The Secret to Unlocking Your Creativity | The Big Leap EP#TBL76

I think knowing who your buyer is, who your customer is, makes you accountable to them. Your creative expression is a conversation with that buyer.

I'm a theorizer after the fact. I like to collect a whole bunch of life examples and then develop my theory from that.

I watch shows as though I'm a director, and it's turning me into a better storyteller and a writer.

Hi, this is Gay Hendricks, and welcome to our Big Leap podcast. We cover something today from a bunch of different angles that I think every human being needs to really be part of. Converse of a conversation with in your life, and that is the subject of how you access your creativity. And Mike and I share some personal examples and you get to hear about how we approach our creativity every day.

All right, and what's great is Gay begins with a step by step recipe, and it's something I think you can model for yourself. You're also going to hear the source of creativity that both Beethoven and Bach used, and it involves the number 60. So all that and a lot more in this episode, you're going to walk away and know how to make more big leaps by inspiring your own creativity.

All right, Gay, today we're talking about sources of creativity. And you had something you shared with me as soon as we got going, something that Beethoven does, and you did it.

Okay, I did it. I read this odd fact somewhere that Beethoven had what he called his 60 bean cup of coffee before he.

Started composing. And I felt that was so curious. 60 beans seemed like a great many beans until I actually counted them out. And it's just a small handful, really. But at the time, coffee was hitting Germany like a freight train. There were coffee houses popping up all over Germany. It was the new thing. Even Bach wrote a whole cantata called the Coffee Cantata about people who drink too much coffee.

Yeah. And so.

I'm listening to the excited tones of my voice, and what I did was I made a 60 bean cup of coffee before we went on the air today. And so if you hear a lot of rapid fire ideas coming out of my mouth, that's, that's one source of it. Possible source. Another possibility is this. I'm flat out inspired by these ideas once again. But 60 bean cup was a nice, brisk, sturdy cup of coffee, but it wasn't gallingly bitter or anything like that. It was just, you know, like you might get at a coffee store today.

That's nice. I, I just had a second not too long ago because I did a.

A webinar all about, you know, using AI as a Creative muse. And, and I just came back from Costa Rica, I was telling you about that. And they did a barista class. So we tasted all kinds of coffee being brewed and made a certain way. The biggest mistake I made is this took place at about 6 o' clock and they were handing out little tastes. Well, I'm just chatting, having a good time. And I drank every one of the samples, all of them while. Which meant I could not sleep until like 3:30. I finally fell asleep. So I wound up with about maybe two and a half, three hours of sleep. I learned that lesson, which is never drink a cup of Joe after 11am for me or I pay the price. It definitely, the half life for caffeine is, you know, it's definitely like 12 hours for me.

Yeah. And I think there's a personality interaction because you're kind of a, you've got kind of an excitable mind, with all due respect. And so it doesn't take much caffeine to get you going. It's like they asked Jimi Hendrix's girlfriend once what Jimi Hendrix was like when he took lsd and she said he in normal life it was like he was on lsd. So when he took the drug it made him normal for eight hours. Yeah, it kind of spun him back around.

But I, it got me thinking about what different people use and what I've heard different people say about how they kind of get themselves ready for their creativity every day.

Yes.

And I have my own process and today would be a perfect example of it. I, my eyes popped open at 4am or actually specifically I think it was 3:55. But 4am or 4:30 is kind of a popular time for me to wake up. I sleep from 10 to 4 4:30. That's what my body seems to need. And I usually have a cat standing nearby. They're pretty polite cats so they don't actually wake me up usually, but they're standing very close to me, watching me breathe and everything. So when I get up they'll go in with me and have some food. So I get up and I went in and did a few little things here and there. Put a beanie on my head was cold. And then I went in and I made a cup of coffee. And I'm very particular about my coffee beans. I've been getting my beans for 50 years now. Ever since I was a Stanford grad student, I've been getting them at Pete's. And so now I get Pete's shipped, shipped to me every week. So I have Fresh coffee beans, whole bean. And I grind my own beans and I make about a half a cup of coffee. I would say. I, I noticed if you're, if our viewers are watching this on YouTube, the cup you just held up, can you hold it up again?

