podcast which she says I inspired her to do which makes me feel just awesome.

 

Welcome, Sandy. Thanks so much for coming on "Moms Don't Have Time to Read Books."

 

Sandy Abrams: Thanks for having me. It's a pleasure to be here.

 

Zibby: Breathe to Succeed: Increase Workplace Productivity, Creativity, and Clarity Through the Power of Mindfulness, that pretty much summarizes the book, but why don't you tell listeners a little more about it and what inspired you to write it?

 

Sandy: I wrote Breathe to Succeed after practicing breath and mindfulness on my own in small moments for thirty years. I felt this SOS in the business sector a few years ago. I had written a book in 2010 called Your Idea, Inc. which was to help other first-time entrepreneurs launch their own business. That had me speaking at a lot of business events and women's conferences. That's where I began to see that technology had hit the tipping point. We all had this new level of low-grade stress from constantly being connected to our devices. I felt like I had something to share about my simple-but-powerful breath tools.

 

Zibby: That's awesome. You have an acronym for 3D breath. 3DB or something?

 

Sandy: Yeah, I call them 3DB. That was my go-to breath tool, the most simple thing, 3DB. That's all it takes to actually transform energy. Today, between pandemic and George Floyd and the stress and anxiety of our times right now, we all have time to breath three deep breaths. One of my favorite quotes is from Einstein that says we cannot solve problems with the same energy that we created them. Breath transforms energy. Right now, I'm on this mission to help everyone, not just the business sector, but help everyone just go inward for a few seconds every day with simply three deep breaths. Great for parenting as well. Moms do have time to breath because we can multitask when we're breathing. We could be making food for the kids. We can be doing whatever and you can take three deep breaths mindfully while you are busy doing all the other things that moms do, right?

 

Zibby: Totally. I loved how the angle of this skews to entrepreneurs and CEOs and how you call yourself a C.E.'Om. Instead of a CEO, a C.E.'Om, which is so clever. I do think there's something specific to business leaders or people really stressed out at work who need to reframe how to manage all of that and to give people tools not just at home, but also in work is amazing. Aside from the three deep breaths, what's a go-to thing that somebody right now who's sneaking time at work to listen to this could do to have a better day?

 

Sandy: First of all, there's a lot of science behind the power of breath and mindfulness for wellness and for mental health and for boosting immunity, so much science behind that. I'd love to read you an excerpt from the book about that. Then I'll share a tool. Is that okay?

 

Zibby: Sure. That's great.

 

Sandy: Okay, good. I have these pop-ups throughout the book that share just scratching the surface of the science behind breath. Here's one. "In an article titled 'Neuroscientists have identified how exactly one deep breath changes your mind,' Moran Cerf of Kellogg School of Management, Northwestern University, says, 'Breathing at different paces or paying careful attention to the breaths were shown to engage different parts of the brain. Humans' ability to control and regulate their brain is unique, i.e., controlling emotions. These abilities are not trivial. When breathing changed with the exercises, the brain changed as well. The findings provide neural support for advice individuals have been given for millennia. During times of stress or when heightened concentration is needed, focusing on one's breathing or doing breathing exercises can indeed change the brain.'" On that note, one rule of thumb with breath is that if you make your exhale longer than your inhale, that taps into your parasympathetic nervous system, which is the rest and digest part of your nervous system. It brings on a feeling of relaxation and calm. I'll walk you through this. Everybody breathes at different paces, but for people who haven't had any breath practice before, I love doing an inhale of four and an exhale of six because it's just very simple. Keeping that exhale longer than the inhale is the science behind getting into that feeling of relaxation. Are you up for a breath or two?

 

Zibby: I'm up for a breath or two.

 

Sandy: Through your nose, take a long, slow, deep inhale to the count of four. Two, three, four, and then slowly exhale through your nose or mouth. Six, five, four, three, two, one. Let's do one more. Inhale. Two, three, four, and exhaling slowly. Six, five, four, three, two, one. That can be done anywhere, anytime when you really want to feel relaxed or calm.

 

Zibby: It makes me feel like I want to go back to sleep. [laughs]

 

Sandy: I've got a breath to energize as well. I love to say there's a breath for every energy that you want to manifest. Breath alone is super powerful, but when you pair it with mindset tools, meaning you tell your body how you want to feel -- right now, you just said, now I want to go to sleep. If you start telling your body, I am energized now, I'm rejuvenated, and we do a lion's breath which I'll share with you right now, you will feel more energized. That's where the magic begins, really, is when you pair breath with mindset tools. Lion's breath is a breath that I taught my kids when they were little. They're twenty-two and twenty-four now. I'm happy to say they still do lion's breath. It's a great tool because it's immediate. It gets rid of any stagnant or negative energy. If you do three of them, it's really energizing. I know we're on audio, but I'll try to explain this as best I can. Close your eyes. Inhale through your nose, a long, slow, deep inhale. On the exhale, bulge open your eyes, stick out your tongue, and sigh everything out.

 

Zibby: I'm not doing that. [laughter]

 

Sandy: Yes, you are. What happens is this, usually when I do lion's breath in group settings in real life, it makes everyone laugh like you just did. That's another thing you can do. Laugh out loud even when you're not feeling it. It's energizing. Again, it's science. It changes the chemistry in your body. You begin to feel happy simply by just laughing. Those are great things to teach the kids too, laughing out loud and lion's breath.

 

Zibby: I will do the lion's breath to my kids because they're used to seeing me look ridiculous, but I'm not going to do it to you because I just can't. [laughs] Now at least I have the tool. That's awesome. That's so awesome. I was really interested in your book about how you ended up even becoming someone who's on the other end of this call helping people with their breath and how you started out as an entrepreneur and sold a business. You had some expression like "unbeknownst to me" or "to my own greatest surprise" or something that suggested that you were as surprised as anyone to have sold a business as a multimillion-dollar sale and became a beauty product that was everywhere. You just killed it. Tell me a little about that and then how you transitioned to this.

 

Sandy: First of all, I didn't sell the business. I actually still have it. It launched quickly. I built this business, as I said, much to my surprise. I have a broadcasting journalism background, not a business background. I was just one of those people that saw a void in the marketplace for a product, moisturizing gloves. My product was called Moisture Jamzz. I wanted to make something that I needed. I was really embarrassed of my hands when I was in my twenties. I had really dry, ugly hands. My grandmother told me about this beauty secret that's been around for generations, which is simply put on any moisturizer -- her preference was Vaseline. This was back in 1993. My grandmother, at the time, was ninety-three years old. Then you just slip on white cotton gloves. It helps to heal your hands and make them look younger and healthier. I lived in Los Angeles at the time, beauty-conscious LA. There's tons of beauty supply stores. The only product that they had was a thin, white, all-cotton glove that just fell off my hands. It wouldn't stay on. I decided I could make a better version. There was also, at that time, a very robust garment industry in Los Angeles.

 

I just pounded the pavement. I learned about fabric. I learned about pattern making. I created a product. I started sharing it with people. Before I knew it, I had gone to get a manicure and I had given a sample pair of gloves to the manicurist who was in Beverly Hills at the time. InStyle magazine put it in, I forget, it was one of the first three issues of InStyle. It was a full-page picture of Moisture Jamzz. I was like, wow, this is really working. I had no credit card to accept payments at that time, no merchant account or anything like that. I realized people are interested in this. I just started figuring it out. That's the great thing about building a business. You can learn it on the go. That's why I wrote my first book, Your Idea, Inc. That's what led to this because I tapped into the power of breath and mindset so frequently building my business that I really felt like the time was right to share that. That's what led to this book. Without those tools, I wouldn't have had the confidence to walk into fifty sewing factories and find the right one or to ask questions of the Bed Bath & Beyond buyer. I didn't know what wholesale, retail, what pricings and margins -- breath constantly gave me the confidence to keep going every day when I really felt like I didn't know what I was doing. Long-winded answer, but there you go.

 

Zibby: Now you lead groups and teach people like Oprah how to catch her breath. [laughs]

 

Sandy: Oprah really inspired me. I have shared a deep breath with her, and grateful for Oprah and other people who, as you mentioned, I do call them C.E.'Oms, people who lead mindfully. She is one of those people. I think that it's so inspiring that some companies like Google many years ago started with a chief happiness officer. Today companies like Vayner Media have a chief heart officer. Hyatt has a chief well-being officer. There are companies, big brands now, that are realizing the power of mindfulness and breath and meditation in the workplace. Workplace wellness is my passion. I'm on a mission right now to share breath one deep breath at a time, really.

 

Zibby: By the way, in the book you quoted Bill Gross from Idealab. I worked there after college for a couple years. I was the twentieth employee. I never see him in books. It was amazing.

 

Sandy: That's a small world. I love that.

 

Zibby: Too funny. Are you working on another book now? I should ask.

 

Sandy: No. There was nine years in between my books. After my first book, and I'm sure you can relate to this, I never thought I would write another book. I'm not a writer, but when I feel like I've got something to say, then I'm willing to share it and I'm willing to do that labor of love and write another book. As of right now, I feel like this book has so much time and space that I can share with people that I'm not looking for book number three yet. I feel like you do about how writing inspires you all the time and it's cathartic. That's how I feel about breath. I just want to share breath for several years.

 

Zibby: For someone else who wants to write a book but doesn't even really love writing, what tips you would have having survived two?

 

Sandy: My number-one tip for people who ask me that is just write like you're talking to a friend. I made the mistake of starting my first book as using my journalism background and trying to make it sound very journalistic. Then I had asked my editor, "Could you just take a look at my first two chapters? I don't want to write everything and then find out I'm on the wrong track because I'm not a writer, per se." She looked at my first two chapters and said, "Okay, hit delete. Let's start over. When you spoke with me, I felt your enthusiasm and I felt your passion. That's not what I'm feeling when I read this." That was the best advice ever. Since then, I've written hundreds of articles about entrepreneurs and business and wellness. I'm always using that advice, just writing as if I'm talking to a friend giving advice. Then I realized that it carries my voice that way on paper. That's the advice I would give people.

 

Zibby: Amazing. Sandy, thank you so much for coming on my podcast. Thank you for the only breaths I will probably take today that I will be aware of. [laughter] Thanks for something that will break my kids out of their next tantrum by looking at how crazy I look.

 

Sandy: I promise you they will love lion's breath. Thank you for having me, Zibby. Thank you for everything you do for authors and for lightening the energy in the world right now. Thank you.

 

Zibby: Thank you, Sandy. That was nice of you to say. I'm trying. Thanks. Have a great day.

 

Sandy: You too.

 

Zibby: Bye.

 

Sandy: Bye.

sandyabrams.jpg

Evy Poumpouras, BECOMING BULLETPROOF

Zibby Owens: Don't get too sad, but today is the last day of my ten days of a July Book Blast. I hope that you've enjoyed all these ten days. If you've missed them, go back and listen to Memoir Monday and Debut Tuesday and Body Blast and all the rest of the episodes that hopefully will have made your July just a little bit better. Today's our last day. It's self-help, inspiration, empowerment Friday. Let's just call it Empowerment Friday. I hope that you feel encouraged and inspired and just awesome after listening to these episodes today.

 

Evy Poumpouras is the author of Becoming Bulletproof. She is a former Secret Service agent, co-host on Bravo TV’s series Spy Games, and national media contributor who covers national security, law enforcement, and crime. She regularly appears on The Today Show, NBC, MSNBC, CNN, HLN, and GMA. Evy holds an MA in forensic psychology and an MS in journalism from Columbia University. That was a lot of abbreviations. Anyway, enjoy Evy's episode.

 

Welcome to "Moms Don't Have Time to Read Books," Evy. I'm so excited to talk to you.

 

Evy Poumpouras: Thank you. I'm so excited to be on. Thank you for having me.

 

Zibby: Becoming Bulletproof is your latest book. You're a former Secret Service agent. You're a total badass. If there was ever a female embodiment of that word, it is you. Can you tell listeners, please, what your book is about and what inspired you to write it?

 

Evy: I wanted to take everything I learned and put it in the book almost like a life how-to manual for people out there. It was the training and the experience and all these things I got to do over the years, and the education, everything, all of that, I thought, how can I put this in a book to help people in their day-to-day lives? Over the years, constantly, I'm always bombarded with questions. How do I manage this problem? How would you do this? How would you deal with that situation? I thought, you know, people need to know this stuff. The stuff that I used and learned through work, I use in everyday life, in relationships not just in work, but also in my personal relationships with family, with friends, in business, and across the board. It really also is about becoming resilient. That's why I called it Becoming Bulletproof because you're on a constant journey to become better, stronger, more capable, more formidable. It's about having and be able to execute that process.

 

Zibby: Let's go to the beginning of the book because it opens with the most dramatic scene from 9/11 that you wrote so well. I literally felt like I was there with you, I was coming out having trouble breathing because the dust was in my mouth. It is a graphic and very compelling introduction, if you will, to your life and your bravery and all the rest. Can you just speak for a minute about that moment in your life and the importance it's held for you since then?

 

Evy: I shared that story because -- I don't want to share the story, per se. I wanted to share it because there was a meaning behind it. It was something that was an intense situation. It's something that happened many years ago, some of which some people weren’t even around for because it's been so long. I wanted to share what I learned from that experience. I wanted the book and every story that I put in it to be a learning lesson for people because it was a learning lesson for me. I learned in that moment where you feel that there is no hope, that you can always find hope. You always have a choice. In that moment, I stayed with some of my colleagues. We stayed to help. We worked out of the US Secret Service offices which were located there and ended up getting caught in the collapse of the tower. Even in that moment where I thought, you know what, this is it, this is my end, I realized that I still had power and I had a choice. Although maybe I couldn't choose whether I died or not, I could choose how I would face my death. I think we don't think about that. We think that something happens to us, we think, that's it. All the choices are out of my hands. There's nowhere to go from here. Everything's out of my control. I remember that moment clearly. I think if I can find hope in that moment, a choice in that moment, a power in that moment, then you can find hope and choice in anything. I've been able to do that from that point forward. No matter how difficult the situation comes -- sometimes they can feel so overwhelming. We think, oh, my gosh, how am I going to get through this? I think of that moment. All of a sudden, a door opens here. A window opens there. You realize, I do have a sense of control. I do have a choice. It may not be the choice I want to make, but I have a choice to change and alter this outcome in some way.

 

Zibby: Wow. Of course, having that sense of control is really the difference between feeling depressed and hopeless. The more of the locus of control lays with you, the more empowerment and hope and ultimately happiness that you can get out of it, right?

 

Evy: Yeah. We navigate our own ship. You may end up in a storm, but you can still navigate the ship through that storm to some degree. You still have power. It's about finding power in those powerless moment. Do we surrender to it and we just let everything completely demolish us? Or do we say, okay, I realize this is happening, this is a difficult situation, but then how do I navigate it? Then how do you look at it almost as a challenge? You can look at something as insurmountable or you can look at it as something like, well, this is a pretty cool challenge. How do I do this? I choose the latter because the first one has a negative connotation. It's negative. It's hopeless. The latter says, okay, this is a challenge. It also helps you problem-solve. In the first situation, we get stuck. We get stuck on the problem. We repeat. We repeat. We can't move forward because we can't accept it. In this latter situation, you say, I accept the situation, but now I'm able to move forward.

 

Zibby: I love that. This whole notion of power is something that I feel like courses through your book and your talk and all the rest. One thing that I found really interesting that you said is, "The person who speaks the least has the power." Can you tell me more about that?

 

Evy: I learned this when I became an interviewer. I thought that that was the truth for the longest time. I navigate the conversation. I'm in control. What I learned is that that is not true. The person who says the least, that person has the most power. If you and I are speaking -- this is a great example. Granted, it's an interview. You're asking me all these questions. You're doing most of the listening. I'm doing most of the talking. You're going to learn everything about me. At the end of this conversation, I'm going to know very little about you. I'm not going to know that much about you, but you're going to understand me, the way I think, my life journey. Then you can come into the conversation in a more thoughtful way because you're going to know what resonates with me and what doesn't resonate with me. That is the same is any dialogue. Look at it as an interview process, and especially in the beginning or even if you're going in to do a pitch or a business pitch to somebody. If you can have them start the conversation in a meaningful way, then they can guide you and help you figure out where to go rather than being completely in the blind. Less talking means more power because you're gathering intelligence. Then when you do speak, you can speak so in a more impactful way. I also call this verbal economics. We should look at words as currency, if that makes sense. The way you're mindful in the way you spend your money, by mindful in the way you spend your words. They can be impactful or they can lose impact because you're just throwing them out there and not thinking about how you spend them.

 

Zibby: Now I'm afraid to say anything. [laughter]

 

Evy: We should speak. We should be comfortable in speaking. What I wanted to introduce is that having thoughtfulness -- the way we do that is slowing down, not just blurting out everything we want to say. We've all been there where we say something, myself included, and then I'm like, I shouldn't have said that. That didn't come out right. How did that have an impact? Our words impact the way our relationships go, whether good or bad. Again, I learned that over trial and error. I learned that over the years of doing hundreds of interviews. That's why I feel like, look, I learned from these mistakes, learn from what I learned. Use the best skills that all the best communicators and interviewers and negotiators that I know use. You don't get to go to Secret Service training. Don't worry about it. You don't need to. Here it is, but it's for your life. It's the how-to for life.

 

Zibby: Who can't use that? We all could use a guide like that. Another point that I thought was really important that you said was how when communicating a position of authority you should show and not tell it. Can you explain that one a little more too?

