Today, Patty talks with Becky Karush, the founder of Read to Me Literary Arts, a writing school where writers learn to dazzle themselves and us with fresh, brilliant writing.
In this episode, Becky shares her experience in starting Read to Me and realizes how reading stories to her son might have influenced it.
Becky also shares her experience writing her book so far, how she knew that it was time to write simply from a physical feeling, by experiencing a sense of groundedness and joy. Her book starts with a time-traveling character and writing to see who this character becomes as she goes through her journey, letting the plot and the story develop naturally.
Becky talks about what she has seen over and over again in her writing salons: the deep fear and cultural messaging telling aspiring writers “No,” “you can’t,” and “you shouldn’t.” Having a community of writers and constant encouragement helps. A safe space where smart, inspired writers can feel encouraged and empowered to write.
This episode is a conversation on stories, doubts, living on the edge of vulnerability, and the encouragement you need to foster that “fluff” inside you to let it grow into a garden.
Connect with Becky:
4 Free Writing Meditations: https://www.readtomeliteraryarts.com/setsail
Link to interview with Suzanne Kingsbury: https://www.pattylennon.com/brain-science-gateless-writing/
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But anytime we start to open the gates to our own potential, there’s a lot of very protective voices that come up to keep things stable and unchanged. Because what we’re opening up to is so precious. Like for me, this book project is precious and who knows why. I mean, is it really like, I don’t know. But it is I live with this reality that I care about it at a level in which I care about my son. So of course that doubt comes in to protect us from getting close to the thing that we love most of all, because when we engage with it, as I write this book, it’s going to change, it’s going to be imperfect, it’s going to encounter very messy life.
Welcome to the speed through magic podcast where people who are led by their hearts come to learn the secrets to receiving all the gifts the universe has for us. I’m your host, Patty Lennon. I’m an ex type a corporate banker turned intuitive coach, using a blend of common sense brain science and just a dash of magic. I’m here to help you create abundance in every area of your life, and business. Welcome.
Hey, everyone, welcome to this episode of the space for magic podcast. I’m your host, Patty Lennon. And today I have a special guest, Becky Karush. Here is the founder of read to me literary arts writing school where writers learn to dazzle us and themselves with fresh, brilliant writing. She’s a certified teacher of the gateless writing method, and has led more than 400 Writing salons. There’s a few reasons why I asked you to come on the podcast. If you were one of the people that loved Suzanne kings berries episode with us a few months ago, you know, Becky was one of the people that Suzanne pointed to as a way to get familiar with the gateless method. She’s a huge Becky fan. And so I had reached out to Becky and asked her to be on the podcast. What’s really interesting is that two things have happened having Becky on this podcast, and I’m going to bring her on his second. But I think they tie a lot into some of the stuff that happens when we try to write. The first is we’ve had to restart the recording of this podcast no less than three times because I was overthinking how to pronounce her name. And I think that overthinking can oftentimes get in our way. The other thing is I reached out to her invite her onto the podcast. And I think it took me like six times to like put all the pieces together to actually get someone just sent her a scheduling link. And I don’t normally have that kind of block. But so I think there’s sometimes like these really unconscious things that happen that keep us from getting to where we want to go. So with that. Welcome, Becky.
Thank you. It’s so lovely to be here. And then to see your beautiful face because I get to see you. And to be part of your world where so much magic happens. I’ve been following your work for years, since we got connected through our mutual friends. And it’s such an honor to be with you.
Oh my goodness, I’m so glad you’re here, Becky. So I think writing has become an increased focus in a lot of people since the pandemic. So where I believe most people feel like they’ve got a story inside of them. And that’s always been true. It’s almost like that time where we were in isolation sort of like, made it raise up to the surface a bit more. You’re in it. So is that what you found?
Yes, during the pandemic, especially during the first year of it, people were isolated and alone. And so they didn’t have hardly any of their normal ways of just processing life. And they had a lot of feelings. And so online salons that I was leading in that many of my colleagues were leading were suddenly really not just fun, but felt vital. It was a place where people found community where they had structured activity, but also because of the gateless method, a place where they could bring their stories, their thoughts, their emotions and process them into not just an understanding of themselves but into beautiful writing. So they actually made art out of it. You know, things have shifted in the last 18 months or so, where people are just a little tired of being online as much. But that essential need remains. It’s finding more expression in real places. But the draw and the need to have those two things community and a place to turn your stories into art that doesn’t go away.