It's my Mexican swimming pool.

That, that's a, that holds about a quart. Now if you drank, if I drank that much coffee, I'd be spinning out, running around the neighborhood, ringing doorbells and things. Yeah. But I actually, it's probably, if I measured the ounce would be about 6 ounces. And.

I'm now in my 70s. When I was in my 20s and 30s and even up into my 40s, I probably drank a quart of coffee a day. You know, Now I had a big carafe of it that I would make in the morning. Now I would say two half cups at different times does it for me. But after I had that, I played with my two cats, Greta and Allie for a little while and gave them a couple of these little treats they like call crunchies. Then I sat down and meditated for about 20 minutes. I've been doing TM for 50 some years, 52 years, I think, something like that. And so it's just a regular part of my life to sit down twice a day for 20 minutes or so and meditate. And so I did that. And then my mind is clear as a bell and I jump right into whatever creative project I'm working on every day. And today I'm about halfway through a yearbook, you know, a day at a time. Yeah, book. And I'm going to spring the surprise on everybody later, what it's all about. But that's what I'm busy doing in my early morning hours. And so I probably worked that from about 05:15 or 05:30 to about 07:30. And usually that's plenty for me as far as looking at a screen or running creative ideas through my brain. After that I like to just space out for a while. Usually Katie gets up around 7:30 or quarter of eight and so I make her a cup of coffee and my special cup of coffee for her, which has copious amounts of cream in it and that's her thing. And then we chat for a while and then she goes off to meditate. And then I usually go rest and kind of space out for an hour or so and you know, just read or listen to things or handle bits and pieces of stuff. But that two hours from 5:30 to 7:30, boy, that is my sweet spot. And I don't really try to push it. After that, I just ride the sweet spot. And then for the rest of the day, you know, I do other things. I can write a fine memo at 3 o' clock in the afternoon, but I really can't write a fine, you know, creative piece of stuff at 3 o' clock in the afternoon. My brain has just kind of had it for the day.

That's interesting. Okay.

Well, I really, I like that approach and.

It sounds very, very, very organic, you know, when I listen to that how, and I've known you now a long time, so I've watched your process.

And seen how you work. And you know, we've worked on enough projects where I know when you show up, you're very intentional, you've got an outcome in mind and you do have a way of organizing in your mind so you can really, really articulate something and it's clear, you know, you're someone who has accomplished a lot of stuff. Meaning, like, you know, when you meet someone who's produced lots of product, how they approach something, and it's very, very unfortunate and awkward to work with someone who hasn't ever completed something, you know, that's commercial. Right. Because. Because you need the vote. I think knowing who your buyer is, who your customer is, makes you accountable to them and you already know what they're going to say and you're having a. You're creative expression is a conversation with that buyer.

And I can't.

You know.

That is so critical and so important.

Yeah.

So is there anything, when I was describing that part of what I wanted to do is get your reaction and your response to the relationship you have with the buyer, the customer, the reader, with your, your, your who that you, you know, who are you doing this for, who are you serving and how much of that enters into the creative process for you versus a pure expression of delight for yourself?

Well, that's got to be a part of it because I don't want to write anything that doesn't have delight. Even if it's about a somber, serious subject. I want it to have an aliveness to it. That means, that means I was there and present and attentive.

Emotional nuances of, of what I'm talking about in the book. I actually, I love the way you articulated that because it's something that's so intuitive and natural to me that I don't even think about it. But though I, I spend a lot of my time thinking about the receiver of whatever it is I'm communicating and with a book, the way I want to communicate is imagine you and I are walking along a trail together, and I'm explaining something incredibly useful that I've learned in my life to you, and you're soaking it up because you're interested in that sort of thing, and you're always interested in the slight tweak you can make to your consciousness to include more space, to include more abundance, to, you know, to embrace more creative ideas, to go out in search of the leading edge wherever you can find it. And that's one of the magnificent elements of your personality and your way of being. And so.

