Tag: actorlife

How I Did 30 Auditions In 30 Days!

Chasing The George

On April 4th, 2019, my teacher, Richard Lawson, gave my entire scene study class an assignment to do 30 self-tape auditions in 30 days. He gave us this assignment to keep our auditioning skills sharp. Richard says that actors should practice auditioning every week and not wait until you get an audition to practice. In addition to shooting 30 self-tape auditions in 30 days, he also wanted us to submit the auditions to him every day. He had a fellow student keep track of the audition submissions on a Google spreadsheet to see who was complying with the assignment and who was not.

Once he gave us the assignment, I immediately knew how I wanted to tackle it and set myself up for success. I approached the assignment as if I were a producer setting the production schedule for a film. I looked over the next 30 days and saw them as shoot dates.

Starting with day one, I already had my sides chosen. And on that same day, I logged onto Showfax to start finding sides that I could then distribute over the course of the next 29 days. While looking for sides, I knew that I wanted to focus on my first circle of casting (those characters I can play right now) because if I put my energy into those characters, then that’s what I’ll pull in from the industry.

As I accumulated my sides, I arranged them in terms of which date I wanted to tackle them. I knew that I wanted to have a combination of prepared auditions and cold read auditions (leaning more towards prepared auditions then cold reads) So, I scheduled the prepared auditions further down the week and then decided which date I would start working on them prior to shooting them.

I also cast the people who would be readers in my auditions. I knew that I wanted so and so on this day and so and so on that day. And in turn, I helped some of them with their auditions as well. I also had readers on standby if my first choice had to reschedule for whatever reason.

I also thought ahead in terms of wardrobe for each character I was auditioning for.

So, with this system set in place, I could see the entire 30 days. It became less daunting and more doable. I was at cause. I was in the driver’s seat. I planned ahead and saw everything from beginning to end. I was able to successfully shoot a self-tape audition every single day. I never fell behind. I never flinched from doing them. It was one successful audition after another. And by successful, I mean getting them done, executing them on time, making choices, being off book (unless it was a cold read), etc.

Tackling these auditions like a producer helped me to maintain my sanity.

I even posted a still image from each audition every day on Instagram and Twitter to document the journey. About two weeks into the journey, I also started posting still images on Facebook–starting with the still from the first audition.

When I emailed Richard the link to my 30th audition on May 4th (May the fucking fourth be with you!), I threw my fists in the air and cheered! I felt so good! I felt so accomplished! I felt like an artistic warrior (I am an artistic warrior!) And the most important lesson for me about this assignment was that IT WAS FOR ME. I wasn’t doing these auditions for Richard (that was not the point of the assignment) I was doing it for ME. To stay ready and sharp when it comes to auditioning.

I really don’t think that many people get the enormity of this achievement. This assignment was an event. This assignment was unique and it stood out. This assignment was challenging. To execute 30 self-tape auditions in 30 days was no small feat. It takes a lot of courage, tenacity, energy and excitement to tackle and finish an assignment like this–in addition to all of the other things going on in my life both professionally and personally. I remember being on set for the national commercial I booked right in the middle of this assignment and I was working on my audition sides at 2:30am on set!

Thank you to the following people for being my awesome readers over the last 30 days:

Chris Beber, Maia Modeste, Sayaka Miyatani, Jayne Marin, Angie Padilla, Emily James, Jessica Sade Ward. xoxo

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How I Booked A National Commercial By Crying

Chasing The George

Hello artists! Let’s get right into my new blog entry!

I booked and shot a SAG national commercial on April 17th! This was the second commercial I booked in 2019 and I look forward to booking more this year. I had a blast being on set. I had a blast postulating and envisioning that the awesome crew on set would be the same crew on the set of my TV series that I’ll be executive producing through a major streaming platform like Netflix, Hulu, Amazon, Apple, etc. I had a blast with my co-star and the takes we did together.

(I won’t say the name of the product until it airs!)

I can’t wait to be on set again! This is where I belong!

Now, in terms of how I booked this role, I truly believe it’s because of the choice I made in the initial audition. When I arrived at the audition, I read over the copy before signing in. I wanted to get a sense of what was going on in this particular commercial spot. I then signed in and sat down.

When the casting director came out, they brought us all in to do a group explanation. I got further clarity of what they were looking for (“They” meaning the clients of the spot and the casting director) The casting director said something really important: “Every person we brought in has been making the same choice and expression. When you come in, please find another creative way to express excitement towards the product.”

Immediately, my training kicked in. I always hear my teacher, Richard Lawson, say “to go the other way.” Know what the scene is about and then go the other way. I knew what the scene was about and I wanted to go the other way in terms of my reaction to the product. Also, I utilized the acting checklist that we use at the Richard Lawson Studios. There is a checklist item called “Evaluation”, which means, “to what degree?” So for me, go the other way and to what degree? Also, we at the studio are aware of a very powerful quote by Ralph Waldo Emerson that says your first impression is genius. To follow that gleam of light that flashes across from within. That you are a genius until proven otherwise.