 

Evy: Oh, yeah. Have we not all had that boss or maybe even done it ourselves? I'm the boss, you need to listen to me. I'm the person in charge. I'm the parent. What we don't realize is that when we do that, we lose power. The minute you have to tell somebody you're in charge, do you think they don't know you're in charge? If I'm the parent, do your kids not know you're the parent? The fact that you have to say it shows that you're losing power. The shift is to not tell people, but to show people. I learned this in the interview room because when I started interviewing people -- I didn't want to be an interviewer to begin with. I didn't want to because I didn't think I'd be able to get people to open up, especially people who commit crimes. What I wanted to do is to impact people, but I knew I had to show my authority in some way. One of the senior interrogators told me, "You don't tell people you're in charge. You show people you're in charge." You show them in the way you enter the room. You show them in the way you carry yourself and the way you present yourself, to the way you're dressed, to the way you conduct yourself, to whether or not you show up on time or early or late to a meeting. All those things show people that you're in charge. All those things show people that you are put together. When people see that, that impacts them. That speaks volumes instead of you throwing out the words like, "Hey, I'm in charge. You listen to me, buddy." It doesn't work. It doesn't have that impact.

 

Zibby: I feel like you were watching my earlier interaction today with my five-year-old son. [laughs] I was literally like, "I'm the mom. You're the kid." You're right. It totally didn't work. The problem is, at least with parenting -- I don't want to divert it to something as seemingly insignificant when you're interrogating terrorists or whatever else. Anyway, but you can't really communicate power by dressing nice or showing up for a meeting at the TV for Paw Patrol or something like that when you're with your kids. It's much harder, I feel like, when you're on the clock 24/7 around these little beings to maintain that allure of constant authority.

 

Evy: You bring up a good point. There's also ways in which you can do it in the way that you address them. This is a very simple thing. When you want to convey authority, especially for women, drop and deepen your voice. When you're talking to your kid, changing the tone of your voice and the depth of your voice, in that moment when you're trying to convey something serious, it's going to change the way it lands on your child. Think about that. You're shifting. They're going to hear that tone. They're going to hear that change. They're going to think, she's being serious in this moment. It's going to cause them to listen different. It's about the way we move and being fluid and also bringing out the version of ourselves in a specific moment that we want to convey to someone. You don't want to be on all the time. It's very exhausting. It's very difficult. For example, in those moments -- I do this even with my husband. In those moments when I want to convey something, where I want to be like, this isn't the nice Evy you're talking to at the moment, right now I need to lay down law, I'll sit down. I'll lock in eye contact. I'll change my facial features. I'll deepen my voice. Now I'm conveying authority rather than telling you, hey, I'm your wife, you need to listen to me. I don't need to do that. Those are really subtle things that we can do that cause people to pause and listen.

 

Zibby: I think I might be a little intimated to be your husband. [laughs]

 

Evy: He's an interrogator as well, so he does the same thing to me.

 

Zibby: Oh, good. At least it goes both ways, oh, my gosh. What has it been like going from the seriousness of your profession to then translating it to all these different areas now? especially Bravo's Spy Games, which by the way, my kids, that was the coolest thing that you did out of everything. [laughs] Tell me about that and the show and transitioning from everything you're doing to everything else you're doing. It's across the board.

 

Evy: It is across the board. I have to say it was difficult. Working in government, it's very structured. It's very linear. You do A then B then C. Things work out a certain way. Then also, the type of personalities you deal with, it's just very different. I never had to even advocate for myself because I would always be advocating for someone else, the president, the first lady. When I was working a case, I'm advocating justice for a victim. It's very different. Then you transition in a world where it's the business of you. I was completely lost at first because now I have to speak for myself, something I never had to do before. It's amazing how difficult it can be, how difficult it even was for me to, I don't want to say demand, but to say, this is what I'm worth. This is what my value is. This is how I think this should proceed. I had to really transition. There's also this remarkable lightness, like with Spy Games. I think when you spend your career doing things that are so heavy, so serious, so life or death, so to speak, you welcome the change. You welcome putting some lightness into life. I really did enjoy Spy Games. Even with the contestants, I loved watching the different contestants go through their journeys, especially the ones that stayed on longer. They resonated with me because you see people come in one way and you see them change. It was a competition series, a game series, but were also trying to transform them as people. It was remarkable when you would see that transformation happen. It's almost like when I went through training. I went in one way. In the end, I came out a whole other person.

 

Zibby: What made you want to go down this path to begin with?

 

Evy: I'd been in the US Secret Service thirteen years. Initially, it was great. I loved my job. A producer from NBC --

 

Zibby: -- That's interesting too, but how did you get into wanting to serve as part of the Secret Service to begin with? How did you get to be so selfless that you would be willing to give up your life to protect other people in the name of the country and everything? What was it about you? How did that even start?

 

Evy: I think it was a process. I can't say when I was a kid, when I grew up, I wanted to be that. I didn't even want to go into law enforcement. Police would pull me over. If anybody didn't like police, it was right here, this person. I was such a brat. I didn't think about that. I think the turning point was, when I was in college, I interned for a congresswoman. I interned with her for about two years for free. Everybody thought I was all out of mind. My friends were like, "What are you doing?" It was one of the most meaningful things I ever did. It was Congresswoman Carolyn McCarthy. I began seeing constituents, people in her district, coming in with problems, writing in. I learned that people come in with problems and they ask for your help. I became one of those case workers where I would help people. It was such a meaningful thing to see the impact you could have on someone's life. Some of the cases that would come in were serious. Some of the problems people had were serious, some not so serious. Maybe they were not so serious for me or for you, but for that person, having a really high electric bill that they couldn't afford to pay, it was serious. I think that's where the idea of public service came in.

 

Then also too, I did grow up in an environment in New York City in the eighties and nineties, so much violence. I grew up in a low-income area. We lived in public housing. We didn't grow up in the best of situations. It definitely was not the worst, but it wasn't the greatest. Being surrounded by fear and negativity and also being victims of crime -- I remember a couple of times when we were, when my family would call the police and they wouldn't do anything. I would be so angry. I'd be like, "We were violated. Don't you guys care?" The law enforcement that I dealt with, they were kind of nonchalant like it was no big deal to them because it was no big deal to them, but my world had been turned upside down. I think all those things collectively over the years, it's just little bit, by little bit, by little bit navigated and pointed me into the way of serving others. That's truly how I ended up in that path. Then when I began doing the work, I realized when you do something, when you help other people, it's so impactful. It actually helps you more than it helps them.

 

Zibby: I've found that to be true as well. What do make, then, of all the current uproar about police and the movement to defund the police or restructure the whole thing? We don't have to really get into it, but I was just curious your thoughts.

 

Evy: Look, people are speaking up because there's a reason to speak up. It's not coming out of nowhere. Policing has to evolve. It's a very slow system. It's a very big system. It's reluctant to change. It is. Policing typically has been very much about, even with the way they recruit -- this is something I've been vocal about because we have to evolve. Policing has to evolve. It's always been focused on somebody's physical capability. That's always been the primary thing when you go through training. I've been through four different academies. Can you run? Can you lift? Can you carry someone? Can you fight? Obviously, important things that you need to be able to do because you are enforcing the law. As we know, a lot of people don't go willingly and it creates a problem. At the same time, people are demanding a more fair system, a more unbiased system, a more educated system, a system in where people are communicating.

 

You have to look at how you hire police. If you're hiring officers, and plenty of police departments do this, with somebody who just has a college degree and maybe a year of work experience -- think about that for a moment. Think about how that's a problem. You're going to give somebody like that, next-to-nothing life experience with just a high school degree, just because they can run faster than somebody else and do pullups better than somebody, you're going to give them a badge and a gun and the ability to impact another person's life by either taking away their freedom or taking away their life. We have to look at who we make police officers. I think that's the crux of it, the quality of the candidates we're bringing in, raising the standards, creating national standards, even polygraph testing. It's a very controversial thing. In the US Secret Service, I was polygraphed multiple times. Then I would polygraph applicants coming in. I cannot tell you how many times people were coming in for a job, a job, and it would end up being a criminal interview in the end or they would confess to having committed certain acts. I'm thinking, you can't be an agent. You can't carry a badge or gun.

 

We would disqualify them, but get this. Then they would leave. They would go to another law enforcement entity that did not polygraph, that could not corroborate what I just did, and they would get the job. That's the problem. We have to raise our standards and be very thoughtful about how we hire and who we hire. When you have an educated police force, even somebody who has a college degree -- think about that. When you finish high school, you're in your hometown with your friends and the same bubble of people you've been in your whole life. When you go to college, when you're around other people, a diverse group of people, you learn to communicate, a different sense of responsibility is placed upon you, an appreciation of other people. It opens your mind. The more you read, the more you learn, the more you connect with people, now you have a different type of police officer. I really do believe that therein lies the crux of the issue, changing that.

 

Zibby: I feel like you need to be a main spokesperson for all of this. I know you are outspoken and all the rest. I feel like you need to be on the front page of the newspaper and getting on TV constantly.

 

Evy: You know what's important? I talk to the law enforcement. It's hard because you get so connected to it because you do it and you're on the barrage. Don't get me wrong, people are brutal. Society is brutal and cruel. I remember when I went into the police department. I started in NYPD. I was there very little. We used to run on the FDR highway here in New York City. The cars go fifty, sixty miles per hour as they're cruising by. I remember people spitting up, aiming to spit on us, flipping us the finger, calling me horrible names. I'm thinking, what did I do to you? I don't even know you. Because I was in uniform, they despised what I represented. I think it goes both ways. What you do is when you spit on that person, you also don't know who they are. You don't know why they're doing what they're doing. The majority of law enforcement, I will tell you, they don't do it for the paycheck. They do it because they want to impact and have a meaningful life and give meaning to other people's lives. Even my students, I tell them -- I teach as an adjunct. When they see sometimes, the injustices, they say, "How do I change this?" I tell them, "Go become a police officer. Go become a prosecutor, a DA. Go become a judge. Change it. Don't sit there and yell and scream and throw things and make the problem worse. Change it. Do something. I think that's where we have to look at that.

 

Zibby: Gosh, you are so inspiring. I'm ready to change gears here in my mid-forties and become a prosecutor or something. [laughs] Tell me about your experience actually writing this book. What was that like compared to your previous career? How did you find that experience?

 

Evy: Hard, hard, hard. I envy any other person out there who's like, I love writing, I'm a great author. For me, it was so difficult. One, because I wanted to write a book to help people. That was, at core, the principle of why I wrote the book. I had to fight the other entities. They were like, "More stories about you. More stories about you." I was just like, "This is not my memoir. If I'm writing something to help people, it can't be about me." If I'm going to share a story, I wanted it to have a reason as to why I was sharing that story. Look, that's just my DNA. It's just how I felt when I was writing it. Then at the same time, trying to articulate in a book all these different things that I do, these processes -- I'd been doing them for so long. Even other agents I would see employing some of these same strategies and skills, but they didn't have a name. I would see that we would handle problems a certain way. I'd go to work. Something crazy would be happening in the world, but you'd go to work, everyone would say, "Hey, what's up?" We were never stressed out or bombarded with the drama of the world sometimes even when bad things were happening because we had been able to adapt to stressful environments very easily. We were able to absorb and digest negativity and crises in a thoughtful way.

 

Then you see the difference with the public. You're thinking, man, I want to take this stuff and give it to the public so that when things are happening you don't feel completely lost. You don't feel like you completely want to fall apart. Over the years I was thinking, what have people come to me with over the years, the problems, the issues? How have I given them advice? Then also, how have I evolved? What has helped me? That part was difficult in trying to figure out what was meaningful and impactful to people. I wrote it as a book to -- I love books. I think books really open the mind and broaden the mind. I'm a big audiobook listener. I love audiobooks. I don't have time to read, so I listen. I was like, how can I help transform people? How can I write a book that people will go back and that will finish? That’s the other thing they told me. Nobody ever finishes nonfiction books. I was thinking, man, I don't want that to be my book. I don't want people to buy it and be like, oh, great, they bought my book. I wanted them to buy it and listen to it and to get an email and say, "Thank you. It changed my life."

 

Zibby: Your book is already an Audible best seller, so mission accomplished.

 

Evy: I know. I put so much heart into the audiobook because I love audiobooks. I love it when I hear the author and the person who wrote it talk to me because you want to feel like they're there with you. In truth, that's what I wanted. It came from a place of authenticity. Yes, I'm here with you. Here's my voice. Hear me. You're going through this. It's going to be okay. I know it sucks, but let's figure it out. Here's the steps you can do. I was so happy when I saw that. I was more excited about the audiobook than anything because of how important and valuable audiobooks have been to me.

 

Zibby: Now I have to go back and listen to the audiobook. I only had the e-manuscript or whatever. Now I'll put that on in the car. Perfect. Do you have any advice for aspiring authors?

 

Evy: Just be patient. Be kind to yourself. Don't worry about making it perfect. In the beginning, I just kind of vomited my stuff. I really did. I spent a couple of months just vomiting information. I wasn't worried about how it sounded or the structure of it. I was thinking about the content. Take breaks. If you're just in it the whole time, your brain needs a little bit of a break. I would take breaks from writing. I'd say, I need to step away. I'm in it. I'm spinning my wheels. Let me go do something completely different that's not so cognitive heavy and then go back into it. Those were the key things for me. One more thing, and I do it now because we're all working from home for the most part. Every morning, I would get dressed as if I were going out on the days I would write. I would write from home. I'd even put shoes on. I'd sit down at my desk as if I were going to work. It caused a mental shift for me of, nope, I'm at work now. I'm not at home. That actually helped me be more productive in my writing rather than feel like I'm home and in my pajamas. I got rid of that vibe altogether.

 

Zibby: Wearing shoes, who knew? I've been doing it all wrong. [laughs]

 

Evy: I do it now. Every morning, I wake up, I put my shoes on. I get dressed as if I'm going out. It just shifts the mindset because you're like, no, I'm at work. When we're at home, we get distracted. We're home. We're the home version of ourselves. It's harder to have self-discipline in that way.

 

Zibby: You're absolutely right. Wow. Evy, thank you so much. This has been just so eye-opening in so many ways. Thank you. Your book was amazing. I can't wait to listen to the audiobook version now. The advice was invaluable. I just have so much respect for you and what you've done. What a role model of a woman you are and that I can go tell my kids all the things that you've done and you’ve been able to accomplish. It's just really, really awesome. I'm really glad I got to know you a little bit today.

 

Evy: Thank you. I so appreciate the time and the conversation. Definitely, when you're talking to them, just remember authority. Drop the voice. Lock in the eye contact. Go in. You're going to see. I'd be curious. You're going to see a shift in they way they receive you.

 

Zibby: Totally. I will channel you as I try to get them to bed. [laughs]

 

Evy: Absolutely.

 

Zibby: Thanks so much.

 

Evy: Thank you. Be well. Stay safe. Buh-bye.

 

Zibby: You too. Thank you. Buh-bye.

 

So that's it. That's the last day of the July Book Blast. That's the last of the Empowerment Friday episodes. Go back. Listen to the last ten days. There are so many amazing episodes. I really hope you've stuck with me and listened and sampled and gotten inspired to read more and gotten some great life tips along the way and above all, felt connected through the power of storytelling. Thanks for listening.

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Aminatou Sow & Ann Friedman, BIG FRIENDSHIP

Zibby Owens: Aminatou Sow and Ann Friedman are coauthors of the book Big Friendship: How We Keep Each Other Close. Aminatou is a writer, interviewer, and cultural commentary. She is a frequent public speaker whose talks and interviews lead to candid conversations about ambition, money, and power. Aminatou lives in Brooklyn. Ann Friedman is a journalist, essayist, and media entrepreneur. She's a contributing editor to The Gentlewoman. Every Friday, she sends a popular email newsletter. Ann lives in Los Angeles. They also cohost an insanely popular podcast called "Call Your Girlfriend."

 

Welcome, Ann and Aminatou. Welcome to "Moms Don't Have Time to Read Books." I'm so delighted to have you on today to talk about friendship.

 

Aminatou Sow: Thank you so much for having us.

 

Zibby: It's my pleasure. Can you please tell listeners what your book is about and what inspired you to write it?

 

Aminatou: We are the authors of Big Friendship: How We Keep Each Other Close which is a memoir of our decade-long friendship with each other. We write about our story. There are also interviews with experts and other people who are friends and other people who are our friends. We really just wanted to take a look together at the relationship that we have with each other because we think that a lot of people have the kind of friendship that we have. The best label to call it, really, is your best friend. As we know, that can mean so many, many, many different things. We really wanted to talk about the importance of those kinds of really long-lasting, impactful friendships.

 

Ann Friedman: We also wanted to put some language to many of the experiences that we had within our friendship, the fact this term best friend is one of the only words that we have for a super intimate friendship where someone might be as much a part of your life or more important to you than blood relative or has known you longer than a spouse. We really wanted to elevate this relationship to the place that it belongs in the sense of, not all friendships are the same, but if you have one like this, here's some language that might apply to the situations that arise within in. Our book is really about what's great about that, why it feels so incredible to be intimately known in this way by someone who is a friend, and also many of the difficulties that arise with that, like any intimate relationship, why it can be hard to really stay close to each other for the long term for a lot of life changes.

 

Zibby: I was actually surprised by the opening of your book in that the two of you were away at a spa and had come to a point where things were not perfect between the two of you. I thought that when I opened the book it would be a whole thing about the perfection of your friendship. Yet you started it so openly and honestly that, you know what, we had been collaborating for a while and it wasn't always perfect. You two even host a podcast together where you talk about everything. You come off as perfect friends, and the pressure even behind that kind of performance level of your friendship. Tell me a little about the dips and how you got back to closeness when you had that period of kind of a rough patch.

 

Aminatou: I think that what's interesting about our friendship -- rather, I'll say this. I think that a thing that is true about our friendship that is not true of every friendship is that we're two people who host a podcast together. It just means that a lot more people that don't know us can make assumptions about what our friendship really is. I think that that's just something to get out of the gate. The way that we do our show, I think that if you're actually listening really closely you can tell we are two professionals who are good at editing each other. It's not a show about, I'm going to air all of my grievances or I'm mad about this thing that you did in private, so I'm going to talk about it on the show. That's just not how people who are professionals are. I think that the idea that there is a kind of relationship that is perfect, whether it's a friendship or a marriage or a whatever, that's just not true. Everyone knows that that is not true. I think that what we were really trying to get to is how do we explain that, like all relationships, our friendship is not perfect? How do we make time to work on it not on the podcast? I'm not working anything out that's personal on that podcast. I don't think that that's the point of it.

