"The universe is made of stories, not of atoms."
—Muriel Rukeyser
____________________________

8 Women Dream: An Interview With Dream University Founder Marcia Wieder Part 1

Marcia Wieder of Dream University 


1. What is the story behind the 1 million dream challenge?

The 1 Million Dream campaign is our lead initiative out of Dream University. The idea is to really change how people, think, speak and act upon their dreams. Instead of it being a “maybe someday,” ”when the kids are gone,” or “when I have extra money,” or “when I retire” dream the real question is: How do you want your life to be and what are you going to do about it?

So the idea is that we want people to post their dream on the Million Dreams website.

There is no cost to it at all. We just want you to get your idea out of your head to increase the likelihood of it happening by a thousand percent.

We define a dream much like 8 Women Dream does, as something that you want. It can be a professional dream, or for your health, or for a certain relationship. Not all dreams need to be what we like to call the “Mother Teresa” world dream (the “I want to be President” type dream). The dream can simply be “to spend more quality time with my family.”

2. In my experience with 8 Women Dream, I’ve seen people settle on a dream, only to never work on it, or want to constantly change it to something else they won’t work on either. What causes this? It’s like they can’t really figure out what their dreams are.


Create Your Future Now with Marcia Wieder

I think this is very common.

I’ve seen it in my workshops where half the people don’t know what their dream should be. We are often so mired in reality, so busy living from our clocks and our calendars that we don’t even know what our dreams are.

And some people choose dreams that they have no control over, like winning the lottery, which makes putting together simple steps to build their dream an impossible task.

I think you are very wise on 8 Women Dream in coaching people to take smaller steps.

Bring the dream down to a level where you will feel comfortable working on it.

For me it starts when someone says, “I don’t have a dream. I don’t have a dream!”

Usually these people are judging themselves and they are kind of panicked, and I say, “Look. Your dream is to have a dream!” And they look at me and have that light-bulb moment of, “Ohhhhh. I get it. I actually do have a dream.”

Then it’s more powerful to move towards what you want than to come from a place of moving away from what you don’t want, which is what you have probably watched those dreamers do on 8 Women Dream.

So their dream is really to have a new dream and their job is to spend the next 30 days on a “passion quest” to discover who they really are.

They (or anyone in the same state of mind about the idea of having a dream) should ask themselves the following question –

What makes me feel good?

The answers might be to take a bubble bath, or read a good romance novel. It doesn’t have to be ‘fly to Paris’ — that bigger than life thing.

Start small with what makes you feel good. What brings you joy?

Start doing more of these things and become aware of what your ‘this feels good’ feelings feel like when you are doing something that you love doing.

Another thing that happens during a challenging economy is that people think that their dreams are something soft — like something to do if they have “extra” — like a luxury item.

Until I tell them that people with passions and dreams live 7 – 10 years longer and enjoy a better quality of life and that statement usually gets them to sit up and take notice.

(I tell Marcia that I forgot about her “passion quest” which is an exercise I did myself some years back. It really does bring your dreams down to earth.)

I am so flattered that you’ve read my books because what you’ve created with 8 Women Dream is really quite extraordinary. I’ve been all over your site and I’ve read a lot of your posts and it’s so juicy … and organic … and engaging that I really, really acknowledge you. I hope you are going to come to my workshop in San Francisco on July 21st so we can meet and see how we can support each other.

(I should interject here that when someone you admire, who is living your dream on a mega-level tells you something like this …it’s hard to remember to breathe and take it all in. To know me is to know how much time I spend devoted to making this site the best that I possibly can so that it encourages women to do what brings them joy. And I am not talking about finding that joy in someone else, but in creating that joy for yourself. To have Marcia acknowledge my dream was a moment in the interview where I wanted to cry, but there’s no crying in interviewing.)

3. I know you are big on dream deadlines. I have seen dreamers flounder at the one year point of living their dream. How do dreamers come up with realistic deadlines that they will use for achieving their dreams?

Big dreams or long-term dreams can die when they just plop it on a to-do list, like publishing a book or start a business, which really should be broken down into smaller dreams or dream projects and strategies that can be accomplished in one month or less. Because a month is a short enough time for you to stay passionate and engaged, but a long enough period of time where you can actually produce a substantial result.

So if you choose a really big dream, like “to write a book” then by the end of 30 days say, “I am going to accomplish a smaller dream of having the Table of Contents done. 30 days from that I’m going to have my first chapter started,” and so on.

You chunk that big dream down into little dreams. Because dreaming is an interesting paradox. The difference between a dream like winning the lottery and a dream strategy is the dream strategy allows you to design a way to complete your dream. The paradox is that if you pick a dream where you can never go to strategy the dream just remains a fantasy or a nice idea.