That'S my reader, that's my customer, that's my person, is that person that I'm kind of talking quietly in their ear about something incredibly important that has been personally useful for me, because I won't. I can't really ever make myself write something that I haven't personally found useful or significant or that's worked with another person. I. I'm. I'm a theorizer after the fact. I like to collect a whole bunch of life examples and then develop my theory from that. You know, that's the only way that makes sense to me.

Mm.

That.

That really makes. That makes a ton of sense. And. And also.

On a very practical level, here's a process that. I don't know when I started doing this, but way back a long time ago, when I would be writing a book, I would go into an actual physical bookstore and stand in front of the titles of the books that are in that area.

And then I would just sit there and say, okay, what would make a person want a book like that? And I would feel that yearning in my body. What are they actually looking for their life? Like, why would they even be over in this section? And I'm seeing if I can just feel all of that. Some of it I know, because I'm a customer, too, of those kind of books, you know, in my own personal life. But I want to really open up to and map out all the emotional and spiritual and physical nuances of that person that's going to be there. And then I would actually picture my book there and picture them taking it off and looking at it. And then I would begin to picture what do I want them to.

You know, to look at. Like. And here's where editors and friends come in handy, Mike, because. And co authors and folks like that, collaborators. Because there's a line on the front of my book, and Katie's in my book Conscious Loving.

Which I think that line got us on Oprah with The book, and.

It appealed to Oprah personally because of an issue in her life.

Oh, yeah.

And so the line. And here's the, here's the. Here, here's the amazing thing. I didn't write the line. The editor of the book wrote the line of copy on the front of the book. And it, it says a way to be fully together without giving up yourself.

And what a universal problem that speaks to. And it's what the book is all about. But I didn't write the killer line that, that's the amazing thing. That. And I didn't even know she was looking for a line. I would have been happy to contribute something, but that one was so good that it just made it come alive. You know, the conscious loving, the journey to co commitment. That was the subtitle. But then underneath that it said a new way to be fully together without giving up yourself. And man, I cannot tell you the probably millions of dollars and things like that that have come in because of the, of that book that have, has spoken to so many people who have that issue. And here's the interesting thing. I heard from a couple the other day that had been married more than 40 years, and they read the book 30 years ago when it came out, and they said that their life had become a living example of what was on the COVID And they quoted that line.

The couple said, we've learned a way to be fully together without giving up a bit of ourselves. And so I'm so grateful to people that collaborate on projects because just that one moment of someone's creativity led to all sorts of people having value in their lives. So I love to think of creativity. It's first, it's a, it's a kind of a heroic. And sometimes it has to be done alone. At least my, my form of it does. But there's a certain point too, where you want to reach out and let other people contribute. And that's such a key part of the process for me. I always want to make sure I mention that.

Ooh, that's good. Well, there were a couple.

Big things that I got out of there. And I'm going to tell you, when you, when you just talked about appealing to Oprah, and.

I don't remember if I've told you about this, I've got a model I use when I'm describing to people how to grow a platform that has the most impact. And you really nailed it when you talked about Oprah because. So the whole idea behind the Ambassador method is if you think of your perfect customer or who you want to be a hero to is in the center. So that's your target audience. And then the next ring of the circle is an affinity group. So in your particular case, having the Oprah affinity group was super important that you could communicate to the group if you're going to create any momentum, I. E. Sell a lot of books, okay. Because one book sold doesn't help a lot of people. You know, you got to have people talking about this, okay. But then in order to do that, you've got to be able to affect the influencer. And the influencer is the one who can say to the affinity group, buy this book by Gay and Katie, it will change your life. And the show did that for you, as did the momentum that it developed. You know, having the Oprah quote, which brings us to the furthest ring and what can be the most important, which is having an ambassador that is a celebrity class individual who can influence the influencers, who's willing to stake their reputation on your behalf. And when they're out there, you know, no one's going to listen to the person screaming, hey, my book is the best thing in the world and you have to read it. You need groups doing it, but you need influencers. But more importantly, that ambassador who's trusted and loved by, you know, millions, or in Oprah's case, potentially billions know who she is.