I love that because someone might be listening this and not have listened to you, you know, there’s previous podcasts I reference, can you just share a little bit about the gateless method?
Yes. So your guest and our friend Suzanne Kingsbury developed this method, oh, a while ago, maybe 15 years ago to actually deal with her own case of pretty severe writer’s block. And you can listen to that past episode to get her story which she tells beautifully, but it essentially takes cutting edge research into how the brain works when we’re creative. It combines that research with Suzanne study of Zen Buddhism principles. And for our purposes today, what it means is that you write with a set of rules that help quiet your inner critic, and also the external critic. But most importantly, that voice inside that stops you before you even start. The rules are really simple. But they’re incredibly powerful for getting you to the stories that you weren’t even sure were inside of you.
And how did you come to learn the gateless writing method?
Well, it was 2012. And I had a newborn baby, it was a year old man. And I hadn’t written for a long time, because like so many people, probably a lot of people listening at some point, I got stuck and believed I couldn’t write. It couldn’t feel good, everything hurt. It wasn’t good enough, I wasn’t connected to the right people like this all in iteration of the same story of I can’t. And I thought, Well, I’m gonna go crazy, if I don’t find some way to be with people and to write. So I googled writing groups in my area, and at the time, Suzanne live not too far away. And APOP this website that really looked like it was from like, 1998. It was, it was old for the time, and it was just like this long scrollwork parchment paper background. And then this block of texts, that’s how I remember it. Talking about like, come right with us come have an ecstatic time come do the gateless thing real, you know, make your book dreams come alive. And I was like, Okay, I’ll try. And so I drove for 45 minutes to Suzanne’s house, and she was holding salons at the time in her home. And it was really hard the first time because gateless does not tap into comparison or judgment, which are kind of an insecure writers go to. And because it really leans into what is powerful and strong right now in the writing without having to, like have a credential or take a class or anything or prove yourself. The inner critic is thinking, Wait a minute, this cannot be true. Everything that I’m used to isn’t here, and people are telling me what they love about my work. They have to be morons. Or they’re just pitying me. I mean, and now having taught so many writing classes in this model, everyone has the same reaction to it. At first, there is nothing unique and how I reacted. But for me, the act of being able to love someone else’s work. And say, like, I love that poem, I still remember one of the poems I heard that night, you know, 10 years ago, that unlocked in me the this listening ability to hear powerful work. And I really wasn’t able to hear it in myself for about four more years. But I knew I was onto something. So it took a while. I figured it out by him by how I could write again, myself. So
I was like, lined up questions in my head, like as you were talking, where I was gonna go, but now I’m going in a totally different direction because of what you just said. And then what I found intriguing about your podcast, I think it’s your overall brand, but the Read to me, when did you tap into that core message or that core need and people because I was like, as soon as I heard that, I was like, Yes, when I used to love to be read. Yeah.
That came really intuitively actually, in January of 2019. Because I was my business was shifting, I was moving away from being a copywriter and into presenting myself more publicly as a writer or a thinker. And I wanted a way to do it that I was in control of because I’ve done freelance writing, which is just a very different gig. So I thought, Okay, I want to do a podcast. And I know I can read stuff aloud and I know I can talk about what I love in that great writing. And it just came just like read to me. And it was sort of that easy in that moment. And there was no real cognition or intellectualizing or research? It just came the whole idea kind of whole. And the whole, that original idea wasn’t completely realized, mostly because I couldn’t make the website do what I wanted. But that was it. And I don’t know, I’d have to make up a story about the origins of like, what in me was able to receive that. But there was,
and how old was your? So you said you had a newborn? Right. And when you met Suzanne, so like, because to me, it was I thought maybe it had to do with you reading to your child.