But you also have to be careful because if you go straight to strategy too soon, you often end up compromising the dream down and selling out on it before you’ve allowed yourself the chance to explore the possibilities.

People have to find that balance between hanging in there long enough to open to the vision and the greater possibilities, along with other resources, miracles and short cuts — and all that other stuff that comes up as you take your next step, and then the next step so that you actually stay in action.

Dr. Fuddle and The Gold Baton Book Trailer



When the dark musician Jedermann gains control of the legendary Gold Baton, Tyler, his sister Christina, and their friends are drawn into a dangerous, mysterious adventure. Guided by the mythical Dr. Fuddle, these explorers journey to Orphea, saving the land from chaos and destruction, and return to earth with the gift of harmony. 






















Get the book here-http://www.amazon.com. 
Find out more about the author here- http://on.fb.me/DrFuddle 
or read the blog! http://bit.ly/FuddleBlog 

Available from Story Merchant Books – http://www.storymerchant.com/books.html 

Dr. Fuddle and the Gold Baton by Warren Woodruff Middle Grade Fantasy

Guest Post: Penny C. Sansevieri

Part 2 - How to Optimize Your Message With Blogging, an Interview with Rich Brooks 

Penny C. Sansevieri

Story Merchant Client Dennis Palumbo's Fever Dream - Portland Book Review

Fever Dream

By Dennis Palumbo
Poisoned Pen Press, $24.95, 350 pages


When psychologist Daniel Rinaldi is called from his practice to the scene of a bank robbery, he has no idea just how much trouble is coming his way. As a consultant to the Pittsburgh Police, he aids with traumatized victims at crime scenes and the police need to question the lone survivor of a gory scene where hostages were killed at the bank. Soon Rinaldi is caught in a swirling morass of suspicion, kidnapping, murder, and politics. Death threats against the District Attorney, who is running for governor, further complicate the investigation. Then a reporter asks Rinaldi to accompany him on a journey to question a man who claims to have evidence of corruption by the DA. The reporter wants a psychologist’s take on the honesty of the man. The journey takes Rinaldi into a harrowing situation where he barely escapes with his life, and any evidence may have been lost or destroyed.

Author Dennis Palumbo is a licensed psychotherapist in private practice. Formerly a Hollywood screenwriter, he is the author of the mystery collection From Crime to Crime. His short fiction has appeared in magazines. Fever Dream is his second novel. While the plot of this novel is a complex tale woven from several threads, it is a thoroughly amusing and enjoyable romp. The brisk pace and intelligent writing about the adventurous and heroic psychologist will leave the reader wanting more.

Reviewed by Fran Byram

Guest Post: Penny C. Sansevieri

How to Optimize Your Message With Blogging, an Interview with Rich Brooks 

Penny C. Sansevieri

I spent some time, pre-BlogWorld, with Rich Brooks; he is the president of Flyte New Media.

Let's just dig right into it. First off, I know that you are running around, managing Flyte and all the Internet changes all the time. But, I saw a blog that you wrote, or that you guest-blogged about blogging. We talk about all kinds of stuff to do in social media, blogging is still important though, right?

I feel as though it is important. It is actually my favorite tool in social media. I love Twitter and Facebook and all those different social media outposts, but what I like the most about blogging is the fact it works as social media because it is very social. You write something and the comments are open and people can respond to it. But it also works really well with search engine optimization, something you don't always get out of Twitter or Facebook or LinkedIn. They have very limited search engine value. For me I always ask people, "What is it, when you have a question and you go to the Internet; what is it that you do to get the answers?" And it is either "go and Google it" or you ask your friends on Facebook. Of course, you can substitute your favorite search engine or social media outpost, but the bottom line is that is how we work today. It is either search or social. So when you create a blog post, it becomes search engine fodder. If you do it right it answers your ideal customers biggest problem. So when they go to Google or whatever, and they put in that search query, suddenly, Google refers them to your website or to your blog and then you have a new opportunity to connect with an ideal customer. That is why I think it is going to continue to be important, because it is yet another opportunity for somebody to find you. Plus it is great fodder for the rest of your social media conversations.

Very true, and it goes into what everybody is talking about -- content, content, content, got to create content. Blogging is one of the biggest content generators. Right?

Absolutely. I have been guilty of saying, "Create as much content as possible." I have kind of reined it in so I am like, "Create as much valuable content that you can create and still run your business." You have got to find that balance. One of the things that I like about a blog is that when I post something, it stays around for years. If I post something to Facebook, it is usually gone by the end of the day.