 

I think that just like all relationships, we've had our highs and our lows. The thing that Ann said earlier about finding the vocabulary for it, again, it's because in other kinds of relationship there is really easy shorthand and really easy understanding of if you're married to someone or you're dating them and you say, we're growing apart, everyone knows exactly what that means. If you say that about your friend, what does that mean? Can you grow apart from your friend? What are ways that you can try to save a relationship that you have with a friend? Is it okay to go to therapy, or does that sound like something completely extravagant? I think that we were just trying to have, out loud, a conversation that the both of us had been having in private for a really long time. By talking about how our friendship works, we are just trying to encourage other people to tell us how they're doing friendship. We say this very clearly in the book. We're not experts at all. I don't think there's any such thing as an expert in friendships. We are two people who just really like each other and want to stay friends for a long time. The only way to do that is to be really honest about the fact that it's hard sometimes.

 

Zibby: Especially as long-distance friends which you two are as well. Now I feel like with Zoom and all the rest there's somehow more incentive to connect with friends from far away. I feel like you two have been working on this for years now with the podcast and have really put your stake in the ground as not experts, per se, of course, but just that you can do it. There's hope for people who miss their friends who live far away.

 

Ann: I think that we have long had the belief that it requires a different kind of prioritization if your friendship is not in person. Often, that's during the transition period. It's not so much once you're used to be far apart. By this point, we are pretty comfortable long-distance friends. We know, more or less, the ways we like to be checked in on. We know how to prioritize each other and let each other know that we're important even though we are not seeing each other every day. Those are things that aren't necessarily obvious if you've spent most of your friendship in the same place or in one context. We've done a lot of thinking about this as it relates to the global pandemic that we're all in right now wherein even friends who are in the same city are essentially long-distance friends. Really, that challenge of how do you transition a friendship where maybe your routine in the past was that you always went to the same exercise class together every week or you always met up with each other after work or whatever it was? Once that changes, you kind of have to say, what actually is the way we check in with each other now? That is very similar to one person moving away. Having to navigate that challenge is really laying some groundwork for other changes that you might have to navigate in a friendship, so other big life shifts that might prevent you from keeping with an old routine. We've discussed it as really, not to say that there's anything good about a terrible global pandemic, but it really is a skill set that, if you want your friendship to survive, you have to figure out how to hone together.

 

Zibby: It's so true. One of the parts of your friendship in the book that I found really interesting was when Aminatou got sick. Her diagnosis was unclear at the beginning. I know, Aminatou, you in the book were saying you were pretty private about it. Ann, you kept trying to help and see what you could do. Was this really the end diagnosis? What could happen? Tell me a little more about how the two of you traversed that challenging time together. Also, what do you do when you worry about a friend and their health and yet you're not right there and you can't help? What can you do? What's the best thing you can do for your friends?

 

Aminatou: It's a big one.

 

Zibby: I know. Sorry about that. You can take that one apart one question at a time.

 

Aminatou: You're talking about a part of the book where we talk about this concept called stretching that is really, how do you just keep up emotionally, physically, whatever, with people that are in your life when two of you are very different? Sometimes you have to stretch for very tiny reasons like your friend likes a kind of music that you don't like. It means that every time in the car they're going to play it and you just have to learn how to live with it. Sometimes the stretch is something bigger like your friend is, they're moving across the country. How are you going to stretch to be there for them? One of the examples of stretching that we have both had to do is that I experience chronic illness. It means different things for the person who is sick than it does for the person who is the friend. I think that it's fair to say that it is challenging for both people in a way that unless you are open and generous with each other, it just can become a real problem in any kind of relationship.

 

On my side, it was a real stretch to say, I don't actually know what is wrong with me. I'm working with my doctors to figure that out. The diagnosis is not something that is neat and easy. My life is very different in the sense that I can't do all the things that I used to do. I'm going to have to skip your wedding or I'm going to have to skip a trip that we had planned on taking or I'm just too tired to get on the phone to talk to anyone, and on top of that, just being really private and not wanting to have every single detail of my medical life up for discussion all the time. At the same time, I had to stretch in that it means that I had to ask my friends and my community for more help because I just can't take care of myself in the ways that I needed to do. This was a time in our life where, even though we weren’t talking about it explicitly, we were both trying to figure out, how can I stay friends with someone when my life is very different or when a situation that is happening that has nothing to do with a personal preference is there and we both have to learn how to navigate it?

 

Ann: The flip side of that for me was feeling like, here is a new situation that someone I love very much is dealing with, or maybe some new information about an ongoing situation. I am three thousand miles away which means I can't do some of my normal friendly, "I'm thinking about you" activities like dropping off some food on the doorstep or whatever. I'm a big food-drop off person. That is not possible from the other side of the country. We had already by this point in our friendship been long distance for a while. We kind of had a routine of, how do we check in with each other? That is really different when, for example like Aminatou was saying, she doesn't want to necessarily give a full health readout to all of her friends. Sometimes she just wants to catch up. I respected that always. At the same time, I'm like, I'm far away. I want to know what's going on with you. I care about you. Trying to really pull apart what is supportive of her and what is just making me feel more secure in the friendship. What do I need in order to feel like I'm still in an intimate friendship with this person? What does she need?

 

This are the kinds of questions that we had to work through. Some of that is helped by knowing each other very well. We write in the book about how I know and love Aminatou, so I know that sometimes she will use humor to gently deflect when she doesn't want to talk about something. If I noticed her doing that when I asked about something specific about her health, I had a choice to make, which was either explicitly keep poking or respect that she didn't want to talk about it just then. I don't know that I have any big-picture advice in terms of, what does it look like to support a friend? All of this is so specific to the friendship that you're in and to the people who are in it. It really is one reason why we wanted this language of the stretch to be a part of the book. Then it's less about, here is what you do, step one, two, three. It's more about describing the kind of situation that is pretty likely to occur in every important friendship.

 

Zibby: Got it. Aminatou, how is your health now? Not to pry into your private life which I know you don't like talking about, but having read it, I'm concerned. Just wanted to make sure you were doing okay.

 

Aminatou: Thank you so much for asking. I am doing great.

 

Zibby: Good. I'm glad to hear that. Another part of the book that I thought was pretty awesome was when you had come up with the idea of the Shine Theory. Then somebody stole it. The two of you decided to pool your resources and fight it legally. You overcame the people who had trademarked your original idea. I just wanted to hear about that story because it sounded like there was a lot more than was on the page about that one.

 

Ann: Shine Theory really began as something that we spoke about and practiced within our friendship. It was really not something where we were going to make a concerted effort to unveil it to the world and announce it and be like, hello, here is our idea about why collaboration is superior to competition and why we always try to prioritize long-term investment in people. We did not have a press conference where we rolled out this idea and thought it was going to be a big deal. We were very much taken by surprise when we realized that someone who we did not know who we had not been in conversation with about this concept had purchased the URL and registered the trademark for Shine Theory without our knowing it. That is the backstory you're referring to, I think, right?

 

Zibby: Yes.

 

Ann: Then we were presented with a choice about whether to just let that stand or whether we wanted this person who was really using it in more of a context of -- I think she was a fitness guru of some kind. I don't know. There were a lot of women's abs on the website that she had set up. We had a choice whether to let her continue to associate this very weird interpretation of what it is with this concept we had originated or whether we wanted to fight for that trademark ourselves. We chose the latter path. Do you have any memories about this, Aminatou?

 

Aminatou: No, I think that's very accurate to what happened.

 

Zibby: I just always like hearing about people struggling and working together to solve problems. Maybe there was not too much more to it than that, but I'm glad you persevered. What was your process like of coauthoring this book? I know you'd collaborated for years and years and years on your podcast. Perhaps a book in a different form was a new way of communication. How did the two of you tackle it and accomplish it?

 

Aminatou: A book is definitely one of the larger projects we have done. I think I can say it's the biggest thing we have had to deliver all at once. It was a lot of fun. It was also really, really, really challenging. On the podcast, for example, we are able to work remotely. We don't have to be in the same place to do it. With so much of the writing of the book, we did have to make time to essentially go on long stretches of writing retreats with each other. The process is not unlike a lot of the other things that we do. We talk it out to death. Then we go away in our own respective corners to actually do the work. Here, because we wrote in a joint voice, it meant that we had to outline it together. We talked about what the stories were that we were trying to illustrate, the ideas that we were trying to bring to the forefront. We would go in our separate corners of the room and write the assigned word count and then come back and edit that all together.

 

Zibby: Got it. Did you enjoy it? Do you want to write another book together? Was it one and done? How did you feel about it?

 

Aminatou: I will work with Ann Friedman in all mediums for as long as she will want to work with me.

 

Ann: The pleasure was exquisite, as was the pain. I also don't know that that's any different than what anyone would say about writing a book. I am extremely grateful to have had this other kind of window into the way Aminatou thinks and really works over an idea. Also, really just grateful for the opportunity to come to a joint understanding about what some things in our friendship have meant to each of us individually and also to us together. Even if no one really ends up reading or liking this book, I feel really, really good about what this process has brought to me personally and what a gift it was for us to be able to examine our friendship in this kind of depth.

 

Zibby: Do you have any advice to aspiring authors having survived the process?

 

Aminatou: Write a little bit every single day. That's my advice.

 

Ann: [laughs] Amen.

 

Zibby: Great. Thank you, guys, so much for coming on "Moms Don't Have Time to Read Books." You have made me, as I mentioned earlier, I now want to call my best friend. Even just the thought of thinking about friends in today's day and age makes things seem so much better despite all the chaos and everything else. Thanks for even highlighting the importance of friendships and giving some tools to help navigate them over time and raising the origin story and all the rest of it in your book. Thanks for sharing your story with me and with readers. Good luck.

 

Ann: Of course.

 

Aminatou: Thank you so much for having us.

 

Ann: Go call your friend, Zibby.

 

Zibby: I'm going to. My friend, her name's Jen. I'll call her soon.

 

Aminatou: Bye.

 

Ann: Bye.

 

Zibby: Bye, guys. Thank you.

 

Aminatou: Thank you.

 

Ann: Thanks.

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Tara Stiles, CLEAN MIND, CLEAN BODY

Zibby Owens: Tara Stiles is the founder of Strala, the revolutionary approach to being, moving, and healing. Strala teaches yoga, tai chi, and traditional Chinese medicine to help people release stress, let go of bad habits, and move easily through all kinds of challenges. Strala is practiced in more than a hundred countries. Thousands of guides are leading Strala classes daily around the globe. Tara has authored several best-selling books including Yoga Cures, Make Your Own Rules Diet, and Strala Yoga. She's been profiled by The New York Times, The Times of India, The Times in the UK, and featured in most major national and international magazines. She is a sought-after speaker on topics of entrepreneurship, health, and well-being. Harvard even profiled Tara's work in a case study. She has spoken with students at Harvard and NYU about her experience and approaches to creativity and leadership. She currently lives in New York City with her husband and their daughter, Daisy. Her most recent book, by the way, was helping advise on National Geographic's book of animal yoga poses, which is amazing.

 

Hi.

 

Tara Stiles: Hey.

 

Zibby: I'm excited to talk to you again. I know we discussed Yoga Animals on Instagram Live, which I have here. I think I didn't have it front of me last time even though it was upstairs. Anyway, now at least we can chat for a few extra minutes and hear more about all the rest of your stuff and not just this book. For listeners who don't know about Yoga Animals, which is a National Geographic kids' collaboration that you did, you were the yoga expert for them on this book, the subtitle of which is A Wild Introduction to Kid-Friendly Poses. Tell everybody a little more about your role in the yoga community and then how you ended up being a consultant for a place like National Geographic, which is pretty awesome.

 

Tara: Yeah, that is pretty wild. Pretty simple, I started a tiny little studio in 2008 in my boyfriend at the time's apartment. I ended up marrying him. He was nice about it. The idea was to move in a way that felt good to you. That was really, if you can believe it or not, scandalous at the time within the yoga world. I was playing soft, feel-good music that people could identify with. That was also very scandalous at the time. I wasn't trying to start all these problems. I learned about yoga as a young kid in a dance program. My first thought was, this is incredible. This is amazing. I had a really good teacher. My second thought was, why don't my friends do this? Then I just started walking around and talking to people about yoga. Then I realized all the misconceptions. People felt like they weren’t included or they weren’t flexible or it was against their religion. I get it. There's all these different kinds of communities. I just saw, I wouldn't even say an opportunity, it kept pulling me in. I just started sharing yoga with my friends in the apartment. One thing kept leading to another. It's a global thing now with what we offer.

 

We have a community of guides. We call our instructors guides. I never liked the word teacher. I was twenty years old teaching yoga to doctors and lawyers and all these smart people. I knew how to lead them through a yoga practice safely, so the word guide really made a lot of sense. My husband, then boyfriend at the time, was a mountain climber. He was saying, "A guide, you walk up the mountain, and it's the person who's done it before, but you're also doing it too." I'm like, oh, let's just say that. [laughs] It was more of a self-deprecating move. There was a lot I had to say and a lot I wanted to express for people to experience yoga in a way that felt like them and a tool that you could use instead of this thing that you needed to live up to in a way. It kept bringing more opportunities into my life. I had no choice but to keep saying yes. Ten years later, it kept going. One thing kept leading to another. Got an email from National Geographic and thought it was a joke, deleted it a few times. [laughs] Happy to help them. If I can offer, especially with the language in the book for the little ones, not to have them read language or be read language that makes them feel like they're not able to do something, so instructing in a way that's about moving your body in a way that feels good for you and nice for you instead of trying to push your body in a certain way or make a certain shape as the goal. That's really been the basis of what I've been sharing for the last couple decades.

 

Zibby: Amazing. What does yoga do for you? What makes you so passionate about it that you want to share it with everyone that you know and you don't know and everything else?

 

Tara: Basically, it helps me feel better so I can do better. It's this lock and key for everything that I am. I feel like if I don't do it, if I don't have a period of time where I'm thinking this way, I'm doing these things, then I can become distant from myself. I just know that from my own experience. It's not about the poses. It's not about the length of time. It's just about getting on the floor, connecting with myself, doing that for a few moments every day at any part of the day where I feel disconnected. I automatically, it works every single time, feel better. It's like magic fairy dust in a kind of corny way. If I need to rest, it tells me to rest. If I need to speed up, it tells me to speed up. If I need to read one of the books you suggest, it says, go do that now. The intuition becomes a highway instead of, maybe I should follow that. It's like, nope, you're following that. I feel like I'm put on a train and going in the right direction when I practice. I think that's because I do yoga in a way where it feels good for me and I refuse to do yoga in a way where it's about contorting my body into a certain pose. For me, I know that that works really, really well. When I share that, people seem to have it work well for them too. How can I not give that to people once I've had that experience myself, or at least show them that they can do it themselves and guide them so they can become guides of their family? It's simple. We all can do it. It's just like reading. If I could have forty more years doing this and get to a point where I've convinced enough people that yoga is the same as reading, you just open up a book and do it, you just get on the floor and do it, then I think that's a good thing.

 

Zibby: How about yoga while reading? Maybe we could combine forces here and put downward dog with a book here. Two birds with one stone. [laughs]

 

Tara: Absolutely. Especially, I think it's important with yoga to always be comfortable, always be changing your position. If you're sitting and you're reading and you're just sitting and taking in information into your mind, taking that information into your whole self with your breath and allowing your body to move, yeah, let's do that. We could do a class. [laughs]

 

Zibby: It's one thing for you to teach yoga and then create a whole network of guides to teach other people through your philosophy. Writing about yoga, I would think, is a challenge. I tried at one point to write about all these different fitness moves and I remember thinking, what do I say now? Move your foot to the right. Not that they're always so prescriptive, but you've written a lot about yoga. What are some of the tricks of the trade to make it easy for people to follow and understand and get your overall message as well?

 

Tara: Honestly, it's funny because you're such a book industry person. For me in the beginning, it was getting the editor out of the way. [laughs] The first yoga book I wrote, it was still before there was a lot of yoga books. There was some instructions in there. There'd be the person who's the fitness expert that wants to make it about the physicality. Yeah, you need to say where to put your foot. That's absolutely important, but it's also important to not say, squeeze your thigh. It's important to talk about the movement. My background is in dance, primarily. Describing yoga as movement I feel is much more open than describing yoga as poses that you should be able to do exactly. It's like, yeah, obviously you're going to bring your foot forward, but before you do that, you should lean to the side and then bring your foot forward so you have some room for that foot to come forward. My descriptions tended to be, especially when I was figuring it out in my first few times writing about yoga, it was a lot longer. Then I would infuse way too much language of "if it feels good" or "when you're ready." Then I realized that if you just describe things like Hemmingway, as clearly, as simply as possible, then there's so much beauty in that, and that will be conveyed. How I came about learning about writing in general was through writing yoga movements or little prescriptive five movements for a headache or whatever and figuring out how to do that in a way that wasn't just about moving your body around.

 

Zibby: Tell me a little more about your dance career and where the main challenges were and the best parts and how you ended up getting off that path.

 

Tara: I'm from this tiny little rinky-dink town where there's one little dance studio. You go and do these really terrible competitions where your parents put blue eyeshadow on you and send you off. I didn't love all the blue eyeshadow, but I loved going to these places outside of my small town and learning from the best choreographers in New York and Europe and everything. Then I'd get little prizes. People would say, "You should do this for your living." I'm like, just leave me here. [laughs] I always had to go back, which was fine. My parents were like, "You can't leave when you're sixteen. We're not going to move to New York." Anyway, I ended up going to this dance conservatory after high school for a little bit. It was wonderful. It was a whole world of everything I wanted from age five, but long after that.