And so that, that really resonates with me.

So that's a one in a jillion.

Totally. Yeah.

You know that most people are not going to land their book on Oprah or whatever the equivalent of that is in today's area.

That's, that's for the day that you wake up, win the lottery, go out swimming, get bit by a shark and jump on a, on a jet and it crashes. Okay, so there you got better odds of all three of those things happening, but you're right.

So, yeah, okay, so.

So back to our subject of precursors to creativity. You know, we were mentioning coffee a while back.

I have run across people, a mother in law of mine who had an upside down nervous system, so she drank a full cup of coffee to go to sleep at night. And I've often wondered how that kind of wiring occurs because I, I personally can't imagine that, you know, I, I have to kind of ease into my evening and.

Sleep. Oftentimes in my early life I was a fitful sleeper. I think I woke up probably because that quart of coffee a day, but I woke up a lot more. Now I pretty much Conk out at 10 and wake up at 4.

Yeah, yeah.

That'S. Yeah. There's so many different factors. I'm using a device right now that is from a company called Soltek and it's a device you wear in your wrist and then there's a machine that helps you fall asleep faster, stay asleep longer and spend more time in delta. And being able to track your REM and your delta states definitely helps. I also use the Oura ring and some other gadgets, but I've really turned into a big sleep tracker because I know that if I'm monitoring it and watching it and seeing consistency, my creative mind really, really, really works much better.

So well.

While you were asking though, I wanted to ask you what's your precursor to creativity process? What do you do? Like, what's your morning process like?

Yeah. So now.

In general, my scheduled day begins at 9 and I let my body sleep until it wakes up and I try to get to bed by about 11 o'. Clock. That's sort of like the. And last night I went to bed earlier because I knew this morning I had to get up and write a lot.

For this webinar I did. And so I was in bed by about 9 and up by, I don't know, 6,30ish. So typically I'll have some kind of a workout. I'm better off doing a workout, cold shower.

Maybe have my peptide regime and make a cup of coffee. I didn't drink coffee for 25 years and now I found it to be a very powerful cerebral aid and I definitely wake up quicker. The one thing I will say is I think I'm caffeine dependent now where I never needed a jump start. Now I'm definitely sluggish until I have a cup of gel. So at some point I may do a full on caffeine detox and see if my system goes back to normal, jump out of bed and be ready and raring to go. So I. Yeah.

Do you drink alcohol?

I do.

I, I've for some weird reason about five or six, maybe seven or eight years ago, I lost my taste for wine. I used to like a glass of wine. I've always been kind of a homeopathic alcohol consumer. I like about a half a beer and I, I used to like you know, maybe 4 or 5 ounces of wine but suddenly that just dropped out and now just, you know, I sometimes my wife gets a glass of wine at dinner and I'll try to take a sip. It just doesn't work for me anymore. So I'm not Sure. How to account for that? It wasn't any kind of decision on my part. It almost seemed like a physiological thing somehow. Yeah. And I'm getting to the point, too, where, as I say, I used to like half a beer. Now I'd say it's more like two swallows. Yeah. If I drink a beer. And so I hope that's going in a good direction. I don't have any prejudices one way or the other, but that's just the way it is.