Let’s see at that time, he would have been a, and I did read to him a lot. I did and and I’m so glad you brought that up, because now that he’s almost 11, it’s really changed, like the endless nights of reading the Boxcar Children aloud, which were the texts on which I practiced a lot. And this is not high literature. This is, you know, this is very formulaic children’s literature. But I was you’re right, Patti, I had forgotten I was doing it all the time. And books that were great, and books that were terrible. And he was not an easy sleeper. So bedtime was very fraught. And I think all three of us, my husband, my son, and I were all kind of hanging on by our fingernails to like, get through another night. And so the reading was a source of pleasure, for sure. For him. And for me, well, I hope for him. It sure seemed like,
oh, yeah, Sammy, who doesn’t love to be read to come on, even in the moment, you know, like a preteen, you know, 20 little boy probably would say he wants gaming or whatever else. But when he looks back, it’ll be the reading that is, yeah, I’ll decide for him, I’m not gonna let him have an opinion. Well, because I can tell you that my kids now are 15 and 17. And they still respond when I read to them, you know, they still respond, I think there’s just something intuitively in our brains that you know, drop into a reduced stress level, when story is triggered. That will be a very, like, without any education around the matter whatsoever. I’m decided this is what happens. They take EagleEye decisions. Yeah, we see
it in our lived experience. Anytime we’re reading something, and suddenly, there’s dialogue, suddenly, there’s action, suddenly, we’re not sure what’s happening. Next, we our attention changes. And if you’re in a writing group, and someone has a lot of explanation, that kind of warming up for a long time, and then suddenly they drop into a scene where people are interacting with each other, the energy is completely different. So I also add my non PhD expertise, but I think you’re right, we just changed when story appears,
you know, leading up for you listening, when I have a guest on you know, I’ll ask them, Are there any questions or any notes you can give me they’ll, you know, spur conversation that are important to the host and, or to the guest, I should say, and Becky, one thing you had written in the notes was to ask you about the counterintuitive role of doubt. So I’m so curious about that. Tell me, tell me what all this doubt. I’m assuming it’s a good thing. Doubt is doing for me.
I’m grappling with it too. Because as we were chatting, before we started, I’ve changed my work life so that I can have some more time with my own book, you know, after two years of very intensively supporting other people’s creativity. I’m sort of practicing what I’ve been preaching. And August was lovely. September was brutal in terms of the doubt. And I’m sure Suzanne talked about this or other guests have that anytime we start to open the gates to our own potential. There’s a lot of very protective voices that come up to keep things stable, and unchanged. Because what we’re opening up to is so precious. Like for me, this book project is precious, and who knows why. I mean, is it really like, I don’t know what it is, I live with this reality that I care about it at a level in which I care about my son. So of course, that doubt comes in to protect us from getting close to the thing that we love most of all, because when we engage with it, as I write this book, it’s going to change, it’s going to be imperfect, it’s going to encounter very messy life. So that part, I feel like I feel like we know, but as the doubt was so fierce to me, and really painful because it can be physically painful. When it comes, you know, the feels like the knives on the inside of the heart. I had two thoughts, and one was to say, Okay, fine. doubt everything you’re saying is true. I’m not gonna fight you. You’re right, maybe you’re right. I don’t really have the talent. Maybe you’re right. And it’s even the little like, that hurts a little bit to say it out loud. But maybe you’re right. And whatever x, it’s all the same thing in different iterations. I’m gonna do it anyway. I’m gonna keep walking, even with the knowledge that you might be right. I think a lot about the myth of of Orpheus and Eurydice in the musical Hades town, which is still on Broadway. But when Orpheus comes up out of hell, the deal is he can’t turn around to look at his lover, Eurydice or she’ll disappear. She’ll go back to hell forever. Hades is the god of Hell is playing kind of a trick on them. And, I mean, this isn’t a spoiler, because this is a very old story. But he turns around, and she’s gone forever. And I thought, the voices of doubt are literally singing to him. The song is called doubt comes in as he’s getting closer and closer and closer to the entrance to the world. And I thought, what if he had just token taken one more step? What if he had said, Okay, you’re right, I don’t deserve her. She’s probably not there. But I’m gonna take one more step. So that was one too. I think the doubt makes us shed excess baggage. Because the strength it takes to move through doubt means we’ve got to be lean, and careful and thoughtful, targeted, that attention has to be dogged toward the thing that we care most about. And to move through the doubt without fighting it, though, with that kind of Surrender means you can’t hang on to frivolous stuff. Now, I’m still evolving with this idea. So what is that frivolous stuff? I don’t quite know yet. Because often, it’s the doubt that we cast aside, be like, Oh, no, I can do it. I’m not gonna let that bother me. But I think it’s more like, I have time to waste, I think, for me is a frivolous one, I can cast aside, or it matters what my hair looks like this morning, which I know it sounds trivial, but all of that self criticism, that’s just standing for all that self criticism. I can’t carry that anymore. If I’m gonna move through this doubt, I have to drop the things that aren’t helping me move through it. And that leanness, that doggedness, that kind of hard nosed pneus. Through surrendering to the fact that the doubt is there. I have to think and I could be wrong, but I feel myself changing. And finally showing up for the thing I love the most. It’s a bit of a burn, you know, it’s burning off whatever, can’t withstand the heat of this trial. All that said, I probably just need some water, and an apple, and I’ll be fine. But that’s what I’ve been thinking about.