We all went back into the waiting room. As I waited to be called in, I went over my choice and committed to not changing my mind. I committed to not flinching from my choice. Again, my first instinct is genius. Soon, I was called in. I slated for camera and then delivered my audition. When I saw the product, I became so overwhelmed by excitement that I broke into tears. And then I started blowing kisses to the product. And then a grateful smile broke through the tears at the end.

So, I went the other way. I was so excited over the product that I expressed it through tears…and then the kisses emerged…and then the grateful smile emerged at the very end.

I could hear the excited reaction behind the camera. I knew I had delivered a different and refreshing choice.

Nine days later, I attended the callback and delivered the same audition for the casting director and the clients of the product. Again, I didn’t flinch from my choices. And again, I sensed that they enjoyed my performance. I left my callback and drove home. That same night, my agent called me at 9:30pm to say that I was on avail. I was happy and grateful to be on avail. I was grateful that my choice impinged the room not once, but twice. Two days later, my agent called me to say that I booked the commercial!

Now, will I cry at every audition? No, of course not. However, I will always listen to my instincts as it relates to the character and the scene at hand. What is going on in the scene? And do my choices support the story that needs to be told? Because at the end of the day, the story is everything.

Until next time! Happy Easter!

Table Read Adventures!

Chasing The George

Hey everyone! Let’s get right to it!

On March 23rd, I had the pleasure of acting in a table read for a new TV series in development. The writer wanted the first three episodes of the series read out loud. I was cast last minute because the other actor had a scheduling conflict. I jumped at the opportunity and got to work on this leading character.

The writer emailed me the first two episodes that my character was in. I enjoyed the writing and I also enjoyed the chemistry between my character and one of the other leading characters. I made my choices. I carved out my subtext. I knew that when I attended the table read, I wanted to impinge, I wanted to be moment to moment, I wanted to let the scenes occur.

I arrived early. EARLY AS I ALWAYS DO (LOL)  There were a lot of actors cast for the table read, the writer was there, their business partner was there, and the casting directors were also there.

I took my seat and the reading began. I did great! I delivered what I had worked on and I also delivered on what I wanted to have happen in the room.

The reading came to an end and I started saying my goodbyes. I thought I was done. I was in the first two episodes, I delivered and now it was time for me to say goodbye before they read the third episode.

As I’m saying bye to the writer, he said to me, “Oh wait. You’re in the third episode as well.” I said to myself, “I did not know I was in the third episode. I never received that script.” But like the true professional that I am, I said to the writer, “Great! Let’s do this.” I sat back down and grabbed a copy of the third episode script. This was literally a COLD READ.

However, because of my training, and because I had already done work on my character, I was able to act on a high level during the third episode. Again, the third episode was literally a COLD READ for me. I had not seen any of those lines before and I did not have an opportunity to read through the script at the table read. I just sat back down, grabbed a copy of the script and we jumped right in.

Again, because of my training, I knew to be present, to be moment to moment, to listen, to impinge, to be impinged, to trust my impulses and instincts, to not judge anything that came to me. I knew that I was continuing the life of my character in the third episode. Overall, I did great for a cold read!

When we finished the third episode, I said my goodbyes again and was able to leave without any additional surprises.

So, I wanted to share that with you all!

How To Break Up With Your Agent

Chasing The George

Hello artists!

I wanted to write about this because a colleague of mine recently asked me how to break up with an agent. There was another person present in the room and they jumped in and offered a viewpoint. Their viewpoint was negative (“Fuck them.” “Fuck the agent.” “They drop clients all the time without letting them know, so why should you let them know you’re dropping them?” etc.)

After this person shared their viewpoint, I offered mine. For me personally, I don’t like to burn bridges. I don’t want to establish a reputation in this town for being unprofessional and for having a bad, negative attitude. This is a small town and word travels quickly.

If I want to end my business relationship with an agent or manager, I write an email that has a sense of ethics and principles behind it. I don’t blame. It’s not filled with anger. I don’t point the finger at whatever upsets I have with them. It’s a respectful letter to end the business relationship, and at the end of the day, I sleep better at night because I ended it cleanly.

The problem is that most actors complain about their agents, but what are YOU doing to strengthen the relationship? Are you providing them with clear casting? New headshots that reflect that clear casting? Are you providing them with new demo reel material? Are you in training in acting classes? Are you utilizing social media and your relationship map to build relationships with people in the industry? Many actors don’t do shit, but then want to blame their agent for not getting them out. So before you break up with your agent cause “they’re not working for me” or “my agent doesn’t get me out”, take a good look at your part in this relationship because it takes two to tango…unless you’re into threesomes and orgies.