I wrote a blog years ago and it still drives about 200 unique visitors to our website every single month. Those are leads; those are people who have come to our site. Many of those fill out contact forms or sign up for our email newsletter. That content continues to generate business for us. If I had posted something like that to Facebook or Twitter, it will be gone.

How many times do you need to blog each week?

I try to avoid a "magic" number. I do think it is more about creating content consistently. So I could say two to three blog posts per week, that is great, that is a lot of opportunity. By the end of the year you will have a couple of hundred articles out there for people to find -- true. But you just can't create content like that. I know a lot of small businesses can't create enough content. What I say suggest is to try to create an editorial calendar; try to post once per week. There are a lot of different types of content that you can create, and a lot of places to get ideas.

One thing that I always tell people is that you get emails almost every day, with customers and prospects asking questions. "How do I do this?" or "What do you think about that?" Don't just hit the reply button. Take that email and put it into your blog (change the names) and then answer it. Now you have got a "Dear Abby"-style post that directly answers this person's question. Now you can go back to that person and say, "Hey, your question was so great I turned it into a blog post. And here is that blog post." That does a couple of things: One, it tells that person that you thought their question was important enough that you wanted to share it with others. Also, if one person is asking you a question, how many hundreds or thousands of others in the next six months are going to ask the exact same question to Google? If you give the answer to that question in your blog, it will help all of those people and in turn help you by driving them to your website or blog.

Yes, absolutely, because a lot of people say, "Well, how do I create content?" And sometimes the best content comes from your end user.

Absolutely, so that can be one place, and this is something that we talk about in our blog, I created a list of 50 different ways that you can create content. Email is an easy-to-use tool. Another thing is find competitor websites, find the frequently asked questions page, you know that page that nobody pays attention to, chances are at some point they gave some thought to that, improve your frequently asked questions page and answer them with your own approach. Make sure that you are not just stealing their ideas, come up with your own better answer and turn it into a blog post and all of sudden you are breathing new life into that question.

That is a really good idea, because we get so close to our own stuff that it is like, "Oh right, people are confused about that stuff." I talk about publishing; people are confused about distribution, or whatever. We live and breathe it every day so we don't give it a lot of thought. That is a great idea for generating content.

When I am trying to generate keywords one of the things I often do is start with my own list, then go to Google Adwords keyword tool and what I do is plug in. I often do this for me and for clients, anytime I am going to write a blog I will often go in and see if I can find a better phrase. For example, I was writing a blog post about Content Management System (CMS) and I just quickly ran a Google Adwords keyword tool, which is a free tool, I put in some of the phrases that I was thinking of using, and I uncovered a phrase that I would not have thought of using. It was, "What is the best CMS for small business?" I never would have thought of phrasing it like that. But once I made that the title of my post that became, for the month, the No. 1 driving keyword to my blog.

Wow!

That was CMS for small business. There were other variations for "CMS" and "small business"; there is a lot of traffic around those phrases. So that is a very valuable keyword tool to generate ideas. How many other keywords could you use?

Keywords are important -- right?

Absolutely. When it comes to the Web and you are talking about search. You absolutely want to do your keyword research, because those are the words that your ideal customer will be using when they go to Google. But even if you are just focusing on social media and you are less concerned about the search I still think you want to do some keyword research, it is a very inexpensive market research. So you may be thinking about writing blog posts about "rhinoplasty" and it turns out that most people are searching on "nose jobs" so they are going to miss the content and you are going to miss the customer. You need to make sure that you are using the language that the customer uses. Doing research in this way is very important.

Guest Post: The Art of the Pitch by Dennis Palumbo

Hollywood on the Couch

The inside scoop on Tinseltown, USA.







How to Survive Pitching Your Ideas 
Pitching your ideas to producers, TV networks and film studios is one of the realities of the creative life. Whether you’re a director hawking a supernatural thriller franchise to Paramount, an actor hoping to produce and star in a prestige historical film for HBO, or a comedy writer trying to sell a sitcom idea to NBC, you’re part of a time-honored tradition of artists offering the promise of their talent to someone with the money to pay for it.

I know this aspect of the creative life quite well. Prior to becoming a psychotherapist, I was a screenwriter. Before that, a staff writer on sitcoms. I’ve free-lanced episodes, too, and done my share of pilots.

In other words, I took meetings. Lots of them. Something like a thousand, over eighteen years. Most were pitch meetings, selling my ideas, my craft, myself to others.