 

My ballet teacher was with American Ballet Theater in New York in the seventies when yoga was having its first moment in New York. He brough in, which was kind of new in ballets programs, but he brought in yoga on Fridays for relaxation. That was the first time I took a yoga class. It was this guy sitting in the front of the room. He was sort of happy for no reason at all. I remember just being so amazed and confused. You can't be getting a lot of money for doing this. Nobody's even paying attention to you, and you're still happy. I was just super curious. I wanted to learn everything about it. I loved the experience of the physical practice. It was super simple. It was before all the yoga explosion of styles and all of that. It was just a normal experience. I felt like I was in my own spaceship where I could connect to myself. I remember my first thought, this is incredible. Then I opened up my eyes and I'm like, why doesn't everybody do this? I was like, what's going on? It was sort of like discovering reading if you're the only one in the world that reads. [laughs] I was pissed, to be honest. I'm like, what am I going to do now? There was no yoga teacher that I knew. I thought this guy was from a spaceship or something sent down from planet Zoltar. There's nobody like him. He's got to have another job. He was a secretary at Sprint or something. Who's knows? This was not a career decision. I was dancing. I thought that would be my job. I moved to New York, was dancing in some small companies.

 

I wouldn't take a job for a company full time because I had this hesitation of I wanted to be open in some way to do other things. I think that was the early stages of yoga pulling me in a little bit. If you say yes to the company, then you're on tour. You do the whole thing. You're stuck with that until they fire you, basically. Then you work in the costume department there or something, which would've been fine. I kept getting these other gigs and opportunities to dance in a Matthew Barney film or a strange Whitney Houston video or something. It was always these things that would give me a little bit of money to pay my rent and be a fun opportunity. It kept pulling me out of making that decision to join these more well-known troupes and things. Somewhere along the line, yoga kept pulling me in. I'd find my way into some class or some workshop or some talk or some poetry reading or finding all the people imparting wisdom. They'd be on flyers somewhere at that time. It just kept finding me until I couldn't take it anymore. Then I just started sharing it with friends. Anybody that I would meet that would have back pain or stress, I would show them a few things they could do. They always felt better. That made me feel good. I still thought it wasn’t a respectable way to spend my time or anything I could be able to earn a living at or would even want to earn a living at. One thing just kept leading to another. Starting this small studio was still just a hobby. It was fun. It just started to take up more and more of my time.

 

Zibby: How big is the whole thing? I know you're everywhere. You have all these classes. Tell me what it's grown to. I know it's the pandemic time-ish, but before, pre-pandemic let's say.

 

Tara: It's cool. It's very decentralized, which I'm happy about because I never wanted to be like, I'm this yoga person, follow me around. We've led trainings over the years and things like that. There's a few thousand guides around the world doing this. It's cool because we all are in this community together. We all know each other and support each other. Everybody's doing their own thing. We also have partner studios and partner online studios now. A lot of them have gone online. It's pretty global. It's in a hundred countries, if we sat down and looked at where everybody is and everything. That's what's cool about it. It's people that have the same idea of yoga should be something that feels good for you, and they want to share that. I think that's spread as it's gotten -- a lot of people just want to feel better. They want something that helps them feel better, something that doesn't make them feel worse, essentially. [laughs] It's a bunch of partner studios, thousands of guides. They're everywhere. They have their own studios. They teach in gyms. They teach in other people's yoga studio. We're very open in that way. It’s not like a SoulCycle where Strala Yoga only happens in this place. We also don't care if people do the training and they don't call it Strala Yoga, they just have a yoga class somewhere. I'm just much more about showing people a way to do this that feels good. A lot of people want to stay within the community. A lot of people want to take it into their life in a different way. I'm just happy that I get to be a part of that.

 

Zibby: I know a lot of former dancers have all sorts of pain or physical leftovers from the past, or a lot of athletes. Do you have any of that? Do you feel like your integration of yoga into your day-to-day life has sort of mitigated any of the lasting pain that you could've sustained?

 

Tara: I don't know what's wrong with me, but the only time I ever hurt myself was when I was trying to be a goofball and jumped over a ballet barre and broke my toe. [laughs] I was trying to show off for my friends. It was, of course, right before a performance, so I had to perform with a broken toe. Your broken toe never quite heals. I guess I just got lucky. Mainly, I had really great teachers. They weren’t telling us to force ourselves. They weren’t telling us to be bad to our bodies. They were professional dancers. Our modern teacher was Eileen Cropley. She was in the station wagon with Paul Taylor, one of the first dancers. She’d get mad if we were working in a way where we would injure ourselves. She was like, "How are you going to have a career like that?" I know a lot of people have that experience of injuring themselves so much in dance. I never fell. A lot of my friends, they would have falls from some boy dropping them wrongly or something like that. I was also so tall that I didn't do a lot of -- I did some partner work. I was as tall as the guys, so there wasn't a whole lot of lifting of me happening.

 

Zibby: How tall are you? It's hard to see. It's hard to tell.

 

Tara: I'm 5'8" and a half.

 

Zibby: There are taller girls.

 

Tara: I'm not six feet or anything.

 

Zibby: Literally, I thought you were going to say, I'm 6'3". I was going to say, oh, okay, which is fine. You just don't know when you're on the phone or whatever. That's funny. What about collaborating with your husband? How has that been?

 

Tara: I joke with him, I say, "You're the first straight guy that I met that did yoga, so that's how I said yes." [laughs] I met him at this yoga thing. He was the first straight guy that I ever really talked to that did -- all my friends in dance were gay guys, basically. Those were my friends. Those were my male role models growing up. They'd take care of me. It's funny because he has whole upbringing in tai chi and martial stuff and all this stuff that he doesn't talk about because he can't talk about it. I'm kind of unsure. I'm like, are you in the CIA, or are you just making this up? [laughs] It's very body-oriented things, specifically with tai chi. That's been really cool. I've learned a lot about and had a lot of synergies with my experience with dance and his experience with tai chi, especially that I got him talking about tai chi more and sharing tai chi more in this way. When I met him, he had some startup that he didn't care about at all. I'm just like, "Why are you doing something you don't want to do?" I just don't understand that for my own life. It's not really an option for me to do something I don't want to do. Just qualification-wise, I don't know if I could get a job. Eventually, he just kept coming around. We started working together. It was fun, and then not fun, and now it's fun again. [laughs]

 

Zibby: That's awesome. If people listening want to do what you said before, they have a terrible headache or they're feeling super stressed today or this is the worst day ever, where can they find those moves of yours to help them through?

 

Tara: Even without going to our website, doing our videos and all that shenanigans, I think just coming down to the ground and letting yourself crawl around a little bit and slow down and start to breathe a little bit more full, a little bit more deep to the point where you're letting your breath move your body instead of trying to move your body with yourself, with your own muscles. From right there, that's kind of the foundation of everything that we share. That can feel better instantly without logging online and going to our videos and the app and all that stuff. We have all that stuff. A lot of it's free. I think that that's super important and everything, but that's really the basis. If I could just get on the floor, breathe, roll around, your body will start to show you what it wants to do. Then I think that's what's so great about yoga treated like a vocabulary of movement. If you learn a few different movements, then you're going to, just like reading, know how to put a sentence together, know how to write a letter, or whatever it is. I hope to empower people to be able to feel confident enough to do something for five minutes on their own in a way.

 

Zibby: What's coming next for you? What do you have up your sleeve aside from our new hybrid yoga-reading situation?

 

Tara: I think that's going to be the main priority right there. [laughter] Oh, my gosh. We finally had time now because of our current situation to do our app which we had on the backburner because we do so much in person. It's just so fun to be in person with people. We love to travel and see everybody and go to all the partner studios. We just hadn’t prioritized doing that. That's coming soon so people can practice with us. I've been doing this silly class on Instagram for almost a hundred days now, every day. It's free. The live element has been really cool to do with people. That's really what the app's going to be about. It'll have all of our decades of videos and collections and things that people already do, but it'll also be more of a live digital home studio. We're excited about that one.

 

Zibby: That's awesome. Do you have any advice to aspiring authors having collaborated on this children's book, Yoga Animals, and then all the other books that you wrote?

 

Tara: Oh, gosh. I'm so grateful I get to do it. I feel like I'll keep creating books as long as any publisher will say okay. I think that's the spirit of doing it as progress. A lot of people that I meet that want to write a book are waiting to write a book instead of just doing it. Sure, it's nice to find a publisher that wants to do it, but it's always nice to have something to show the publisher instead of what's in your head. If it's in your head, it doesn't count, I don't think, at all. [laughs] You have to just sit down and do it like a practice every single day. It's not my number-one main job, but I do love it so much. I love the process of writing so much. I love getting better at it. I love reading. I love improving. I love figuring out how to explain things differently and with more maturity as the previous book or whatever it is. I think it's just really important to sit down, put everybody else's books aside that are your familiar people that are kind of like you or that you think are like you, and just sit down. For me, it's making an outline. If I don't have an outline, I can't do anything. It's sort of like I need to know that I'm going to do yoga before I do yoga. [laughs]

 

I think that's really important, creating an outline and writing an introduction, and then just getting to work, doing it. Then sharing it with people that have more experience than you. In my experience, especially with writing and everything, is people want to help. People are so happy to help people that are already doing the work. I have friends that tell me about their books. I'm like, "Okay, show it to me." They're like, "No, no, it's my idea." I'm like, oh, god. I can't. Just write pages. Do something. Get it together. Then rewrite it a bunch of times. I'm not the gatekeeper to getting your book published. Then start showing people after you have something down. If you're not proud of it, just keep rewriting it. Keep showing up. Keep doing it. Don't wait until you have the perfect hair day. Don't wait until your stomach has the right amount of food in it or whatever it is. There's so much. I fall to that all the time because it's not my only job, writing. I do love it so much that I'm always working on it. I notice that's a bad habit of mine, thinking, I'll do this tomorrow. I'm like, no, I can't. If I want to work on a new project, it has to be, for me, at least some point every day. I have to sit down and do it. Then that's it.

 

Zibby: That's great advice. I love it. Thank you. Thanks so much for coming back on another piece of my platform here and talking on the podcast about all of your great work. Like last time, I still feel so inspired to now do yoga after I speak to you. Then of course, two minutes later I forget. [laughs] I'll have to put reminders in my calendar to interview you every couple months.

 

Tara: I would love that. When we first met on your Instagram, I was like, I want to be friends with this woman. She's so cool. We could do yoga together. She'll tell me all the cool books to read.

 

Zibby: Totally. That would be awesome. I know. I would love that. One day when we're out of here. Thank you so much for coming on. Have a really great day and everything.

 

Tara: You too. Thanks so much.

 

Zibby: Bye. Thanks.

tarastiles.jpg

Tiler Peck, KATARINA BALLERINA

Zibby Owens: Welcome to Inside and Out, the body edition of the July Book Blast. This is Thursday's Body Blast. Let's call it that, the Body Blast. I'm calling it that because one author is a ballerina, one is a yoga teacher, and one investigates DNA. That's why. I hope you'll enjoy these varied takes on the human body.

 

Tiler Peck is the coauthor of Katarina Ballerina. She is an international ballerina herself and has been a principal dancer with the New York City Ballet since 2009. She has been seen on Broadway in On the Town and The Music Man and originated the role of Marie in the Kennedy Center’s production of Little Dancer alongside Kyle Harris, who's the coauthor. Ms. Peck performed for President Obama at the 2012 and 2014 Kennedy Center Honors. Ms. Peck has guested on Dancing with the Stars twice and appeared on Julie Andrews’s Netflix series, Julie’s Greenroom. She's the recipient of the 2013 Princess Grace Statue Award and was named one of Forbes' 30 Under 30 in Hollywood/Entertainment. Most recently, she was the first woman to curate three performances titled Ballet Now at the Los Angeles Music Center and is the subject of a documentary directed by Steven Cantor and produced by Elisabeth Moss for Hulu. She lives in New York City with her dog, Cali.

 

Welcome, Tiler. Thanks so much for coming on my show.

 

Tiler Peck: Thank you for having me.

 

Zibby: This is such a treat, oh, my gosh. You're a world-famous ballerina. It's amazing. The best part, though, are your Instagram classes. I want to hear about your book, Katarina Ballerina, but your Instagram during quarantine and starting classes and Josh Groban popping by, tell me about all of that.

 

Tiler: It's really become something so incredible. I started it out just because I need to continue staying in shape to stay in New York City Ballet shape. I need to do class every single day. When the quarantine hit and I thought, okay, I need to give myself class, I thought, I bet there are so many people stuck at home going crazy with nothing to do. So many of their normal classes are probably canceled. I'd never done an Instagram Live. I thought, I think this is how you do it. I'll just push the button. I'll see it how goes. Maybe there will be like five people dancing with me. Then I didn't know what the numbers meant, honestly. I didn't know what it meant. Then when somebody said, "There was 1,500 people dancing with you today," I thought, how incredible. Then I started getting messages from all around the world, people in Iran, South Africa, Australia, the UK, everybody. That is so special to me. We're really going through this tough time with COVID and then now the riots and everything. If I can keep people connected in dance and bringing together different forms and different guests to help spread their joy -- Josh Groban was one of my favorite guests who popped on because he was just so fun, so funny. Who knew? I had no idea. Such a great sense of humor. How special for people in their homes to get to dance to Josh Groban singing. That doesn't happen very often. I'm just trying to bring joy to people's lives. It's been really, really incredible for me too.

 

Zibby: That's so awesome. Are you going to keep it going? Do you have a plan, or just see how it goes?

 

Tiler: I know. Everybody keeps asking me that. Obviously, I won't be able to do it at the time when I normally do it because I'll be giving -- hopefully, when we get back to New York City Ballet, I'll be in my own class. I am going to have figure out some sort of way to keep it going because I would feel so bad like I was leaving all of these people behind. I know they count on it. I don't know. I definitely won't give it up. It'll be in a different form. Turn Out with Tiler will be in some other form.

 

Zibby: It's so neat. It's really great you provide that service. I hadn’t done Instagram Live either until the quarantine. I was like, um, what do I press? It's great. It's such a nice way to be able to unite people around things they're interested in. I do book stuff in a much smaller scale than you. Still, it's so nice to be able to connect this way and bring stories like yours.

 

Tiler: Actually, Kyle and I, who's my coauthor for Katarina Ballerina, we've done an Instagram Live. We started a Saturday Stories where we start at the beginning of the book. We've only done two so far. We're just reading it through and letting anybody who wants to ask us questions pop in. We do a little Q&A. It's been really fun to get to know the readers because we didn't get to have our book signing tour that we were planning on. This is a way for us to still get to hear from our readers.

 

Zibby: Tell me about Katarina Ballerina, which I read. I read half of it out loud to my daughter who's almost seven. What inspired you to write the book? How did you team up with Kyle Harris? Tell me the whole story.

 

Tiler: Kyle Harris and I met when we were doing a new Broadway musical. We were doing it in DC in 2014, actually. It was called Little Dancer. He plays my opposite. He plays my boyfriend in the show. We became really great friends. We're completely different. He knows nothing about dance. He actually grew up playing soccer and then moved into musical theater. He's a really great actor and has a great voice. We were in this musical together. He was in awe of the ballet world because that's what the musical was. It was called Little Dancer. Now it’s called Marie. It's about Edgar Degas' sculpture, the Little Dancer. I play her. Here he was surrounded in this world of ballet which he knew nothing about. He wrote a little poem. The poem was Katarina Ballerina. It was just a little one-page poem. He showed it to me. I was like, "Kyle, this is really good. I think you actually have something here."

 

It wasn't until a few years later, 2017 I believe, when I said, "You know what Kyle? Let's really try and make something happen with that poem. I don't know what it is, but let's just get in a room and see what we can do." We thought, okay, we'll make a children's picture book. When we went to Simon & Schuster, we thought, here's the poem. We think this could be a really cute children's picture book. They said, "We love it, but we want you to make a chapter book because we think that this has more of a story and a message than just a picture book. Would you want to go back and start trying to write a chapter book?" We were like, that seems very daunting, but we'll try. We went back. We started writing together. I always really enjoyed writing. Kyle's really great. The two of us together, it was just such a great partnership. It made for a really fun and interesting story because we were able to incorporate ourselves a little bit in her. He has this crazy curly hair. He's the one who's a little pigeon-toed. We thought, why don't we put those characteristics into Katerina? She isn't the perfect dancer. She doesn't have what you think the perfect ballerina looks like, whatever that may be. She wanted slicked-back hair and perfect turnout.

 

We wanted Katerina not to have those things, but to have that thing that you can't teach, which is that light that makes people want to watch you dance. That is the most important thing, I think, in a dancer. You can work on technique, but it's really hard to teach somebody to have that joy. That has to come from within. That's really the message. It's owning your own unique gifts. What she thinks are what's going to hold her back is really what ends up making her stand out. It's not comparing yourself to the next student. If I were to compare myself to anybody in the New York City Ballet, I'd probably be like, I think maybe I shouldn't dance. Somebody always has something better than you. You may have something better than them. It's just, everybody's different. I really think that's an important message for kids, but also just anybody to be reminded of that.

 

Zibby: It's so true. Sometimes the things you wish weren’t there are the things that make you who you are. That's where all the great stuff comes from at the end of it. It's much harder to feel that way especially at Katerina's age and when you're struggling to fit in or you just want to look like everybody else in the dance class or all the rest. It's a very important message at any age.

 

Tiler: I know it was good to remind myself. With social media, you can go down that rabbit hole of looking at -- for me, sometimes I'll just want to watch ballet videos. Sometimes when I watch those beautiful Russian dancers who have extension, I think, oh, my goodness, why do I even dance? [laughs] I have what Katerina has where I just love to dance. I think that's what people, I hope, see when they watch me dance. I just try to focus on that. I might not be able to get my leg above my head or whatever, but I can dance. It was good for me to remind myself.