Many actors are ENTITLED and/or DILETTANTE. They don’t want to do any of the work, but still expect to receive all of the benefits, accolades, job bookings, etc. Fuck that. It doesn’t work like that.

So with that being said, here is an example of a letter I sent to an agent a few years ago. I left this agency because the agent was hostile. However, I still kept my letter clean.

Dear so and so,

Hope you and your colleagues are having a great week. It’s been a little over a year since we started our journey together. I want to thank you for all the work you and your colleagues have done for me from submissions to making my acting profiles more specific.

I’m writing because I’ve been assessing my statistics and journey as an artist, and after much thought and consideration, I am officially giving my official resignation to your agency. As of today, I would like to officially step down from your client roster. It’s a decision I feel is best for me at this time.

Again, thank you for everything and I wish you, your colleagues and your clients much success and artistic fulfillment. I will do my part and remove your agency from all my acting profiles as soon as possible.

Please let me know you received this.

Take care and thank you again.

Best,

Jorge Ortiz

Part 2: Are You A Pain In The Ass?

Chasing The George

Hello my fabulous artists! My last blog entry, “Are You A Pain In The Ass?”, was quick and to the point. Here is the link to that entry: https://wp.me/p8uI5M-Fq

And a few people reached out to me to expand on what I meant by being a pain in the ass. So, here is a short list that reflects sentiments collected from casting directors, producers, teachers, stage managers and assistant directors. This list is not exhaustive. I’m sure there are more.

Below are things that will make people not want to work with you:

**You have a bad attitude (So you’re not directable or teachable and then some)

**You know everything already (So you’re not directable or teachable and then some)

**You are non-compliant with assignments or with direction that is given to you (So you’re not directable or teachable and then some)

**You have a bad attitude (So you’re not directable or teachable and then some)

**You arrive late to a meeting, to an audition, to class, etc. and don’t communicate about it

**You talk down to people because of their gender, their ethnicity, their “lack” of credits, their “lack” of experience

**You complain and complain and complain, yet come up with no solution to be at cause

**You have a bad attitude (So you’re not directable or teachable and then some)

**You make other people’s job exponentially harder

**You are entitled and feel that everything should be handed to you

Get the picture?

I share this because I want artists to WIN. Artists are powerful. We have the ability to create change faster than any other profession. We have a responsibility to our calling as artists. Don’t treat this responsibility lightly.

So please: DON’T BE A PAIN IN THE ASS! It will cost you in the industry!

Is This Thing On??????

Chasing The George

And we’re back!!!!!!!!!!!!!! Here’s to a great 2019!!!!!!!!!!!!!!

Let’s get right to it, shall we?

I was at a commercial audition recently and we were all put together into groups of four. And as you may or may not know, first impressions are everything when you walk into an audition room. Hell, first impressions are everything when you walk into ANY room (the bank, the grocery store, etc.) How you walk into a room is everything.

In the case of audition rooms, the casting directors immediately get a sense of who you are as a PERSON when you walk in. Is this person’s attitude light and fun? Or is their attitude dark and hostile? Is this someone I want to hire and work with on set? Your life force coming into a room is vital because the people in the room either like you immediately or they don’t. I have been a reader for casting directors. I have cast my own projects. I know the power of life force. You know immediately if you like someone or not just by them walking into the room. It’s ENERGY.

So, I say all of this because whenever I walk into an audition room, I am coming in with life force and I maintain that life force throughout the entire audition. I walk in with certainty. I am interested in the people in the room. I am present. I am aware that there is a camera in the room and that it may already be on. That camera may already be live and streaming into the office next door or into the office in another city. They already may be watching you. Or, the camera may be off and then it comes on right before they ask you to slate.

So, my point is that we need to be aware of our life force in the room. We can’t turn it off or forget about it at any point in the audition room. If we let go of our life force and become dead in the room and that camera is already on and streaming, what impression are we giving to the people watching us? Similarly, if we let go of our life force and become dead in the room and the camera isn’t on, then do we ramp up our life force and get ready again when they ask us to slate? Come into the room with life force and maintain it. In this way, it’s always there. It’s always present. You don’t have to get ready to stay ready. You don’t have to keep ramping up your life force on and off. On and off. On and off. Am I making any freaking sense?

Maintaining your life force during the whole audition is an energy that is palpable and exciting.

So, my group goes into the audition room and my life force is on. I’m interested and engaged in a real way with the session runner in the room. My group stands in a line and I immediately noticed that the other three had no life force. They were not engaged or present. They were just standing there. And the camera is pointing right at us. Again, is it already on? Is this thing on???????????????????