I know I'd be better off without it. And for the most part, I've kind of lost my taste for both beer and wine. I prefer tequila drinks, so. And we have a. We have a fantastic. I call it my margarita tree. The front yard. But we have this extremely productive lime tree. And as the limes are. I mean, like, if I go outside right now, there's probably 50 or 60 sitting on the ground that I need to pick up and squeeze. And we freeze them and squeeze them, you know, But I feel like I'm wasting it if I'm not mixing it up, you know? So I found a little bit of weird guilt about my citrus. You know, growing up in Minnesota, I really value citrus, you know, and that's a terrible excuse. But it's. I've definitely noticed, and I will probably, in time, drop it all together for the same reason, because I know it doesn't do me any good, and it definitely dulls me and slows me down and. But, you know, it's one of those things where. And I'll get to the unwinding in a moment because I found that from a creative perspective, my unwinding, I've discovered something about my old habits. And the bottom line is, for most of my life, I muscled through and just plowed, plowed, plowed. And I, you know, work hard, go to bed, get up and work hard again. And now I've found, at least for now, the formula that I found, I'm the most productive and happy. Okay, so here's what it. And ours are fairly similar. The first one is I start out with what's the result and the outcome I have. So I'm on a tear right now where I'm producing a book. A quarter. So the current one is this one. It's your next act. My next one is called Referral Party. And then the. The next one is called Punch the Elephant. Let's Punch the Elephant in the Room. It's my sales book. And I've been thinking about these for a long time, but I've Been procrastinating. I just lost my desire to write books for a little while. I needed a little break and I honored that instead of just muscling through it. But my goal is always to produce a million dollars in a hundred days from each book in business. And that doesn't come from selling the book, but from creating the business from it. And so I begin with the result and outcome and then creativity loves constraints. So I have to have a deadline. And right now I have a team that requires me to produce my stuff so they can get a book done. A quarter and there's hard deadlines on the calendar.

And then in the past, I would schedule a muse. I work really good if I'm performing for or with someone. So what I do to write my book is I'd schedule someone to meet me who I had to pay and that way there'd be a sense of loss if I didn't show up and get it done. And then prior I'll have an outline and I'll perform the content. So my. My fastest I've ever written a book is two days and that and then about six days from idea to publishing to promoted enough to make it a bestseller on Amazon. That was my cancer book when I did that.

And that one, I did everything. I literally edited it myself. I did it all. I did have someone editing in the background. Now I think about it, I did pay someone to be editing while I was recording. But then the other thing I'll do is create an offer, meaning something that the audience gets for reading the book. So it might be some sort of a video series or a gimme. And then I perform the content. And now I like to record myself doing the video as well as recording using otter, so it's transcribed in real time. And I found that if I look at the camera while I'm performing and if I'm doing it interactively, it forces me into the best.

Posture. Like I have to maintain my energy so I don't get lazy or slack.

So the last book, which. And there's thin. I did the audiobook and I was procrastinating, I swear for 90 days, oh, I gotta do this audiobook. And I'm like, I don't feel like it, I don't want to do it. And finally I'm like, like I'm going to do it. So I sat down, started recording and I couldn't believe it, you know, about 100 pages of content. I got it done in a day and I edited it and I uploaded it to Amazon. I just wanted to do it all myself to see it's not the most efficient. I prefer to outsource. But I was like, screw it, I'm going to do it. That way I know I can always direct someone better with the next next one.

Yeah.

So, yep. So I, I, I do that and then what I'll do is I assign the next phase to a team member. So I'll go through and show them all of the assets and collect them all. I'll make a video and I'll say, here's my goal, here's the deadline. The next step is yours. So at this point I do have a real editor and a writer who's really organizing and structuring my stuff.

And then they'll, when they get the draft done, they send it to me and say, okay, your deadline. They give me about a week to turn it around. And right now I'm trying to flip it in 48 hours, like go through everything, rewrite, and then I make a video describing why I did what I did. I found that when they kind of feel my energy versus just typing responses, there are sometimes nuances that you simply can't communicate effectively.

And then there's.