 

Zibby: It's so true. Watching someone do what they love, it's almost this contagious effect. You feel their joy. You feel you're participating in it in some way. Also, as an audience member, hardly anybody can tell the difference. Probably, you as a professional dancer can tell the difference between you and some Russian dancer, but nobody else would be able to tell the fraction of an inch of difference that you were worried about.

 

Tiler: As ballerinas, perfectionism doesn't really exist, but we are as close to it as possible. I feel like I'm my hardest critic. If one little finger is out of place, I'm like, gosh, that could've been better. It's true. We have to always remind ourselves.

 

Zibby: This is sort of off topic, but just wondering. There's so much a stereotype of dancers, that it comes with, sometimes, body image issues because you're using your body all the time. You hear about a lot of people have maladaptive eating habits and all the rest. They're so worried about their bodies and everything. How do you have such -- well, I'm assuming. I shouldn't assume. What is your relationship with your body like? How do you try to maintain the positive despite the environment that can be negative?

 

Tiler: I think that attributes to a few things. One was the way I was brought up. I have a really supportive family. If had some sort of eating thing, I know my mom would pull me out of dance right away. It was always just, you have to fuel your body to be strong. I never really ever had to think about that because that was just what was engrained in me. I think a lot of us are lucky. My mom was a dancer. My father was a college football coach. I did have the athletic genes, I feel like. People are really interested when they see how much I actually do eat. They're like, "Wait, you're going to eat that?" I'm like, "Yeah, are you?" at dinners with the dessert and stuff. That's just how I've always been. My favorite food is pasta, actually. Before every single performance, the night before I always have pasta. I think it's a mental thing. At the same time, I don't think you would really think a ballerina loves pasta or salad dressing or eats dessert. That's always been me. I can't speak for all ballerinas, but I've always felt like I had a really good head on my shoulders. I think that that comes from my parents who just brought me up that way.

 

Zibby: Gosh, the pressure on the parents to make sure to raise their kids like you. [laughs]

 

Tiler: It's [indiscernible] because you see so many injuries in dance. I've actually had some, but very little for the amount I've danced and the demand that is put on my body. I really think that that comes from correct diet and taking care of yourself. You have to be really disciplined, not only in class, but with recovery and fueling the body. I think that if you're not constantly making sure that you have snacks with you throughout the day or that you're hydrating, that's when injuries, I think, happen more often than others.

 

Zibby: Interesting. You are a ballerina still with the New York City Ballet. You have performed on Broadway, also in Kennedy Center. You've written this book. You're still so young. What do you want to do with the rest -- what's your big plan? Do you have a big plan of what's coming next for you? I feel like the sky is the limit, is basically what I'm trying to say with what you could do with your talent and magnetism and all the rest. I'm just wondering, do you have a pie-in-the-sky dream of what's to come for the rest of your life or even just the next couple years?

 

Tiler: What I've really loved during these classes is that people have gotten to really get to know me. I think that ballerinas can sometimes be put on this, I always like to say this untouchable pedestal where they're looked to be as, oh, they're perfect and their life is just perfect. That's just not me. I really feel like with these classes people have gotten -- they’ve really seen me as how I am, in my parent's kitchen doing class. I mess up. I say, you guys, sorry, I'm totally not perfect, so just bear with me. I'm sorry I messed up that step. I taught you one thing and then I did the other. [laughs] That's what I really think is important for ballet to be more accessible to people. I don't know if there's a talk show that would happen like how I've been bringing in guests. Maybe that could become something. I've always wanted to direct a company later on down the road. Maybe that will be a dream of mine that could come true. I don't really know. I'm just having fun at the moment.

 

Zibby: I don't know why I ask these questions that make people feel uncomfortable sometimes. I don't really need a real answer. I just think it's fun to dream. I like to hear what other people's dreams are in part as well. No pressure to actually go do any of that. I think you should write a memoir. Have you thought about that?

 

Tiler: I have thought about writing another book about my injury because it was really a very traumatic one where I was told that I would never dance again.

 

Zibby: What happened?

 

Tiler: I had a herniated disk, a very severe one in my neck. It was so severe that it was pushing on my spinal cord. I was told, "You'll never dance again. You have to get surgery right away." Long story short, I just feel like there's a lot of people that go through what I went through, which was maybe not feeling like the doctors understood. They didn't understand my profession. They'd always say, "You're a gymnast," or yes, a professional athlete, but they would relate me to a football player. Ballet, you have to use your neck. You have to use your [indiscernible]. Where they were saying, "We can just fix it and we'll fuse something together," I was like, "No, I'll never be able to move my neck the same way ever again. I need to do that." It made me grow really strong as a person. I just feel like there's so many things that I would love to share with people so that they know. It's a really lonely road when you're injured. You feel like nobody understands, nobody's listening.

 

I would just love to share what I learned because maybe that could help other people. I think the most important lesson was that nobody knows your body better than you. You can use all of the medical knowledge because obviously they know more about the medical field, but they're not inside your body. I think that there's a point where you really have to listen to that voice inside. My voice kept saying, I understand this is really serious, but I don't want to get surgery until that's the last thing that I have to do. I just need to sit and wait and give myself the opportunity to heal. Then if it doesn't, then I'll get the surgery. I felt the pressure. I just want people to know, don't do anything out of pressure or fear. Do it when you're ready. I didn't get it, and I came back. I just did full-length Swan Lake.

 

Zibby: Oh, my gosh. So your body just healed on its own? Were you doing physical therapy, or it just healed?

 

Tiler: I definitely was doing physical therapy. I did a lot of energy healing, which sounds a little crazy, but it really helped me. I did all these natural things, and I came back dancing.

 

Zibby: That's amazing. Energy things like Reiki?

 

Tiler: I don't really know. He's just an energy healer. It was forty-five minutes of talking and then forty-five minutes of energy bodywork. We'd do something different every time, but I saw him once a week. I still do because I believe in it so much.

 

Zibby: I just love hearing stories like that. It is so inspiring. It is so important. It's just amazing how quick other people can be to say -- it's like they want to do the surgery sometimes. I don't mean to disparage any surgeons, but that's what they do. If you go to a surgeon and you show them a problem, then they give you the surgical solution.

 

Tiler: Yeah, that's how they know how to fix it. I'm sure they would fix it just fine. I just didn't want to do that until I was ready. It was hard because I kept hearing one thing, but I kept thinking I have to just stick with what I believe. I did. I'm so glad I did.

 

Zibby: How long did the recovery process take you?

 

Tiler: I was out from March or April, I can't remember, until my first show back was the weekend after Thanksgiving. I was out until November. It was a lot of months of absolutely nothing. I couldn't move my head. It was really crazy, but I stuck with it.

 

Zibby: How did you deal with that emotionally?

 

Tiler: It was so hard. I'm used to dancing every day of my life. When that's taken away, oh, my gosh, you have to focus on all the other stuff that you love, but you don't feel like you're complete. It was really hard, but I feel like I grew up a lot. Weirdly, I think it was this blessing in a disguise kind of thing.

 

Zibby: That's a nice attitude about it. I'm sorry you had to go through that, but at least you got the lessons out that can inform the rest of what's to come. Sorry, go ahead. What were you going to say?

 

Tiler: I was just going to say it let me have time to focus on Katerina. We were really able to work on that. With my leotard line, I was able to focus on that. A lot of things I don't normally have time for, I was able to use that time to keep my brain creative and working while I couldn't be physical.

 

Zibby: What are the plans -- I know it's volume one, Katerina. Your first book is titled volume one. Do you have a number in mind for how many? Have you written the next installment yet? What's the thinking behind that?

 

Tiler: We're working on book two cover right now. They have the outline. We've just seen the initial book two cover. I'm not allowed to say who the character is, but Katerina will be -- you'll start meeting some of her friends. It's kind of the same story about how dance is this universal language that ties a lot of people together from around the world. Simon & Schuster signed us for two, but we gave them an outline of ten books. We're hoping to have Katerina continue on.

 

Zibby: Good for you. That's awesome. I love it. Really great. Do you have any advice to aspiring authors?

 

Tiler: I would say just try it. I, like you, also agree that you kind of have to put the dreams out, put them out into the universe to even know if they can happen. For so long, I never would've dreamt of being an author, but I know I have a lot of things to share. I think the first step is just getting past being scared to even try. That was why it took us from 2014 to '17 to be like, okay, let's just go. They could say no, or they could say yes. They loved the idea. I would say if you want to do it, you should really just try for it.

 

Zibby: If you ever find yourself with tons more time with nothing to do, which it sounds like that's not the type of person that you are by nature so you're probably not going to, but I have a thirteen-year-old daughter and I feel like you would be great at writing a book for that age group also. Just to put my two cents in here, the injury memoir is super important. I think that's important to get out there. I also think just the way you inhabit your body and using it for strength and good and art and joy is a message for that I feel like teen girls could really, really benefit from and that there's not enough of that. In your spare time, maybe just whip up one of those manuscripts too. [laughs]

 

Tiler: Okay. It's funny. The ballet is off now. We don't know when we will back, which is very sad, but I've actually been really busy because these classes keep me so busy preparing. We joke that this house has become -- my mom is the production assistant. My dad is craft services. [Indiscernible/laughter] with a funny title. I'm also the booker. I just reach out to people. I say, "I've been doing these free classes. Would you want to pop on?" Everybody has said yes. I really didn't expect for so many people to be so excited by it. I think everybody wants to help bring joy right now and stay connected. This is one little way to do that.

 

Zibby: It's great. Keep doing what you're doing. Just add these to the list if you're looking for new ideas. [laughs] Thanks, Tiler. Thanks so much for talking to me and sharing your story. It's really inspiring and awesome.

 

Tiler: Thank you. It was nice meeting you.

 

Zibby: You too. Take care. Buh-bye.

 

Tiler: Bye.

 

Zibby: Thanks for listening to Body Blast Thursday, one of the last days of my July Book Blast. I hope you've enjoyed hearing from a ballerina or a DNA specialist or a yoga aficionado.

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Libby Copeland, THE LOST FAMILY

Zibby Owens: Libby Copeland is an award-winning journalist who writes about culture, science, and human behavior. Her book, The Lost Family, published in March, looks at the impact of home DNA testing on the American family. Although, I would say it's more of a nail-biting mystery, amazing book. Anyway, a staff reporter and editor for The Washington Post for over a decade, she now writes from New York for publications including The Atlantic, Slate, New York Magazine, Smithsonian Magazine, The New York Times, The New Republic, Esquire, and many more. She currently lives in Westchester, New York, with her husband and two children.

 

Welcome, Libby. Thanks so much for coming on "Moms Don't Have Time to Read Books."

 

Libby Copeland: Thank you. I'm so thrilled to be here. I appreciate it.

 

Zibby: This is our second take. At the beginning, we had a little chit-chat about Zibby and Libby, so I'll spare redoing that. [laughs] All to say, mine is a nickname and yours is not. It's thrilling to be here with another -ibby. Anyway, can you please tell listeners what The Lost Family is about and what inspired you to write it?

 

Libby: I've been a feature writer for a long time. I'm particularly interested in culture and human behavior and the intersection with technology. How does technology push and pull us in certain directions? Why do we do the things we do? How do we define ourselves? Why do we define ourselves that way? I got interested in DNA testing a few years ago. A lot of people DNA test out of a sense that it's going to deeper their understanding of their roots. Oftentimes, they're thinking maybe many generations back. That's the typical scenario, but there's a significant minority of people who discover something more immediate and surprising, something that sort of upends their understandings of their own origins of how they came to be. Maybe one of their parents isn't genetically related to them. Maybe they have a sibling they didn't know about. Maybe they're donor conceived. Maybe they're adopted and they weren’t told if they're from an older generation. These are all scenarios that have been happening for the last five to ten years in this space. I thought it was such a broad social phenomenon. I wanted to pull it together. I wanted to shape it around this really compelling genetic detective story of this one woman named Alice who had this astonishing discovery many years back, eight years ago, which is a very long time in the context of this technology, and methodically went through all the theories of what it could be. It wasn't any of the expected explanations. Her story is really meant to be the thing that propels you through the book because it's so compelling and she's so intelligent and dogged in her research.

 

Zibby: It was. It was a page-turning thriller, almost. Every dead end she would get to, I'm like, no!

 

Libby: It's kind of an extensional thriller. It's not the whodunit. It's not like, who killed who? It's a true-to-life, nonfiction mystery of how she came to be. How did she get her family history so wrong? How was it that she thought that she was entirely or almost entirely Irish American and she finds she's half Ashkenazi Jewish? How do you explain that? Then what do you make of it? What's interesting is Alice's family is, they're seven Irish Catholic siblings, and they each make something different of it. You see through their different experiences and the different experiences of other people that I follow in the book, we're very selective and thoughtful and intentional. We each take something different from this question, how much does genetics get to tell me about who I am?

 

Zibby: It's true. All the clues that she would find, even when you were saying some things that are -- you had some analogy like the gorilla walking across the basketball court. Did I just totally ruin that? It was some things that just hit her in the face that were so obvious, but she missed then, and then others that were so tiny and so hard, and the fate and the elements that had to align for her to figure out her story. Then you think about all the people who didn't figure it out. So many more people didn't have the answers and never will. What do we make of that? I don't know. It's all a little woo-woo. [laughs]

 

Libby: The people who were born and lived and died and never knew that, for instance, maybe the man who raised them that they called dad wasn't genetically related to them. There's all these what-if questions that you hear people talking about in the book. What if they had known? Would they have been better off? Is it better that they didn't know? The struggle with that is that everyone who's telling you their story is telling you from the perspective of already knowing, already being invested in knowing the truth, not be able to un-know it, and so being, in most cases, very glad to know. At the same time, you have to wonder -- for generations, people didn't know. They didn't have the capacity to know if, for instance, they had a half-sibling living fifty miles away and they would have wanted to connect with that person if only they'd known, or it might have totally upset their family dynamic. We don't know.

 

Zibby: Now I feel like I have to go back into my 23andMe results and just check every single cousin. I know you talked about your results in the book too. At first, to be honest, I was like, she must be writing this because she had some huge surprise show up in your DNA. It turns out not too big a surprise. You're one percent Korean or something that you didn't expect.

 

Libby: It disappeared, the one percent Korean. I'm not Korean at all.

 

Zibby: It disappeared, okay. Scratch that. Forget it. Mine were completely predictable as well in a very, very boring way. But I keep thinking, almost hoping, maybe there's some way there'll be somebody else. Then people like Alice who have learned the whole science behind it, I don't know, is better to know or not to know? What do you think? Do you want to know? Would you want to know?

 

Libby: It's hard to say. One of the things that I found over and over again was that when somebody discovered something key about their genetic origins, they were glad to know even when the truth was very upsetting. For instance, I interviewed a woman who understood her origins to be the result of a rape. This was something she came to after doing the DNA testing, after unraveling the identify of her biological father, after talking to her mom about it. Her mom had gone through this profound trauma and was like, "Listen, here's why I didn't tell you. These were the circumstances." Even for her, she was like, "I'm grateful to know the truth. This explains so much. I grew up in a house where there was a lot of trauma and abuse. There was a lot of not talking about things that were very important. This gives me context. This answers questions. I can go back and look to the age of zero, and I can reinterpret it. Now it makes sense." I was struck by that. I heard that over and over again. I heard that from people who had a sense of agency in the process of looking. You’re autonomous. You spit into the vile. You make meaning. You decide the narrative. You decide the timeline. You decide if you're going to contact your relatives. That's a profound thing. Very interesting, the value that we place on the truth of knowing something key about ourselves.

 

Then there's people on the other side of the story. Sometimes their narratives are being disrupted in a way that they're not comfortable with. It might be the person who's the secret keeper. I've been keeping a genetic secret. I don't see it as a secret. It was a matter of self-protection. It was a very reasonable decision given the cultural stigmas at the time sixty years ago. We can't judge the past by present standards. Perhaps you're someone who it never was a secret to you. You knew about it, but you weren’t going to tell anyone. Now someone's coming into your life and saying, "I want to talk about this." Maybe you're not ready to talk about it. You're not ready for your family to know. Maybe you're the child of that person. Now there's this half-sibling coming into your life. Maybe this half-sibling was born before you. They're saying something about something your mom or dad did that is very painful to accept. I tell the story in the book of a woman who -- she's a foundling, which wasn't a term I knew before I started writing the book. You probably already knew the term. Certainly, you know it from reading the book. It's somebody who is left and found as a baby. She was left on a pastor's doorstep at four days old. She was conceived before the other children that her mom then went on to have.

 

When she connects with them and she says, "Hey, listen, I'm your biological half-sister. This is the story of how I came to be. I would love to have you in my life," their response is, "Our mother wouldn't do that." Their mother is dead. It is incredibly difficult for them to reconcile this idea that their mother could do something that maybe causes them to think twice about her, about her character, about the difficult position that she was in. It's one thing for the people on the one side. Then it's the other thing for the people on the other side. There are situations where those things can be reconciled. Those are beautiful reunions. There are situations where, I may be really genetically closely related to you, but our interests are directly divergent at this precise moment when we could be getting to know each other and in a really intimate relationship, but we can't be because my existence threatens your identity. Those are the really interesting and painful stories that I wanted to explore along with the gorgeous reunions and the stories of people expanding their families. It's not all happy endings. It's not all sad endings. It's complicated. It's very complicated.

 

Zibby: You even talked about how in some families the context of how one person had been looking for so long and she had time to process that, and then the person that she found had to deal with it right away with an influx of all that information. It's a lot. It would be a lot to have that show up in an email.