Now that you explain it in that way, it feels a lot like something. I talked about it a lot more, a few years ago, and I think I stopped talking about it simply because we were all living in this space. And that was if you truly want to experience your life, you have to live on the edge of your own vulnerability. And because it’s only there, that you’re challenging the egos hold over
the soul. Yes, yes, that’s it exactly. As
I’m listening to you, and the stuff you were saying that were frivolous, which are, you know, I legitimately like what your hair looks like and etc. But I also think sometimes when we’re creating work, at least as entrepreneurs, and but I would guess that everyone feels this is that then you put assignments on that work. So then that that work must also further your platform, or it must achieve a material result, as opposed to the transformation, you’re, you know, I’m not talking about the transformation you’re creating for your reader that you stay. You stay committed to that transformation you’re creating for your reader. But the other things you needed to do you have to let go of, because just showing up at the page, once again, is going to take all your energy. Yeah. And if there’s strategy that then has to be applied, then peace out because then that’s just forget it like you know, yeah, and I know there’s plenty of coaches that would say the strategy is critical, but I’ve always found it challenging to write to strategy I’ve, I have felt that I would just hand that part over to the Divine and just try said the divine was going to kind of make that happen. Now you can, I can do that. And you can do that, because you also have rules like that are sort of like baked into your mind, right? So you don’t have to overthink some of the rules, right, there are some Givens that are going to happen when you write. And if you don’t come to the table with those same disciplines, that may not be a fair assessment, like that make, you know, okay, I’m yammering now, so
no, I love it. And it’s so true. And I, I think the way that I think about it as a matter of timing, like the strategy will come, it will happen. It’s just a natural part of the process, the way that this like a flower has a strategy to get its pollen out there. But everything about that strategy depends on the magic, the integrity, the wholeness, the vulnerability of the thing itself. And so to shortchange that experience, like you’re like you were saying, to shortchange the experience of living on the edge of your life, means that the strategy, it just doesn’t have as much to work with, you know what I mean? It doesn’t have as much pollen. So to create that boundary of like, this is the time where the majority of my attention is on the magic goop that I’m pulling up from the magic river. And it doesn’t make sense. And it’s all kind of messy. But this is what makes the strategy possible. It doesn’t really work the other way around.
So what is your work? You know, what is this precious creation? Or let me say, actually, the question before that is, because this is a question I hear people ask is, How did you know you had a book? Or that it was time for it? You know, like, what is it? Can you give some words? To what that? Oh, there’s this seed? Oh, all right, the seeds up in my throat or in my chest or wherever? You know, go ahead.
I think you, you answered the question in the examples is that for me, it’s it’s been a somatic experience or an experience in my body, because it doesn’t make intellectual sense. There is some research that you can make some money off of these creative endeavors. But who knows? Really?
Wait, I’m gonna stop you for a second. Yeah. For you listening. And please listen to this. Yeah. For the love of guy. Do not write a book to make money. Okay, go on, Becky. Most people do. It might happen. But Sweet Lord, if you don’t do that with like, you’re headed for heartbreak city, okay?
Yes, yes. And people do to be fair people do they figure out how to manifest that. But it’s that is work that has its own work. And I’ve never been motivated by money. For better or worse, sometimes I wish I were a little bit more. But for me, it was this, a physical sense of my head is on my neck, my neck is on my shoulders, my shoulders are on my spine, and my spine goes down to my legs and they are attached to the earth. This feelings physical feeling of rightness and belonging. And even more than that, that have a flow state of joy. Now, it’s taken me eight years to get to this point, where I’m able to talk about it without blushing furiously, I’m Mo is blushing but like blushing at a level where I look like the wall behind daddy’s head, which is this beautiful pink, and to talk about it openly and to share it. Because I didn’t trust that feeling. It was fleeting, and illogical. But it didn’t go away. So it was a very strong physical sensation. And it persisted. And I don’t regret the eight years that it took just as a side note, I mean, whatever in me needed to develop to this point, to be able to hold the story that’s come, I think this is what it took. As a side shoot of that. I see all the ways that I am in the world. So kind of do an audit of how I interact with people where I’ve been successful. Where I haven’t been successful, what’s been painful in terms of like not being able to achieve or feeling like behind my peers in certain ways. The moments when I felt like yes, I really can do it. All of those skills serve writing a novel. They make sense there as a unit. And so there’s some empirical data. All of that could change tomorrow, I try to hold it all really loosely, and not depend on it to be a fixed point of sense, but it continues to be true. Yeah.