And then what I like to do is get speaking engagement, so I have to talk about it. So I am going to do an AI book. And today I had a performance, a speech when I was in Costa Rica, I had a roundtable and I need to be in audiences and feel what their value is. Again, you pick up on these subtle nuances. Like if I didn't have an audience and I didn't know what I was going to do with it, I know I'd miss it by 30%, you know, and then my typical scenario now is usually by 4,5 o' clock at the latest. Is my unravel unwinding, where lately I've been eating closer to a one meal a day and I'll wait till the end of the day. I might snack a little bit, but I'll hit like 4 or 5 o', clock, I'll have my meal and then I watch shows. So I'm finding that I'm, I watch shows as though I'm a director and like a showrunner and it's turning me into a better storyteller and a writer and, and I'm close to it because I'm imagining what would I do if I were making this program? I'll be entertained as well. But I've allowed myself the indulgence of consumption, which I didn't do for 20 years.

Cool. Well, that's another good way to rest and recharge your mind too. Yeah.

I've got to have a certain amount of just kind of space out time every day.

What are your space out modalities? Like what are your favorites, where your at your very best?

Okay. One is like today happens to be a Monday. And the. I get a bunch of magazines digitally and I get maybe 30 or 40 different magazines and one that comes out on Monday is the New Yorker. And I always read that from COVID to cover. I love the cartoons in it and I love, you know, it's just a well written thing and you know, half the stuff I'm not interested in, but the other half I'm really interested in. And so that's something I always do to space out. And maybe a few other magazines like that I used to collect in a long ago period of my life, British sports cars like old Jaguars and old Rolls Royces and things like that. And I still, I don't want to be in that world anymore. But.

I do like to look at the pictures of them. And so I subscribe to a number of classic car magazines where people are auctioning off different cars and things like that. And I just like to kind of keep up with what's going on. And I love to look at the pictures especially of cars in the 1930s. That's kind of the sweet spot of the cars that I'm interested in. So.

Although I do grow up into the 50s with Jaguars, I love the Jaguars of the 1950s. So that would be a good example of a space out flipping through my classic car magazine. Another would be flipping through. There's a terrific magazine that I just love called Wallpaper. And it has nothing to do with wallpaper. It has to do with home art basically. And they talk about wallpaper metaphorically, the stuff around you. And so highly recommend that as an aesthetic experience and just a kind of a visual meditation because they have so many different design ideas in it and things in food and fashion and media that I would never in a million years think of. And so.

That gives me a big space out time every week.

Wow, that's. That's good. So I have one modification which is recent and before we rolled the show today, I was showing you a bunch of stuff with AI Because I've modified my creative approach.

I don't need a muse any longer because the AI is my muse. And I feed in a whole bunch of ideas into ChatGPT to write my first draft now.

Or create stories with scripts or I've been using this tool midjourney to create visuals. So I'll have like a book cover design and I'm going to show something to you because as you were just describing, you're talking about the New Yorker. I fed it the line.

And here it was. It said, create a cartoon in the style of the New Yorker. Black and white panel featuring the author Gay Hendrix, discussing the big leap with a group of women who are watching him speak. And I'm just going to show you this. So obviously you can only see this.

If you're on YouTube right now, but look at these panels. Gay. Isn't that amazing?

That's amazing.

And you could literally just take this and put a caption underneath it.

But, you know. So the point of the story is I'm finding by creating a lot more sensory inputs, it's accelerating my ability to visualize. And I like prototyping. I found that iteration, the faster I can iterate, the better I created. And that's why having like for my brain chemistry.

Doing more.

Having tighter deadlines makes me a much better creator. Otherwise I'll lose interest too quickly.

That's interesting. What a good thing to know about yourself, especially in this time of peak creativity that you're going through. Writing a book a quarter. That's what I would call peak creativity.