 

Libby: Exactly. It's interesting. When Alice tests, it's 2012. The databases are really small, so it takes her two and a half years to unravel the truth. There's a lot of twists and turns. If she tested now, it would be maybe a matter of a few days or weeks. You see the difference. People who tested back in the day, which maybe is only eight years ago but it's a really long time in the context of this technology, those people had time to digest it and maybe in some cases do better than -- nowadays, you test, and you might just look at your results and for the very first time you look at them you're seeing a half-sibling or you're seeing six half-siblings. Maybe you weren’t told you were donor conceived and they're all showing up as half-siblings to you. That is really hard to process in a short amount of time.

 

Zibby: I saw in the back of your book you referenced Dani Shapiro's Inheritance. Dani has been on this podcast. I've done events with her. I also inhaled that book, similar to your book in just the thrill-seeking of the discovery process when your whole identity is sort of shifting. Hers was an example of a modern-day experience. She figured the whole thing out really quickly. It was still interesting to read. It was fast from the time she got her results. Whereas Alice, as you said, is very slow. Maybe it does make it easier to process the longer it takes. Either way, when you find something out that's a big piece of news like that or you find you have a child, all these weird things, it's a whole new world.

 

Libby: I think the era of family secrets is basically over.

 

Zibby: I have a friend who had a baby with a donor. She's like, "No, we're not going to talk about that." I'm like, "You know, your kids are going to figure it out." She's like, "We don't even think of that person as a person." I'm like, "Right, but that person actually is a person. He could be passing you on the street every day. Your kids are going to want to find that out." It's just so hard. You can convince yourself of so many things. Yet is the information really yours?

 

Libby: Right. That's a profound question. Do the kids they're donor conceived?

 

Zibby: They must. Yes, they have to.

 

Libby: This question of what is our obligation to talk about and to admit to is a really interesting one. You see this a lot in the arena of donor-conceived individuals who are like, I was not party to any agreements made about anonymity of my donor or the notion that I should be severed from the person who donated half of my genetic material. You all made that agreement before I was around. Now you want me to be bound by it. It's complicated. On the one hand, donor sperm has made possible many families that would not have been possible otherwise. That's a really amazing thing. It's a really wonderful thing. At the same time, donor anonymity is moot because of DNA testing. It literally doesn't exist anymore. A lot of people feel strongly that they want to know their genetic origins. That matters too. It's not the whole picture. It's not like suddenly you're no longer in love with and in a wonderful place with your family that raised you. People still have this desire to know the rest of the story. I think of it as you're writing your own life narrative. If you don't know the beginning, how do you tell the rest? You see there is this nascent movement to talk about genetic identity and genetic origins. There's an organization that started up. It's becoming kind of a movement. I think it's DNA testing that's basically started it. Before, the technology to create people in this way was there, but the technology to allow those people when they grew up to understand themselves was never there. Now it is.

 

Zibby: It's crazy. Tell me a little more about you. How did you become a feature writer to begin with? I know you've written for every publication under the sun at this point. How did you get that training? How do you develop all that and get to this point?

 

Libby: I started as an intern at The Washington Post after college. I was writing for their daily feature section which is called Style. Style is not about fashion. Sometimes people who don't read The Post think that. It's really a daily feature section. We cover everything, politics, art, celebrities, interesting subcultures in Washington. I got to write all those kinds of stories. Then I left The Post after about ten years, eleven years. I was an editor there before I left. I started freelancing because I wanted to start a family back in New York, which is where I'm from. I just got more and more interested in science writing and this idea that we can better understand ourselves through science. That's how I landed in writing about DNA testing. It was after many stints writing about sports. I went to the Winter Olympics in Italy in 2006. I covered the Michael Jackson molestation trial in California, all these various experiences that led me to really wanting to write about people's intimate lives. That's where I've gone over time, is away from famous people and towards ordinary people with extraordinary stories.

 

Zibby: I thought it was so interesting before how you said you're so drawn to understanding human behavior and even consumer behavior, really, as an offshoot. I find that totally fascinating also. I remember in college being like, I'm really interested in understanding consumer behavior. What should I do? [laughs] What's the next thing?

 

Libby: I always wanted to be one of those people who sat there and listened to a focus group and wrote things down and asked them questions. I always wanted to do that. I once did a two or three-part series just on jeans and why people buy the jeans that they buy and why certain brands take off and are considered luxurious and others aren't. I totally get that.

 

Zibby: I interned one summer at an ad agency in the brand planning group. That's what we did. I did. I watched all those focus groups and took notes. I wasn't in the room, but I could watch the videos or whatever and come up with reports. I'm like, so interesting. [laughs] Pepperidge Farm cookies. Who knew? Fisher-Price toys.

 

Libby: All these brands are controlling us without us even knowing it.

 

Zibby: Exactly. I just think there's something when you're used to being more of an observer in a way. I feel like you are too. You notice everything. You notice all the ins and outs. That's why you can delve so deep.

 

Libby: I feel like my favorite thing to do is just, when I find someone that interests me, they have a really interesting story, travel to them and sit with them for days, eat with them and talk to them and watch them while they're working. That kind of fly-on-the-wall stuff, I love that stuff. I just think people are so interesting, and the choices that they make and the different ways that they can be. To circle back to some of the people, I actually first wrote the story of Alice for The Washington Post. It was shorter. It was a newspaper story. It was 2017. Literally, the way that the book came to be was the email that I got in response. There were over four hundred in the first few weeks. They were like, "Let me tell you about my DNA surprise. Let me tell you how DNA changed my life. Let me tell you this story, oh, my gosh." Getting on the phone and talking to people and hearing how they processed and responded to it -- and they're very different. Some people are responding with this openness. Some people are very closed down. Some people are incredibly anxious, understandably. There's this sense when your identity is threatened, you feel completely displaced. You don't even know, does anything make sense? You don't know where you're standing on this earth. To me, having all those conversations was such an enormous privilege. It was as I was talking to those people and hearing all the different ways it can play out that I thought, this is more than one woman's story or a hundred people's story. This is a cultural phenomenon. This deserves to be a book.

 

Zibby: It was a really great book.

 

Libby: Thank you.

 

Zibby: It really was. I know I said it before, but just so page-turning. I feel like I'm so desperate these days for something to take my mind off the real world. This was perfect because it totally kept my attention. That's always what I'm looking for. Are you working on anything new now?

 

Libby: I'm working on trying to figure out what to do with my kids all day. [laughs]

 

Zibby: Let me know what you come up with on that front.

 

Libby: I'm editing a magazine story that I wrote in January before all this happened. I am thinking about next steps in terms of maybe another book, but I haven't gotten far enough that I have anything to report.

 

Zibby: That's okay. Having gone through this process, do you have any advice to aspiring authors?

 

Libby: That's a really good question. I would say on a practical level, I really liked Scrivener, which is a software that you write in. It's so much better for writing a book than Word. On a slightly less practical and existential level, I really like outlines. Outline is a bit of an existential thing because it's really a roadmap for where you're going to go. It sounds like a small thing, but it's actually an incredibly important thing in terms of understanding the scope of what your reporting and your writing's going to be and the bigger message and the thematics. Then the last thing I'd say is that I think writing a book is a leap of faith. I think it's unlike anything else. I've been running for a while. I wound up training for a half-marathon. It was like training for a marathon and then an ultra-marathon and then maybe more. It just kept going. It never ended. It was years of this hunkering down, not seeing my family and working weekends and all this stuff. Yet in exchange for that devotion and investment, you get something that's unlike anything you can achieve by just writing an essay or a reported magazine piece or anything like that. I'm talking about it from the perspective of being a reporter and writing nonfiction. You go deeper. You achieve more. You know more. It's transformative. I loved it. I loved the process of writing a book. I just thought it was amazing.

 

Zibby: Wait, tell me what you got back. You said it's bigger than anything else. Give me an example. Tell me what you felt. How great was it?

 

Libby: I spent most of my career doing things that were more bite-sized. I might spend a couple of days on a story or a few weeks or sometimes a few months, even. Even those pieces that I wrote that were more immersive -- I reported a story on a school shooting. I spent months writing it. I went to this town a few times. I spent a lot of time with the people. Even that, now looking back I see, oh, I was barely scratching the surface. When you spend that much time with a topic, you get to know it in a different way. I really liked getting up each morning and knowing what I was doing and feeling like I was invested in a project that was so much bigger than me. I like that sense of direction. I like the idea that you could take a single topic and you could look at it from all these different perspectives. DNA testing, you have the science of it. You have the business. You have the effect on interpersonal and intimate relationships. You also have the philosophy of it. You have the questions of, how much are we tending towards a kind of genetic essentialism? How much do we have to be careful about that? You have all sorts of questions about, how do we understand biological difference? You have the bioethical angle. You take a single topic, and you can turn it. As you turn it, you see more and more angles that you can consider. It's as if the more you know, the bigger it gets. The bigger the project gets. Just being so involved in something so big and something so meaningful, essential questions about what makes us who we are -- we think about these as human beings, these questions. Who I am? I found that to be immersive and absorbing and just a wonderful process.

 

Zibby: Was there anything in the payoff of actually having it out in the world and reader response?

 

Libby: Oh, yes. I get emails all the time from people, LinkedIn and through my website and through Facebook. They're like, "Thank you for writing this book. I need to tell you what happened to me," and sometimes, "What should I do?" I say, "Thank you for sharing. Here's what other people have told me. I'm not an expert, so I'm not going to give you advice, but here's what other people tell me who've been through your similar situation." They're often right at the beginning, so they're emotionally in a really difficult spot. They're often in a really difficult spot because they’ve just tested. They have multiple siblings through the same donor father. Then suddenly, they’ve uncovered their donor father's identity. Now they're trying to figure out, how do I approach this person? It's this weird thing. No one's figured out the right infrastructure to support people. There's no mental health infrastructure. There's no official guidance. How do you write a letter to your genetic father? Can somebody please write a book about that? You could literally write an entire book just about that. That's my next book.

 

Zibby: There you go. You got your next project.

 

Libby: There's Facebook groups. There's support groups. There's starting to be psychologists. There's a wonderful genetic counselor who offers advice. There's blogs. But there's not a lot in the way of formal organizations, although they're starting to exist, who are formal guidance. You just see everyone's their own bioethicist trying to navigate this new territory on their own with advice from other people. It's a tricky place to be.

 

Zibby: Very true. At least we have people like you diving deep into it and helping the rest of us understand it, which is great. Thank you, Libby. Thanks for coming on "Moms Don't Have Time to Read Books." Thanks for entertaining me so much with your book and making me think about all the big questions in life. Thanks for sharing your experience.

 

Libby: Thank you so much for having me. It's just been such a treat to talk to you and such great questions, such thoughtful feel questions. Thank you.

 

Zibby: Thanks. Hopefully, we'll meet in real life one of these days. Good luck entertaining your kids.

 

Libby: All right. Thank you so much.

 

Zibby: Take care. Bye.

 

Libby: Buh-bye.

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Jennifer Dahlberg, LAGGING INDICATORS

Zibby Owens: Jennifer Dahlberg was born in Rockland County, New York, and currently lives in Stockholm, Sweden. She is the author of two novels, Uptown & Down as well as her latest book, Lagging Indicators.

 

Welcome, Jennifer. Thank you so much for coming on "Moms Don't Have Time to Read Books."

 

Jennifer Dahlberg: Thanks so much for having me. It's such a pleasure.

 

Zibby: We had so much fun on the comedy of errors book club that you joined where my sound stopped working and my husband ended up hosting and all the rest, so thanks for rolling --

 

Jennifer: -- I thought he saved the day.

 

Zibby: He did.

 

Jennifer: He did. I think he's hilarious. I actually watched when you did your Kyle and Zibby thing together. I think you guys are a great team.

 

Zibby: Thank you. I know. I have so much fun doing it with him. He kind of misses doing a show together. I think that's why he was so happy to hop onto our book club.

 

Jennifer: I love how supportive and how he's really invested in what you're doing. I think that's fantastic.

 

Zibby: It's so nice. It is. It's really awesome. I love what he's doing. It's just this whole creative whirlwind. It's really fun.

 

Jennifer: Absolutely. That's nice, kind of feeding off of each other, which is great.

 

Zibby: Yes, it's true, which is awesome. Speaking of creativity, tell me about your really interesting way of gaining research and writing Lagging Indicators. I had the mistaken assumption that you had been in this financial world. Really, you're just an awesome researcher. Tell listeners more about what Lagging Indicators is about. Then tell the story again from book club about how you put it all together.

 

Jennifer: Basically, I was inspired by the financial crisis of 2008. Prior to that, I had been surrounded by people that worked in finance. We were living in Greenwich, Connecticut, for my husband's job. We were there on a five-year ex-pat assignment. I live in Stockholm, Sweden now. I'm from New York, but I live in Stockholm, Sweden. I was just surrounded by all these finance people. I was used to much more diversity in terms of different careers. I just was like, okay, everybody works in finance here. That's interesting. Everyone's kind of a guy working in finance. I'm not meeting so many career women. Like myself, I had taken an offramp to raise my kids like a lot of the other women did that were living in Greenwich at the time. Then when the financial crisis occurred, it was horrible from an economic standpoint, of course, but I felt like I was watching drama in real time. You couldn't make some of this stuff up. All the different personalities and all the earth-shattering things that occurred, I have to say, I found it very intriguing.

 

I thought, let's see if I can maybe craft a story around that but from a female's perspective. I didn't want to dive into the 2008 crisis. I wanted to do it a year later, someone who had survived the financial crisis and thought that her job was secure but only to discover, not really. There was still barbarians at the gate that were out to get her. I didn't have any financial background whatsoever, but I did work as an executive recruiter for many years. I'd been exposed to the corporate arena and the different finance types. My husband is a banker. I just did extensive research. I enjoyed it. I think sometimes when you have been a stay-at-home parent, any opportunity to learn something new, you totally dive into it, which is what I did. I composed all these questionnaires. I gave it to female friends that I knew who worked on Wall Street. I just bombarded my husband with questions. I read every article I could find. I think the thing that really helped me the most is I would watch CNBC every day, every day. I felt like I knew them. [laughs] That's basically how I taught myself as much as I could. It's still very difficult because I don't have this innate ability in the financial world. To hear you say that you felt it sounded authentic actually means a lot to me. Thank you. I've had some other women tell me as well that they felt that I kind of captured the essence of that industry from a female perspective.

 

Zibby: I do think it sounded super authentic. That said, I've never actually worked in any firms like that. I've only read other books about firms like that.

 

Jennifer: But you have an MBA.

 

Zibby: I have an MBA, but I was in marketing and brand management. They would slam the door in my face at a finance firm if they saw my spreadsheet ability.

 

Jennifer: That's how I feel. I'm just not wired that way. I'm so not wired that way, which was what was fun to inhabit this other character because it wasn't me. Then when you don't have anything about a certain character that's similar to you, you can just go to the races with them.

 

Zibby: Totally. It's like you use all your observational prowess and just turn it into a story. You don't have to learn how to calculate -- now I can't even think of a single term to even say as a joke. [laughter]

 

Jennifer: You don't censor yourself because you're like, I'm just going for it, which is what I did.

 

Zibby: That's awesome. Having this glimpse, this analytical, observation glimpse into this world so you could create your character who then exited the world and tried to figure out what to do, and I won't give anything away, but what are your thoughts on women who actually are in this industry? What do you make of it now? What would you tell them?

 

Jennifer: I do definitely believe that if a woman is interested and passionate about this industry, the financial world, she should absolutely go for it and work to get a seat at the table because that's really the only way we're going to make any kind of change. Through some of my research, as women, we are perceived to be less risk aversive than men. A lot of research show that perhaps if more women had been in positions of power during the financial crisis that we would've had less exposure. Women have different kind of risk assessment and decision-making processes. I just think that you need the diversity of voices in every aspect. I definitely encourage women to go into that field. I wish I could've had like five different careers. I would've loved to work on Wall Street for a couple years just to dip your toe in different things and get a sense of what it's about.

 

Zibby: Tell me more about your story. You're from New York.

 

Jennifer: I'm from New York.

 

Zibby: Which part of New York? Then what happened? Pretend I'm interviewing you for a job at a finance firm. Take me through your bio here. No, I'm kidding.

 

Jennifer: I grew up in Rockland County, New York. I'm actually a first-generation American. My parents are Haitian immigrants. They came to the United States in the late sixties. My sister and I were both born in New York. I grew up in Rockland County, but I always wanted to leave. I always wanted to go to New York City. I got into college in the city, had a fantastic experience. Then I started working, as I mentioned, for a search firm. I also met my husband, a Swed. We met through mutual friends. We dated for several years. Then he proposed and asked if I would want to move to Stockholm. Although I enjoyed my job, I wasn't passionate about it. I always knew I wanted to write. When I was an executive recruiter, my favorite part was writing the candidate profiles. More and more partners would give me their scribbly notes and were like, "Jen, do something with this." That was actually my favorite part of the job. I felt that writing was something I definitely wanted to explore. I had the opportunity to do that when I moved to Stockholm. My husband, being super Swedish and very strong work ethic, said to me, "You can write, but you have to treat it like a job. You have to do it from nine to five every day." I was like, okay, I guess I will. I have to do that.

 

I sat for two years working on my first novel. Uptown & Down is what it eventually became. Then I, the old-fashioned way back then, the late nineties, early two thousands, I queried agents. I went through that book, the Literary Market Place book and everything just trying to do the whole thing. I think probably the last agent I queried agreed to take me on. Then within a year and half she sold the manuscript to Penguin, NAL. They had a division called New American Library. The book came out in 2005. It was a dream come true, want to write and then to be published. I had children, small kids. It was hard to write another book. They had an option for a second story. I didn't really deliver. Thank god they didn't take it because I think I would've been embarrassed by it now. I found it really hard to write when I had small kids. I admire every writer, so many who come on your show. I don't even understand how they do it. I listened to J. Courtney Sullivan. I don't even understood how she wrote her book [indiscernible/laughter].