But before I talk about the issues involved in pitching one’s work, from my own experience and that of my creative patients, let me get my favorite “Pitch from Hell” story out of the way:

A producer and I were pitching a film at a big studio. We met with two executives, a male and a female, late on a Friday afternoon (already we were in trouble). About half-way through the meeting, the man left to take an urgent call. Moments later, the woman excused herself to go to the rest room.

They never came back.

After waiting about twenty minutes, the producer and I sort of wandered the halls, peeking into empty cubicles. We figured each exec thought the other would cover the rest of the meeting. In any case, the place was deserted.

As we drove off the lot, I said to the producer, “Gee, they missed the best part of my pitch.” Only I said it somewhat more colorfully.

Pitching is something that comes up constantly in my therapy practice. At the very least, for most artists, it’s a difficult and often dispiriting experience. For some, it’s literally terrifying.

To deal with this, most creative types I know develop little tricks or techniques to get them through the process. Some memorize the entire pitch (and pray nobody interrupts them). Some have arcane theories as to how long to talk about each character, plot point or act break. Others believe in researching the professional (and sometimes personal) successes of the people they’re pitching to, hoping to flatter their egos. Toward the further end of the spectrum we find hypnosis, relaxation tapes, and “lucky socks.”

My problem with these strategies, even the ones that appear to work, is that they’re all an attempt to hide the artist. He or she “hides” behind the pitching technique, using it as a shield against what might emerge in the meeting. By that, I don’t mean its professional outcome; I’m referring to the feelings that might be set off within the artist.

Samuel Johnson said, “Adversity introduces a man to himself.” Likewise, I think pitch meetings introduce a creative person to him or herself. That’s what makes them so frightening for so many people.

Years ago, I had a screenwriter patient who suffered terrible anxiety before every pitch. No matter how strongly he felt about the idea he was proposing, how solidly constructed the story, the pitch rarely went well. Then, during a session about some difficult aspects of his personal life, he blurted out, “It’s as though every event defines who I am.”

A potent realization for him, and one that we saw applied as well to his fears about pitching. He experienced a pitch meeting as an event that ultimately defined how okay he was, how acceptable. Perhaps even how entitled he was to be there.

As a result, his defense against the powerful feelings of shame that might emerge if he failed to sell his idea was to work harder on the story, prepare more diligently, practice the pitch with friends, etc.

What he needed to do instead---which became the focus of our work together---was to challenge the underlying assumption; namely, that if the pitch didn’t result in a sale, this defined him as unacceptable or inadequate.

Every pitch meeting, like every human encounter, is a relational event. We bring all our “stuff” into that room---our performance anxiety, the meanings we give to failure and success, the requirement we may have felt in our families to be the “best and the brightest.”

(Or the reverse. I recall a sitcom director patient who often “sabotaged” her performance in meetings, re-playing her parents’ injunction when she was a child not to “show off,” or draw undue attention to herself, because it might make others “feel badly about themselves.”)

I think it’s important for creative people of all stripes to explore what’s underlying their fears and expectations about pitching, so that they can develop better tools for alleviating the more painful aspects of the experience.

But it’s also important to remember that pitching is a difficult task for just about everyone. To convey to others what’s in your mind and heart is hard enough, let alone convincing them to pay for it. Let’s face it, that’s practically a recipe for anxiety.

However, as the late Rollo May reminded us, anxiety is a necessary component of any creative act. Which even pitching can be, in the right circumstances, when our fears are accepted with humor and compassion, and our convictions and enthusiasms can be engaged.

And the other guy hangs around long enough to see it.

But I’m not bitter.

Check Out Story Merchant Client Elaine Edelson's Aries Fire


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This book will show you how to:

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If you’re ready to fall in love with your future, this book can give you the inspiration you need to make that life-changing leap into a better world.



"An American hero hits a literary home run" Washington Life Magazine

Pollywood: ‘Mrs. Kennedy and Me’

An American hero hits a literary home run.
By




Co-authors and with , president and CEO of the Corporation for Public Broadcasting (Photo by Cecilie Olaussen)

He called her “Mrs. Kennedy.” She called him “Mr. Hill.” The Secret Service agent responsible for first lady ’s protection was with her in good times and bad. He is credited with saving her life.

In his new book “Mrs. Kennedy and Me: An Intimate Memoir” (co-authored with Lisa McCubbin), Clint Hill describes his protective service responsibilities guarding the intensely private Mrs. Kennedy from the election of John Fitzgerald Kennedy, in November 1960 until after the election of Lyndon Johnson in 1964.

“It was with great trepidation that I approached 3307 N Street in Georgetown on November 11, 1960,” Hill writes about his first meeting with the wife of the newly elected president of the United States that he had just been assigned to protect. “I wasn’t looking forward to it at all.” Looking back, he feels quite sure that the first lady was filled with even more anxiety about their meeting than he.
“Neither of us had much choice in the matter,” he reflects, but eventually they would share a “tragic bond” together.