Yeah. Yeah. Well, I've, I've. I'm up to. This will be my 15th and I think you're at 50 something, something like that. I always have that little inspiration in the back of my head and it's not. I don't feel the competitive urge so much as I know I didn't write my first book until I was well into my 40s and I served. I worked with so many amazing authors for so many years and working with Ariel, for example, and I felt like I don't know what was. I just didn't feel like I had something to write about that would have had value. I know that isn't true, but certainly some level of an imposter syndrome thing going on.

And unworthiness.

Well, it sounds like you've made a pretty major shift if you're cranking out four books this year.

Well, I know some of it are like, I know what resonates once you know that audience. And you know when you have that lean in experience, it's sort of like I'm repeating myself a lot. So some of it is self preservation and time being efficient and just being able to say, just read this. This will do a better job than I can do. And oh, by the way, you can grab the audiobook and be through it in like three hours. You know, it's, it's short and, and if you put your audio player in 1 1/2 or 2x speed, you know, you can get it in a flight or a couple of drives. So.

And have you been doing, are you recording your own audiobooks?

I do when I have time. I've recorded. Well, I recorded the Big Leap for sure. I recorded the intro to my latest when the Genius Zone and then they brought in an actor to read the rest of it.

I love to do it myself, but also at this stage of the game, don't enjoy going in a sweaty little cubicle for three days of my life to read into a microphone.

Yeah, I, I totally get it. I totally get it.

That's. I really understand. Well, here, let me show you this last thing here as a little inspirational thing. That's what, that's your New Yorker style cartoon. It's pretty good. It's pretty good. And then we could go to chat GPT and ask it to write a caption about what happened at the, at the Big Leap conference that you were speaking at.

Yeah, that's good.

Yeah.

I've often wanted to write a graphic novel or comic book style thing. This would be an ideal format for how to do that.

Yeah. And at a minimum you could use it to prototype it and then pass it along to a real artist or designer when you're crystal clear. Or it could genuinely like again with a little bit of coordinated effort. You can absolutely direct it to get exactly what you want and you get really good after. You know, it didn't take me too long after about two days.

It's a more effective creative partner than real people for me.

It's so amazing. Well, I'm going to, I have tried it a couple of times, but I haven't really put any systematic attention into it or really taking it seriously. I was mostly just playing with it, but even just playing with it, it produced some amazing results. Well, all right, well let's. I think we've kind of come in at this from a bunch of different angles and I hope it's been helpful hearing about our creative process. And also the new information about the new artificial intelligence stuff is just kind of truly mind boggling because it has the potential to change so many different systems and industries.

It does. I'm, I'm excited. We've got a lot of.

You know, there's, it's going to be very disruptive. It's gonna inspire a lot of fear. And at the same time, I look at it and say, if you're a creator, it's gonna make you three to ten times more effective at everything you do and faster and more efficient. And it's just a tool, you know, like anything else. And folks who embrace it the soonest, it'll be like, I know some people said I'm not going to use email or I'm not going to use a word processor, I'm not going to use a fill in the blanks here. And you know, remember the people who collected poop on streets when there were horses were mad that their jobs were taken away. But I think most of the residents of the cities were very happy that they didn't have that smell around them all the time. So.

So here's to picking up poop.

Happy note.

Yes, sir. Well, here's what I'd be inspired by is if we get your comments, head on over to the bigleep podcast.com and share how you're using AI or leave it in the comment section at Apple. Itunes as well, with a five star review of course would be fantastic. So anything else you want to leave our listeners and our viewers with?

Well, down underneath all of the technology and everything is your relationship with your creativity. And I like to think of my creativity just like I think of my beloved, my wife, my soulmate Katie. And that is that on a daily basis I woo my creativity. I woo my wife of 43 years, you know, because I want every minute to be full of that intense form of love and communication that goes on when you're really intensely wooing something. So woo your creativity just like you woo your beloved.

I love it. That's a great way to end. So thank you for listening. Thank you for watching. We'll see you in the next episode.