 

Zibby: Right? I know.

 

Jennifer: She would write in the middle of the night. I could not do that when I had small kids. I could not do that.

 

Zibby: When I opened her book, I'm like, oh, this woman is in it. She is living this right now. You could just tell. It wasn't an observational situation. This is someone who's holding a baby as she's typing this at this second.

 

Jennifer: Exactly. I have that book. I have the book on my Kindle. I can't wait to read it. When you said that, I thought to myself, my gosh, I was not even in that frame of mind whatsoever. I just wanted to sleep.

 

Zibby: I know. People are like, I wrote it while my baby napped. I was like, oh, my gosh, I did a thousand other things. I couldn't nap when my baby napped. I was like, why do I always have so many emails? I always have stuff. There's always stuff.

 

Jennifer: I was the same exact way. As a result, my writing suffered. When I was ready to tell another story, I feel like the publishing world had kind of passed me by. I had written this story. I felt really strongly about it. I thought it was timely, but it couldn't find a home. My agent couldn't sell it. I kind of gave up. A number of things happened at 2016, everyone was saying it was going to be the year of the woman, and 2017 with the whole Me Too movement. It just convinced me that this story could resonate with an audience and maybe I should consider releasing it myself, which is what I ended up doing.

 

Zibby: Wow. What was that experience like?

 

Jennifer: It was fantastic. Imagine being in a total creative drought where your self-esteem is at the bottom because nobody wants to publish your book. I used a self-publishing service. I worked with an advisor. He totally got what I was trying to accomplish. It was suddenly from riding a low to having a collaboration with somebody. I was just so eager to be part of the process. I learned so much. I have absolutely no regrets doing it. I've met so many fantastic people, both in real life and online, on your community for example. I started following you soon after my book came out. I kept seeing your name on different people I followed in the bookstagram world. I was like, who is Zibby Owens? [laughter] Then I started following you. Then I started following "Moms Don't Have Time to Read Books." It's literally been a fantastic experience, just having that connection. On top of that, my living in Stockholm makes it so that I don't come in contact with anybody in the American publishing world, so it's been fantastic.

 

Zibby: I'm so glad you came to my book fair. That was so awesome.

 

Jennifer: Yes, that was wonderful. It was so great.

 

Zibby: I long for days where we can get rooms of people and friends and authors and everybody. Hopefully, soon.

 

Jennifer: I know. You were so generous opening your home to all the writers and readers and book enthusiasts. I don't know what it's going to be.

 

Zibby: Now I look back and I'm like, germs, germs. Germs everywhere. [laughs]

 

Jennifer: I know, which I can totally understand. I almost don't want to hold my kids. I'm like, wait a minute, what have you been doing? [laughs]

 

Zibby: That's a good point.

 

Jennifer: Here in Sweden, we've been much more open than you guys have been in the United States. My kids have, potentially, much more opportunity to come in contact with germs.

 

Zibby: What is it like being a Rockland County transplant in Stockholm?

 

Jennifer: It's been fun, I have to say. It's been fun. I was definitely one of those people who wanted to try the Europe thing, but I always thought it would be London or Paris. I'm really grateful that my husband introduced me to Stockholm because it's a beautiful country. It just has the right amount of edginess. It's far, though. It's far. The climate gets to you after a while, cold and dark. Now it's summer and gorgeous.

 

Zibby: More time to write, I guess.

 

Jennifer: Exactly, more time to write, extending the day.

 

Zibby: Are you working on any new books now?

 

Jennifer: I am, actually. I'm working on a new novel. It's a mother-daughter story that takes place in the Swedish archipelago. We have place out on one of the islands. The Stockholm archipelago, it's thirty thousand different islands and [indiscernible] and all these different little small communities. We have a place in one of the islands. In the book, it's a fictional place, but it's very similar to where we have a house. My daughter went off to college last year. That's got me thinking a lot about motherhood and that relationship. I just wanted to tap into that. It felt much more genuine in terms of where I was in life. It is a fictional story, though.

 

Zibby: Fiction in quotes? [laughs]

 

Jennifer: I try to keep these as fictional as possible because otherwise I find that I censor myself. Then you're always worried people will think I'm talking about myself. I have to say, no, it's not me. It's a character.

 

Zibby: People are quick to jump to that conclusion. Who just said to me yesterday -- someone just said recently their agent's advice was to just quickly write a second book as fast as possible so that they would realize that the first book wasn’t autobiographical.

 

Jennifer: Oh, my gosh, that's really good advice. That's probably what my problem was. I didn't jump on it as quickly as I should have. I think there's definitely elements of who you are and where you are in life in whatever you write. I had a friend who's a documentary filmmaker say to me, "I think that writing is us trying to sort through whatever issues that are going on in our head or something that is just on our mind." I think that to some degree all of my books have been that. With Lagging Indicators, my issue was I've been a stay-at-home parent all these years, what does that mean? What's next for me? Will I be able to do anything else? Whereas this new book is about, my first-born is fleeing the nest, what does that mean?

 

Zibby: Totally. I think that's why I love interviewing authors so much. People are really just writing about what they're feeling. It's just a ruse to talk to people about what's going on in their lives. Books are just the intermediary between us to talk about our experiences to people we don't know, really.

 

Jennifer: I think so too. That's what makes it even more special when it resonates and when someone connects to it. Somebody who you least expected can connect to something that you've written and you're like, really, you saw that? Wow. It is very special.

 

Zibby: I wrote this one silly article on HuffPost a number of years ago called "A Mother's Right to Sanity." I sent it around. I was just basically, not complaining, but the management of kids takes so much time that I had no time to even be with my kids and certainly be with my husband and all the rest of it. This mom at my kid's school sent me email. She had read it online somewhere or whatever. Maybe I sent it to her. I don't know. Anyway, she was like, "I didn't think I had anything in common with you." It was actually a little bit antagonistic now that I think about it, but whatever. She was just like, "I didn't think I had anything in common with you and your life. Your experience is different from mine. When I read your article, I laughed out loud because I was doing that same thing too with my husband, and all the same stuff." We never would've necessarily realized that. She wouldn't have known that inside -- if you write it down, then people can say, me too, I've already done that, or I feel the same way.

 

Jennifer: Definitely. That's how I felt a little bit about Lagging Indicators. Here I was writing about a black woman working in finance in New York City. The bulk of my readership has been other Swedish women. I thought to myself, how would they relate? What about this story? First of all, I was just so happy they were interested in reading it, and then how they connected to so many of the themes even though on the surface Mia is so different and her life story is so different. There were still so many parallels and areas where they saw common ground in this character who I thought was completely different from any of these women. That's what I like about it, the universality of writing and how people can just relate and that empathetic quality. That's why I think it's so important.

 

Zibby: Totally. You're absolutely right. Do you have any advice to aspiring authors?

 

Jennifer: Definitely, to read a lot. I know that that's always one that other writers say, but you gain so much from reading and exploring the different styles out there. I also think to just be really disciplined as well. I think that there are so many distractions nowadays. That's what I've struggled with. Even during lockdown when there was nothing else to do, it was hard to concentrate. I think that just being really disciplined and believing in yourself. For me, I had so many moments of doubt when I felt that other publishers or just the industry as a whole didn't want what I had to say. It took a lot for me to build my confidence back up again. I really think it's important to believe in yourself and believe in what you have to say. There are other avenues out there. I'm still a big proponent of traditional publishing, for sure. But if you have something to say, don't be afraid to explore other avenues.

 

Zibby: It's so true. What was the name, by the way, of the service you used to self-publish that came with an advisor?

 

Jennifer: It's called IndieBookLauncher. They're actually based out of Canada. I really connected with one of the guys. He was just fantastic in terms of really guiding me along.

 

Zibby: Amazing. IndieBookLauncher in Canada. You're in Sweden. People are everywhere. This is an international novel.

 

Jennifer: People are everywhere. We're back to the online community. You just click on something and you don't know where people are coming from, which is pretty cool.

 

Zibby: It is pretty cool. Good luck. I know you're locked away in this shed trying to finish this book. It's a beautiful shed. [laughs]

 

Jennifer: Thank you. It's a nice wall happening.

 

Zibby: It's lovely. Anyway, good luck finishing. I don't know if you still are being held to the nine-to-five restrictions that your husband sort of set into place, but good luck cranking it out and all the rest.

 

Jennifer: Thank you so much. I think the day is much longer now. I feel like I'm breastfeeding again. I'm waking up in the middle of the night. I'm on a different rhythm right now.

 

Zibby: Oh, my gosh. I have PTSD from that whole period of time in my life, I can't even, when the nights were not my own and I felt like I was the only one in the world. Anyway, thanks so much. Have a great weekend.

 

Jennifer: Thank you so much, Zibby. Thank you so much for all you do. I look forward to continuing to follow your success. It's awesome.

 

Zibby: And yours. Bye.

 

Jennifer: Thank you. Bye.

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Amy Poeppel, MUSICAL CHAIRS

Zibby Owens: Amy Poeppel grew up in Dallas, Texas. She graduated from Wellesley College and worked as an actress in the Boston area appearing in a corporate industrial for Polaroid, a commercial for Brooks Pharmacy -- oh, gosh, I remember Brooks Pharmacy -- and a truly terrible episode of America’s Most Wanted, along with other TV spots and several plays. While in Boston, she got her MA in teaching from Simmons College. She married a neuroscientist at NYU. For the past thirty years, they've lived in many cities all over the world from San Francisco to Berlin and had three sons. Amy taught high school English in the Washington, DC suburbs, and after moving to New York, worked as an assistant director of admissions at an independent school where she had the experience of meeting and getting to know hundreds of applicant families. She attended sessions at the Actors Studio Playwrights/Directors Unit and wrote the theatrical version of Small Admissions, which is one of her novels, which was performed there as a staged reading in 2011. Her writing has appeared in The New York Times, The Rumpus, Working Mother, Points In Case, The Belladonna, and Literary Mama. Her novels include Small Admissions, Lime-light, and Musical Chairs.

 

Welcome, Amy. Thanks so much for coming on "Moms Don't Have Time to Read Books."

 

Amy Poeppel: I'm so happy to be here. Thanks for having me, Zibby.

 

Zibby: Congratulations on your latest novel, Musical Chairs. So exciting. Can you please tell listeners what this book is about?

 

Amy: Absolutely. I actually just received the hardcover.

 

Zibby: Oh, look at it.

 

Amy: They're just so pretty. That's always exciting, I have to say, even three books in. That is such a thrill when your books arrive. This is a book about a woman who is spending the summer at her ramshackle country house in Connecticut. She's in a piano trio, a classical piano trio, with her very best friend in the world who is a man named Will. They’ve hired a new person to be the violinist in their trio. All they have to do is survive the summer. They're going to have a new, fresh start in the fall. Bridget goes out to her house in hopes of spending a very romantic three months with the new boyfriend that she has. It's getting kind of serious. He breaks up with her over email, partly on the advice of his ex-wife who thinks that maybe they should just take things a little bit more slowly. That's just a disappointing way for Bridget to start her summer. From there, her adult kids move back him. Her ninety-year-old father announces he's getting married. It's just a summer of everybody having to rethink and reinvent themselves and figure out how they're going to move forward under changed circumstances.

 

Zibby: I didn't really like Sterling from the beginning, though, I have to say. I was kind of not upset when they broke up. [laughs] You introduce him as sending a, "Read my email right away." I didn't think he really cared enough when she was accidentally electrocuted right at the beginning when she first went out to her house. I don't know. I feel like things happen for a reason even in fiction.

 

Amy: Probably most of us will feel like that was a good riddance situation. Even when you're in those situations, it's hard to see it sometimes for yourself. I've had a lot of friends and family and serious relationships, and in the moment, it just seems like the worst thing that could possibly happen. Then you rethink. Yeah, I think sometimes you come out better for it. I think in Bridget's case, you're absolutely right. I agree.

 

Zibby: It doesn't make it easier for Bridget, of course. She doesn't have the luxury of the distance from us reading about her or even of her character friends in the novel who can maybe see it for what it is. That's one of many things that she goes through this summer. I love, by the way, how you structured the book, how you had it over a course of a summer with the prelude, and then June, July, August, and a coda in September. That's just so perfect. I love when there are clever structures to books that echo the content, so check plus on that. [laughs]

 

Amy: There was one other little structural element that I don't think readers would pick up on, necessarily. It was just something that was important to me in my own brain to work it out. It's a trio. Every series starts with Bridget. You get a chapter from Bridget. You get a chapter from Will. Then there's the empty chair. That third chapter is filled by Gavin, who is their first-ever violinist, once in June, once in July, and once in August. Every other third chapter, you get a surprise voice. For me in my head, it was kind of representing Bridget and Will as the two stable anchors in this trio. That third seat always is rotating. I wanted to mirror that in the structure of the book. It's not something anyone would necessarily see when they were reading, but it was really helpful for me in writing it to have that blank third chapter.

 

Zibby: See, I thought I was analyzing it, and I missed it. I'm sorry. [laughs]

 

Amy: That overarching structure was exactly what I wanted. I wanted the prelude. I wanted the coda. I wanted the three months in between. Then as a little miniature structure, I put the every three chapters structure in on top of all of that. No, you got it completely.

 

Zibby: What is the role of music in your life? You obviously know a ton about it. Did you research it for this book? Are you a musician? How did you learn so much about it?

 

Amy: Zibby, I cannot read music. I don't understand music. I can't carry a tune, to be honest. I'm a huge appreciator of music. Somehow, I raised three children who are very musical. Two of them so far are sort of following a career in music. I got a lot of help from them. My youngest son is a classical pianist. He's studying musicology and composition in college. He helped me so much. Every time I would have an idea and I'd sort of feel like I needed to be listening to something or I needed to be rehearing something, I would research, go to my son, get somebody to help me. It was a really fun world to dive into, but it was also nerve-wracking because I wanted to make sure that I got things right. In an early draft -- I think this happens to a lot of writers. In an early draft, I sort of went too far and it was just so infused with music that my publisher and my editor said, "That's great. Now let's just pull back a little bit for readers who are not classically trained musicians like me." I feel like there's enough of it in there now to really put you in that world. If you don't know anything about classical music, that is not hinderance to understanding or reading the book. I would say, though, that there are some nice references to pieces of music that if you have your Spotify nearby while you're reading, it might be fun to plug in some of those titles and composers and take a listen. The stuff that I chose to put in there, the pieces that I chose, were selected carefully. They're beautiful.

 

Zibby: Spotify now has playlists you can make. You can always just make a playlist.

 

Amy: I know. I think it's actually a really good idea. I think I'm going to sit down and go back through the book and find every piece of music that I referred to and make a playlist. Thank you, Zibby. That was such a [audio cuts outs] idea.

 

Zibby: No problem. I love how you had to interview, essentially, your own children to get the research done for this book. It's actually a genius way to bond with your kids. I'm writing a book about something that I know interests you more than anything, so you're the one who's going to have to help me. That must have made them feel so great. Did it bond you guys in the process? I would think that it did in a way that you couldn't necessarily get at in another way.

 

Amy: Absolutely. It's really amazing that you spend so much of your life teaching your children how to do things, tie their shoes, use a spoon, manners, all the things that we try to teach our kids. It is so much fun. The first time this happened to me was -- I lived in Berlin for two years. When we got there, my kids didn't speak German at all. I spoke really terrible German, really, really. I can massacre that language like nobody. When we got there, knowing that my kids -- they went into school. They went into German-speaking school. They really struggled. I was helping and teaching, and helping and teaching, and helping with their homework. Then all of a sudden, that flipped on its head. Their German was so much better than mine, and I was constantly asking them for help. We would go into a store. I would say, "Can you help me ask this saleswoman this question?" They were suddenly the experts and able to help me. I just remember thinking, that's what you want as a mom. You want to see your kids get even better, like way better, than you at the things that they excel at and have interest in.

 

That was a lot of fun, especially with my youngest, Luke. He's the one who's really the most classically trained. Saying to him, "You are the expert here. I am not. I need your help," he was very generous with his time, really slowed things down for me. He would read my drafts and he would explain, "That is not what a rehearsal process is like. That is not the way a musician would ask that question." He would even say to me, "That sounds like a non-musician trying to talk about music." I would be like, "Help me. Help me. Help me get that so that it sounds right," especially in dialogue because dialogue is really important to me. I finally asked my kids for their help again. We just filmed a book trailer. I'm in Connecticut right now in a house that is somewhat dilapidated, we'll say. I needed help. It was an all-hands-on-deck kind of project. The whole family came together. We filmed this book trailer. It should be out, I hope, in about a week.

 

Zibby: That’s exciting.

 

Amy: The last hang-up, the last holdup of getting this book trailer out in the world is the music. There's certain places where it needs to get louder and it needs to get softer. My oldest child is a sound engineer. He's twenty-six and works in music studios all over New York City. He's got the file right now. He's doing all of the adjustments to make sure that the sound is right and that the music that's in the background is right. I am so lucky I have these experts right in my house.

 

Zibby: Totally. You could easily start a podcast, you know. You could just have your son help you with the intro/outro music. You could do free production. Maybe I'll call them. [laughs]

 

Amy: He's really good. He was hearing in the background music in the book trailer -- he kept saying, "Do you hear that hum?" I was like, "I don't hear a hum." He's like, "Just listen." I would listen. It's my old lady ears. I was like, "I don't hear a hum." He's like, "I have to take that out. That sounds terrible." [laughs] I'm happy to have him.