Did you find that what emerged initially was the feeling of the book. Was it a particular character being born? Was it a moral that was asking for expression?
Those are great questions. It was a character Her name is Elsa. And she started out, just basically it was basically just me. But then she time traveled back to the 1940s. And changed a lot over the years evolved quite a bit. And then in writing scene after scene after scene, which is something I learned from from the galas, writing community, just writing to see what happens when she was in different places, this whole world was built out. And then because of who she was, and who she interacted with, certain things started to happen, what we would call a plot, because of what different people wanted and where they were coming from. Now we have a thing.
I love it. And now I will circle back to the money also, and just say, again, this is really for the person listening. I said that not because I don’t think you can make money off of books. It’s because it goes back to that, that doubt. And if you carry the money requirement, as you’re producing the work, it will break you I think it will break you or will lessen what you ultimately produce.
Yeah, it’s an excellent thing to muscle test. Like when, when my head is in the money world, I’m thinking, Okay, I want to get this kind of advanced, which actually, it might be helpful to get really specific. So if I go a little more grandiose, like, I’m going to make a million dollars off of this. And I’m never going to have to work again, like greatest dreams ever. And I get wrapped up in that. What happens to me on the page, am I able to listen to my characters? Do I feel good? Do I just physically feel okay? And if I don’t, then it’s not working? Right? That’s a good point. Yeah,
that is a good point. Because someone else might be brought on fire in the best way possible because of a million dollar advance. And so hey, if you’re listening, and you better recommendation is from Becky, pay attention to your body. If it lights you up, go see this is why Becky runs writing salons and Paddy does. Alright, so talk a little bit about kind of how you work with people and help them and what you do.
This has been really interesting, because I in the last year worked with an editor who had a different approach than I did, and I really shut down. It made me grateful for the training that I’ve had. So when people come to me and they want to write, and the first thing we do is just say great. You can. What’s needed so often in the beginning is just full throated, very smart, very grounded, encouragement, that feels safe and real. Like, yes. Just a full hearted whole body. Yes. And that often takes care of things for a long time. What many of the people who come to me are struggling with this deep fear and a lot of cultural messaging telling them? No, you can’t, and you shouldn’t. And that’s often an offshoot of various kinds of trauma, some stuff happening in education, but the pile of No, and some self protection is big. So for a long time, it’s yes, but giving them the structure in which to write the gateless model and how we write in salons, which has a meditation, a prompt the writing time, and then the gateless style feedback. So that works for a long time. And then writers come to a point where they say I have all of these pages. And maybe I have an idea of what I want to do with it, and maybe I don’t. And then what I do is create a big bowl of listening, because the fact is they do know, eventually, and the work usually knows as well. But being in in someone else’s bowl or field of listening means that they have permission to step into it and discover it, to hear it and trust that they’re hearing something real. So more than technical advice more than line editing more than strategy at that point. It’s the consciousness that holds them to enjoy their work and look at it from a slightly higher perspective where they start to see patterns, start to dream about it, hope about it. So it all sounds very abstract to say it. As I’m listening to myself, I bring them into the bowl of listening. What happens and as a result of that, they often can visualize the book and then and then we go into making plans and depending on their temperament and time. It’s like setting up a writing schedule. It’s figuring out who they need to study in order to learn the form that they’re writing in. Things like that. And then eventually it comes down to time,
meaning time showing up for the writing. Yeah, because to make
anything. It’s a combination of a body and idea and time, like the three is three things you need. So then there off.
So if someone wanted to learn more, well, first of all, just say for you listening, if you did not hear Suzanne’s podcast episode, we’ll link to it in the show notes. Listen to that as well, because I think that’ll help understand how this works. And then we’ll flow into giving you more information on whether you want to work with Becky or not. But if someone knows that they do, Becky, what’s the best way for them to get started with you?
Well, this, this the end of 2022, I’ll be offering one salon a month, which is a great way to sort of meet me and get my vibe, and experience gateless
Let me stop you. And because some people listening might not understand what that means a salon. So what’s, yes, let’s access.