Cafe Milano Proprietor held an intimate dinner for Hill on behalf of the National Law Enforcement Museum (Photo by Cecilie Olaussen)

He was with her when her son John was born, when her second son Patrick was born and also unfortunately when Patrick died; he was right there, too, when her husband President Kennedy was assassinated.

You can’t help but wonder how his life is now and whether some of those experiences still haunt him. Does a national tragedy like the murder of a president ever recede into the distance?

“I have great memories, but I have bad memories as well and they never leave,” he said during a recent interview in Washington. “They will go with me to my grave but the fact that I’ve written this book has been a great catharsis. I’ve been able to reveal various things that I have kept secret for over 50 years and it’s been very beneficial emotionally.”

Mrs. Kennedy was an immensely private person and he wondered how she handled being with someone night and day. “It was discretion and my ability to allow her to do those things she wanted to do so that she was both safe and in a private manner,” Hill remembers. “She loved her privacy and that’s the one thing I tried to give her — absolute privacy as much as possible.” It seemed to work for both of them.

On hearing of Mrs. Kennedy’s illness, Hill relates in his book the thoughts that ran through his mind. “For the briefest of moments, I had thought about calling her.” But when he rehearsed in his mind what I might say, he couldn’t seem to find the right words.

“We had been to hell and back, Mrs. Kennedy and me, and while we had both gone on with our lives — if you could call it that — I knew that the mere sound of my voice would take her back to that one day that change everything, and the sound of her voice would do the same to me. It was just too damn painful. I couldn’t bring myself to dial the number.”
Great memories nonetheless remain. Despite that they came from very different walks of life, Hill, who grew up in a small town of just 912 people in North Dakota, says they had a “wonderful relationship.”

“She was very gracious, very classy, extremely intelligent, very athletic and was just a lot of fun to be around,” he adds with profound fondness. “She had a great sense of humor and I enjoyed each and every day with her.”

After rising through the ranks of the Secret Service, Hill retired in 1975 as assistant director responsible for all protective forces. He remains in contact with the current U.S. Secret Service and is actively involved in training activities.

See more in the Summer 2012 Issue of Washington Life Magazine.

Wicked Local: Cape Cod Reviews Mrs. Kennedy And Me

phoCDkennedybook_0711.jpg
All of those qualities come through in “Mrs. Kennedy and Me,” the memoir Hill co-wrote with journalist and television reporter Lisa McCubbin about the four years he spent by Jackie’s side, from the time her husband was elected president until the election of President Johnson in 1964.

“Mrs. Kennedy and Me” is a candid, but respectful memoir written by a man who considered Jackie a dear friend, even though he always called her Mrs. Kennedy and she always called him Mr. Hill, usually with a twinkle in her eye.  He traveled to foreign countries with her that he never thought he’d see and she made sure he learned how to water-ski.  He paced outside the hospital room as John Junior and Patrick were born and he spent more time with the Kennedy children than his own during those years.

Jackie was a deeply private person who was surprised and dismayed at the crowds that would gather every time she left the house.  Hill prided himself on finding ways for her to just enjoy her privacy, and even did her personal shopping for her at times when the scrutiny was intense and the kids needed Christmas presents.

In what became the worst hour of his life, he also was part of the motorcade in Dallas and was the Secret Service agent closest to the limousine when the President was assassinated.  He managed to jump onto the back of the limo before the third shot was fired but it was just too late for him to do anything but get Jackie back in her seat as the car accelerated.



“They came to me for assistance because I had been in Dallas and the other agent had not,” Hill says. “I had information that nobody else had and Lisa convinced me that the information I had was historical and should be documented.  It’s been 50 years since most of that happened, so it’s time.”

Hill and McCubbin traveled to all the most important sites in the book so McCubbin could see them in person.  They started in Hyannis, but then visited Palm Beach, New York City, Dallas and Middleburg, Virginia, where Jackie was trying to build a private retreat from the prying eyes.

During their research, they also reached out to other Secret Service agents and Hill relived those glory days and swapped stories.  McCubbin says she was like “a fly on the wall,” and those stories enhanced the book immensely because they brought up other memories.

Then they set up an office in D.C. with two computers and worked side by side for nine months, doing research to make sure Hill’s memory matched news archives and the other agents’ notes and recollections.

“It was really a collaboration where we’d both do some writing and research and then we’d say, you read this and I’ll read that and add things, change things,” McCubbin says.  “It was wonderful.”