 

Zibby: That's awesome. I love this part in the book, speaking of adult children. Bridget is the protagonist of this book. You said, "Bridget did not want to get high with her children. She never had, never would. Nevertheless, her feelings were hurt that they hadn’t even invited her to join them." Then they asked somebody else. You said when they asked Jackie, "Bridget would've said no anyway, but they could've at least included her just to be nice. When they came back to the porch talking loudly and laughing uncontrollably, she left them out there and went into the kitchen where all three dogs who were soggy from having wadded into the pond twice were underfoot and pacing in search of dropped food. She’d lost control of the evening." [laughs] Has that ever happened? That's such a funny -- my kids aren't that old, so I haven't thought about what happens when your kids start doing things like that or that you would feel left out or anything like that. Tell me about that scene.

 

Amy: I think there are times when your kids are really little and you think that there are things that could never happen or would never happen. Speaking of life imitating art, I came out here and of course when quarantine hit, all three of my adult children moved back home. This was long after I had written the book. The book was submitted ages ago. Here I am for three months now, I've had all three of my kids, twenty, twenty-three, and twenty-six -- the twins in the book are twenty-six. They’ve all moved back home. On two levels, it's funny to me. One, it's just a strange thing that I never thought would happen again. I just didn't think I would ever have a situation where there would be this extended period of time where my kids would be living here. They both regress sometimes to sort of what life was like when they were younger. Then at other times, they're so grown up and so mature and I don't have to take care of them at all. That's just been funny. Then the fact that it's exactly the situation that happens in the book. It's been really funny.

 

Do my kids engage in behaviors that I sometimes don't approve of? Yes, they do. They probably would invite me. I'm just way too anxious a person for that to be my drug of choice. Yes, these things happen. These things definitely happen. I wrote a piece that's on a comedy site called The Belladonna, which is hilarious if nobody's ever looked at it. The Belladonna is really a great for-women humor site online. I wrote a piece, I can't quite remember what the number was, but it was "Your Growing Child." It was sort of like What to Expect When You're Expecting, but it was the 209th trimester and beyond. It was just a humor piece about what to expect when your kids are eighteen and up. I had a scene in there where your little tike might have Tinder date sleepovers. What do you do when you walk in and there's a man in boxers in your kitchen making pancakes? [laughter] I wrote that just for fun. Then somehow being here with these three very grown boys/men, it's been really enlightening and fun.

 

Zibby: You have another character in the book. I just wanted to read this quote. You said, "One of Isabelle's biggest flaws she’d be willing to admit was that she was convinced she could straighten out everyone else's life while her own was, to the objective observer, a shit show." That just spoke to me because I can so relate to always wanting to have the answer when I don't necessarily have the answer myself. Is that something that you tend to do as well, or was this just you've seen this so many times from other people?

 

Amy: I think we've all done that. Other people's problems, you have some distance. That distance gives you clarity. It can sometimes be so easy to look at somebody else's problems and just be like -- I always joke with my husband because he sometimes says, "You know what you should do?" I said, "You should have a podcast called You Know What You Should Do?" [laughs] I think we all could because I think we all feel like we have this sense of, I know what you should do. When it comes to your own situation, it's just always so much more complicated to look at your own problems and sort through what to do. That's why we have friends, though. That's why we run our problems past other people because they can so often give us a little bit of insight that we somehow miss ourselves because we're too close to the problem. It's the same with writing. The reason that you get beta-readers and people is because you get so close to your own material and your own circumstances and your own situation and issues that you just can't see what's really happening anymore, so you give it to somebody else, let them take a look at it. Then they say, "You know what you should do?"

 

Zibby: I say that all the time, by the way. I say that in probably half the podcasts. This is a great idea. You should do this. Like the playlist, I just said that. It's so obnoxious of me, really. I don't know what I should do. [laughs] It's the same thing.

 

Amy: I think we all appreciate it. Especially when it's friends and experts and people who really know what they're talking about, who doesn't want to hear a fresh perspective on your own situation? I think it's helpful.

 

Zibby: Sometimes when I have a problem, I usually write when I'm really upset about something, not for anybody, just to sort out my own feelings. I often will say, pretend that this is a friend's problem. What would you say to the friend? I'm so much more lenient on my friends than on myself. I can see it. But when it's me, it's so different.

 

Amy: We're so much harder on ourselves. I think that's absolutely true. I actually think "You Know What You Should Do?" would be a great title for a podcast. I think it would be so perfect. In Isabelle's case, she has that sense that she always knows what somebody else should do. Her life, really, when you lay it out on paper at that stage of the book, it does not look great. She is really in turmoil. You do find out toward the end of the book, what was the origin of all of this. I also wanted to tap into a little bit of humor for moms. When our older kids get really proud of ourselves for something that they’ve done that they think is very empowering and very wonderful, we look at it as the mom and we're sort of like, are you sure that was the right thing to do? Are you positive? In this case -- this isn't a spoiler because it happens quite early on. Isabelle has quit a job that was a very good job. You know how we all feel about good jobs, especially these days. She just felt she wasn't quite living her best life. She just quits, burns bridges, just walks out, and then says to her mother, "I'm so proud of myself right now." You don't want to say to your kid, "Are you sure you should be proud?"

 

We're trying to instill confidence, but I think we may have taken that to such a big degree that we somehow have told our kids that they should be proud of almost any step that they take. That can be troubling. I do think even in Isabelle's case, by the time you get to the end of the book, you feel she's probably done the right thing because life is short. We have to put ourselves in, if we can, and this is not always the case, but if we can -- we don't always ask our kids to think, what do you want to wear to work every day? Do you want to be suited up when you go to work, or do you want to have a more casual lifestyle? This is a ridiculous conversation to be having in this day and age where jobs are just so hard to come by. When I was writing the drafts of this book, we were in a slightly different era. I felt like for Bridget, she could look at that and think, you just walked out of a good job, what were you thinking? Isabelle would think, oh, something else will come along. That's a very privileged -- Jackie says that, that they are very privileged kids and that that seeps out of lots of conversation. She sees it.

 

Zibby: Tell me a little more about your writing process. How long did it take to write Musical Chairs? Where did you write it? Did you write it in the house that you're in now? I know we're on Skype in this Connecticut, in need of fixing up -- although, it looks perfectly beautiful to me from what I can see.

 

Amy: This is a well-curated background. [Distorted audio], you'd be like, oh. I did write a lot of the book here. I'm actually just starting Susie Schnall's book, We Came Here to Shine. I was just listening to her speak about her writing process. I know we're not comparing ourselves, but it really makes me want to be Susie Schnall and Fiona Davis who writes such beautiful historical fiction.

 

Zibby: They were both on my podcast too, so we can listen.

 

Amy: For anyone who doesn't know, they are both planners. They plan, plan, plan. It's not shocking to people who know me and my personality that I am not a planner. I am not a planner. I go into these books with situations in my head and people in my head. Then it takes me a really long time to figure out who these people are. I know they say we start with drafts and then we throw them out and have to rewrite them as we get to know our characters. That's, of course, true. I do wish I could be a little bit more like them and map things out a bit more from the get-go. I did not do that with Musical Chairs at all. I threw out about fifty thousand words of Musical Chairs in the process of writing it. That's, for people who don't know, easily half a book. That was actually in one of the major rounds, so it was probably more like seventy-five thousand words if you look at the entire course of writing the book.

 

I just think that's really inefficient. I think that writing those scenes that I throw out maybe teaches me something about writing. Maybe it's not a waste of time, but it is inefficient. I'm working on a fourth book right now. I have tried to do my version of an outline. It's just rough, but I've sort of given myself a little bit of a shape that I'm trying to follow. We will talk again in a year, let you know if it worked for me. I don't know how much of this is personality driven, how much of this is just your work style, your writing style. I just know that for me with my first three books, I really figured it all out as I went along. That's joyful sometimes. It's so much fun sometimes. It's also painful and perhaps really inefficient at times. There are good sides and bad sides. I am going to give the Fiona Davis, Jamie Brenner, Susie Schnall outline the old college try this time around. I'm just going to see what happens. I'll let you know.

 

Zibby: Keep us posted.

 

Amy: To avoid throwing out half a book again, I would like to do that. I just don't know if it's possible for me.

 

Zibby: It's an art, not a science. You'll just play with it and see, experiment.

 

Amy: I think in fact, it's a great thing to listen other writers, hear how they do things, see if you can't pick up on some of their skills and habits and incorporate them into your own process. I'm definitely up for trying to do that. If anyone's too rigid and too structured, I would say try being a fly-by-the-seat-of-your-pantser for a little while because it can be really fun. I think it was Susie who also said that she writes out diary entry type things from her characters' point of view. I sort of feel that I do that as well. I like to really understand who that person is before I just start. I think I do a lot more work on the character side and less work on the plot side. That is fun, but it can get me into trouble.

 

Zibby: That was all great advice. Do you have any advice to aspiring authors in addition to all of that good stuff?

 

Amy: I would say just keep at it. Keep trying. Don't be afraid to write something terrible and throw it out. I very much believe in the Anne Lamott advice of just write a terrible first draft. You can't edit until you have something on the page. Don't be afraid. No one's going to see it. Don't worry about it. Just write a first chapter. Let it be awful. It might end up being the tenth chapter. It might end up being in the trash bin. You don't know. You can't move to the next step until you get that lousy first draft written and finished. Then the second thing, the other piece of advice that I would give, it's sort of two things combined. Develop a thick skin or a little bit of a wall between you and the criticism because there's going to be a lot of it. There's going to be a lot of rejection. Figure out, who do you trust? Whose eyes and sensibility do you really trust? Put yourself in that person's hands, whether it's a beta-reader -- I would not say a family member or best friend. They're going to be too nice to you. Find somebody who's willing to be mean to you. Let them read it. Don't take it personally. Don't say, they just don't understand what I was trying to do. If they don't understand what you were trying to do, there's a problem. Just learn to find people whose sensibility and aesthetic you trust. Then take the criticism. I go to bed sometimes for a day after I get a bad editorial letter. You just have to let it wash over you and accept it. Then you just get back in the chair. Resilience is key. Get back in the chair. Keep going. Resilience and get that first draft on paper. Just get it down in your laptop, in whatever. Just get it written.

 

Zibby: Love it. Thank you, Amy. Thanks so much for sharing your experience and your advice and your stories and the music and all the rest. Thanks for coming on.

 

Amy: Thank you for having me. Keep reading and doing what you do, Zibby. You're just amazing. Thank you for having me on.

 

Zibby: Thank you. Bye, Amy. Have a great day.

 

Amy: Bye. You too.

 

Zibby: Bye.

Julie Pennell, LOUISIANA LUCKY

Zibby Owens: Welcome to day three of my second week of my July Book Blast. I guess technically this day eight of my July Book Blast. Today is Beach Reads Wednesday. I love beach reads. I wish I had more time to just sit on the beach and read, as I'm sure we all do. Instead of that, I'm offering up all these amazing beach read books which you should definitely check out this summer and beyond.

 

Julie Pennell was born and raised in Louisiana. After graduating from college, she headed to New York to work at Seventeen magazine. She currently lives in Philadelphia with her husband and young son and is a regular contributor to today.com. Her writing has appeared in The Knot, InStyle, and Refinery29. She is the author of The Young Wives Club and most recently, Louisiana Lucky.

 

Welcome, Julie. Thanks for coming on "Moms Don't Have Time to Read Books."

 

Julie Pennell: Thank you so much for having me. I'm so excited to chat with you. Big fan.

 

Zibby: Yay, that's so nice. I feel like I toil in my little room here by myself all day, so it's nice to hear. [laughs] Louisiana Lucky, tell us about this novel. What's it about?

 

Julie: Louisiana Lucky is about three sisters in small-town Louisiana who play -- they have a monthly girls' night. They play the lottery. They drink cheap wine and fantasize about how different their lives would be if they won the jackpot. Spoiler alert, they do. They win $204 million that they get to split between them. It follows the story of how they spend their money. Lexi is the youngest. She's just recently engaged, so she decides to plan a Hollywood-style wedding. Callie is a local newspaper reporter. The money gives her the confidence to go after her career dreams and also love. Then Hanna is our oldest. She's a mom of two young kids. She wants to give them everything that she possibly can to make their lives better. It follows that. Obviously, the story is fantasy. It's got your fun shopping sprees and makeovers. It's also got some realistic things of disaster and heartbreak. In between those things, there's also love and family and hopefully feel-good feelings. I've read this book a million times during my editing process. Every time, I come out with a fuzzy feeling at the end. I really hope that readers feel that as well. Especially in this time, I feel like we all need a feel-good story.

 

Zibby: It's like you knit yourself your own sweater or something. [laughs] You wrote your own book to make you feel better. Then it makes you feel better. It's perfect.

 

Julie: This is why we write. You want to write the book that you want to read. This is a book that I thought would be really fun to read.

 

Zibby: There you go. It's perfect. Then now you make it fun for the rest of us to read. I love how you jump around and do alternating viewpoints of the different sisters and how you just keep the story moving along and interweave everything. It's very cool. How did you come up with this idea?

 

Julie: Who hasn’t fantasized about winning millions of dollars and just changing your life? I just thought that would be a really fun backdrop for the story, just to have fun with it. Also, it could be a self-discovery story for the women in the story, but also for the readers. I hope that they come away with some kind of feeling about money. Is it tied to happiness, or do we already have everything that we possibly need? Especially right now with the pandemic and being sheltered in place and not spending money, I feel like we're all kind of looking at that within our own selves. I'm hoping that is also something that readers take away from it.

 

Zibby: What was your conclusion after going through the exercise of seeing what happens and the impact of the lottery win on all these women? I know I've read studies that it turns out that money doesn't actually buy you happiness. The lottery winners, sometimes they get depressed because their expectations are so high or they change their lives so rapidly that they lose touch with things that had given meaning to their lives before. Just curious if at this point, winning the lottery, good thing? Bad thing? What do you think?

 

Julie: What I didn't want to do -- I know I've heard horror stories of lottery winners. Their lives are ruined forever. I just felt like that was super depressing. I think that having money would be fun because you could do things with it. You could give it to charity, things like that. I didn't want these girls to have the worst lives ever after they won. You'll see in the end that they do realize that it's not about the money itself. It's about the people that are with them and what they can give to others and what others can give to them. I think that that's what makes you rich. It's like It's a Wonderful Life. You're the richest man because you have friends and because you have family and things like that. Also, money would be fun too. [laughs] [Indiscernible] and stuff, but I don't think that you need billions of dollars. I would hope that if someone had billions of dollars they would give it away to people who need it.

 

Zibby: How did you end up writing a book at all? Tell me about your whole writing journey. When did you realize you liked to write? I'm assuming you like to write, but that is a big assumption. Maybe you don't like to write.

 

Julie: I hate writing. [laughs]

 

Zibby: How did you become a writer?

 

Julie: I've actually been writing my entire life. I was writing little stories when I was a little girl. My mom still has all of them. Then when I was fourteen, I just randomly walked up to the local newspaper and asked them if there were any writing opportunities for teenagers. They randomly let me come in and intern for them. Then I wrote a weekly teen column for them for seven years, way past when I was not a teen anymore. It was really fun. I've always wanted to write for magazines, and stories. I worked at Seventeen magazine. Then I've always wanted to write a novel. I've tried so many times. I think a lot of authors have done this where you get in, you get really excited. I wrote twenty thousand words for a couple books. Then I just had no idea where I was going. Then I finally came up with my debut novel idea, The Young Wives Club, and plotted it out. I think that that made all the difference in the world. Then it sold. They're letting me do another one. I feel so lucky. I feel Louisiana Lucky right now.

 

Zibby: Aw. Are you from Louisiana? How did you place it there? You are?

 

Julie: Yep, I was born and raised there. I lived there through college. I went to Louisiana Tech for college. Then I ended up moving to New York to work in magazines after. There's always a special place in my heart for the state. I just feel that it's so magical and so special. I kind of just wanted to be transported back there when I was writing this book. I hope that it transports readers to this magical place with the wonderful culture and the smells and sights and sounds of one of my favorite places in the world.

 

Zibby: What are you going to write next? Are you already at work on your next novel? I'm sure you are.

 

Julie: I'm mulling over some ideas. I haven't put pen to paper yet. I just had a baby.

 

Zibby: Congratulations.

 

Julie: I'm just taking a little pause. I find that this is the time when I need to be thinking about it. I don't know, but we'll do it. I'll do it.

 

Zibby: You're going to have a whole new world of material now. Just wait. How old is your baby?

 

Julie: He's two months old. Then I have a two-and-a-half-year-old as well. I actually wrote Louisiana Lucky his first year. It's funny. I feel like I have a baby every single year I have a new book. [laughs] I was a stay-at-home mom for the first year and just wrote it during his naps and after he went to bed at night. I was really thankful that he was a good sleeper for that. I'm hoping this new one is going to be a good sleeper too. Then I'll be able to get another book out.

 

Zibby: That could be Louisiana Really, Really, Lucky. [laughs] Do you have any advice for aspiring authors?

 

Julie: Going back on the plotting, I definitely think that that's something that everyone should try if they're struggling like I was struggling. I feel like knowing where you're supposed to go in the plot is definitely going to help you get to the end. Of course, things change because these characters are crazy. They're actually real people. They have minds of their own. Things might change, but at least you have an end goal. Then my other piece of advice always is just to find time to write. It's so cliché, but like they always say, you can't edit a blank page. It's so true. You just have to -- like doing it during your kid's naps. On Twitter, there's a five AM writers' club where people get up at five AM and do it before their full-time jobs. Even if it's a page a day, sometimes it takes a while to write a book, but at least you've done it. If I hadn’t done it during the naps, then I wouldn't be talking about it right now with you. You've just got to do it. Everybody has a story. I think that everybody should try.

 

Zibby: I'm glad your first child napped so that you could write this book and we could chat. It all worked out. Thank you so much for coming on my podcast. Congratulations on this book. Good luck with your baby. It was great chatting with you.

 

Julie: Thank you so much. It was great chatting with you as well.

 

Zibby: My pleasure. Bye.

 

Julie: Bye.

 

Zibby: I hope you've enjoyed this beach read on Beach Reads Wednesday, part of my July Book Blast.

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