That’s like the in community word for a writing group. Usually about 90 to 120 minutes long. And it follows that structure of meditation, prompt and meditation, I mean that very lightly and loosely, you don’t need anything special for that. Meditation, prompt writing time, gateless feedback. And they’re just lovely, lovely parties of creativity.
And those happen virtually, Yep, those
are all online. And people can get on my email list to get the dates and sign up for them.
And there was you had shared a link that they can go to, which is read to me literary arts.com forward slash set sail. And that will give them for free writing meditations and also succeed at putting them on your list.
Yes, yes. And those are very Beki meditations. So that’s a good way that I’m to get to know what it’s like to be around, Becky.
And so Becky, when can we expect this novel to hit the stands? I’m kidding. I’m messing with
the stands? I don’t know. But I think I think the manuscript I think it’ll be a year or two years
for it to be completed. Yeah. And then you’re going to seek agents, then? Yeah. So that’s what you’re doing? Okay. Yeah, I think so. And for you listening, so it’s an option, you can publish your own work, you can use a hybrid publisher, and or you can go and be having an agent represent you to a formal publishing agreement. And that’s, that’s what you’re talking about doing, Becky? And for you listening? I’m just translating, because I know, I get a lot of questions about why do it one way versus another? Or what is someone doing? And how does that work? So I think that’s just for writers that are out there. They just are curious. So if someone was sitting listening to this, and they’re thinking, I do have a story inside of me, but all it is is like a little wisp of a dandelion, you know, that’s in its seated place. I don’t even know what that’s called the little fluff, little fluff. And it’s not even a seed yet. It’s just the fluff. What’s the first step that you would like them to feel guided to?
I think the first step is that I haven’t even met you. And I believe that that little piece of fluff is a flower, maybe even a whole garden, and maybe even a whole forest. If you feel that way, when you’re listening to Patty and me, then it’s true. It is I’ve seen it hundreds of times. And I feel it right now. So know that first. And then even though we were just talking about time, I don’t mean that in a scarcity, urgent way. I mean it right now as in, you have time. So if it’s gonna take you a minute, to make space for that fluff, it’s okay, move in little steps. It’s patient and resilient, and it loves you so much. And then when it’s ready to come to the practical realm to come into your body, it can help to give yourself space to write freely, without expectation, knowing that you’ll be received with love, knowing that the work will be honored for the beauty that’s already in it. And the beauty that is its birthright. And that can happen in a lot of places. You’ll know it when you find it, because you don’t clench up in fear that someone’s going to attack you or criticize you. That’s not so helpful at this stage. But it can help to find that group of people or the group of writers where your shoulders go down, where you surprise yourself. And the more that you do that, whenever you can. The book will happen. The story will happen. Just keep walking.
Thank you, Becky.
Thanks you, Patty, thanks for inviting me into your beautiful world.
You know, normally I just jump over in and tell you listening to make space for magic. And of course, I am going to do that. But before I do, I just, there was something you said, Becky, that I think is so important. And I want to repeat it for you listening so that you heard it, which is that your time is your friend. And you know, in a world where everything has been sped up, and you know if you can produce it faster, and with more intensity and whatever, that somehow it’s a success metric. And like you Becky, I am a reader, you know, I am reading all the time I consume a lot of different quality work. And there’s a value to work that’s been created quickly, to teach or convey a concept or even a story. But the books and the writing that transform us, for the most part have been born over years and years of evolution. And for you listening just honor that the you have not wasted time. It’s fine. If it’s taken 3040 years for this to be ready to be put on a piece of paper. It really is. And if you’d like help with that, then you know I think look at Becky’s site, sign up for her meditations turn to her and get support because it really does help when it’s you plus other people. There’s an actual component in your brain that feels safer in community and Becky is a safe safe space. So thank you so much for being here, Becky.
Thank you, Patti.
All right, you listening, make space for magic. And if your heart’s telling you make space for some writing to have a beautiful week, everyone. Hey, thanks for listening. If you know someone who needs to hear this message, please share this episode with them. And if you’re feeling really generous, I’d love for you to leave us a review at your favorite podcast app. It helps us reach many more people and it fills my heart with so much joy. When I hear what you have to say about what I’ve shared. I’m cheering for your success. Have an amazing day. And don’t forget, always create space for magic.
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