The session runner asked us to slate one at a time to the camera. I went first and I delivered a great slate. I was already living in my life force and so my slate was a natural extension and continuation of it. I didn’t have to ramp up. I didn’t have to get ready to do my slate. I was already in my life force and my slate was the extension and continuation of it. Stay in it. Maintain your life force. I watched the other three actors slate and they all did the same thing: They came to life when they slated and then went lifeless after they slated. It was so interesting and fascinating to watch. They turned on like a lightbulb when they slated and then they turned off after they slated. Not one maintained their life force.

And now by this point, we all know the camera is DEFINITELY on and recording. Don’t assume that just because you’ve slated that you can now go back to your inactive state. Don’t assume that the camera has moved over completely to the next person. Don’t assume that the camera hasn’t pulled out into a wide shot after the slates to get a full shot of the group. Imagine that: The camera is in a wide shot recording all of us and you look out of it. Or you look lifeless. Or you look like you have an attitude. Or you look like you don’t want to be there. I’m looking over at them like: “This is supposed to be fun!!!!!!! This is not a funeral!!!!!!!”

Again, life force. And I don’t mean you do cartwheels in the room and run for mayor hoping to be liked. I’m not talking about phony presentation and over-the-top theatrics. Because that energy also reads negatively in the room. That is also off-putting. Life force is connected to your purpose. Your sense of self. Your certainty. When you walk in, does the room light up? Do you make the room better? When I teach the Professional Development Program class at the Richard Lawson Studios, I ask the students after they watch their auditions: “Would you hire you?”

Back to my audition. So after we all slated, the session runner asked us to share a story about who inspires us. Again, I went first and delivered my story. I was a person in a place sharing a story. When I was done, I maintained my life force and listened with interest to each actor who went after me. I was engaged and present. However, each actor did the same thing again: They came to life when they told their story and they went lifeless after their story. Not one actor listened to the other actors’ stories. They just stared off into space like, “Is this over yet?” Again, like they didn’t want to be there. Like this wasn’t fun and exciting. JESUS MOTHERFUCKER!

When you go to an audition, maintain your life force from start to finish because that camera may already be on, you don’t know who else is watching you from another room and you also don’t want to rev up, amp up, re-ignite, turn on and off your life force. It’s like turning a car on and off. On and off. On and off. Turn that sucka on and let that engine purr from start to finish.

Happy 2019!

Your Mother-Effing Wins!

Chasing The George

As 2018 comes to a close, I hope all of you have a chance to reflect on the numerous wins you’ve had this year. A win is anything that is an accomplishment. Something that moved your life or career forward in some way, no matter how big or small.

This being my last blog entry of 2018, I want to continue the tradition of letting the last entry be a listing and celebration of some of the wins I’ve had this past year.

Arrogant (definition means “claiming for oneself” and “pride”) So have some arrogance as you generate your list of 2018 wins. You’ll be shocked at how many wins you DO have!

Below is my list. Check it out. Let it inspire you to remember your own wins. Let it inspire you to see the different types of wins that exist.

See you in 2019!

A sample of my 2018 wins:

January 1st: Made it to another year

January 13th: Celebrated another birthday

January 20th: Drove down to Tijuana to do research on a scene I was doing from Weeds

January 21st: Attended the SAG Awards screening at the Alex Theater

February 1st: Put up a scene from Weeds

February 9th-12th: Went to San Diego for a mini-trip

February 15th: Put up a scene from Best In Show. Richard Lawson opened up my work to the class

February 17th: Acted in a table read for the feature film, Support

March 3rd: Met with the playwright, the director and the executive producer of the play, The Blade Of Jealousy, because they were interested in casting me in one of the leading roles

March 4th: Attended Oscars viewing party at the WACO Theater Center and delivered a kick-ass Best Actor Oscar speech to everyone in attendance. An once again, I predicted the Best Picture winner: The Shape of Water

March 5th: Auditioned for a leading role in the feature film, Moon Made

March 14th: Paid off my Wells Fargo credit card debt

March 23rd: Received a residual check from SAG-Aftra for a feature film I was in, Balls To The Wall

March 31st: Saw my favorite drag queen in the world, Bianca Del Rio, on her sold-out world tour, Blame It On Bianca Del Rio

April 3rd: Auditioned for the feature film, A Kiss On Candy Cane Lane

April 21st: The Haeggstrom Office submitted me for a series regular role (they don’t even represent me!) but I am friends with someone who is represented by them

April 22nd: Acted in the Homeward LA production at the WACO Theater Center

April 26th: Submitted myself for a series regular role in Tales Of The City

May 3rd: Did a scene from Black Mirror. Richard opened it up to the class

May 3rd: Received an offer for commercial representation from Green & Green Talent Group

May 8th: Officially signed commercially with Green & Green Talent Group

May 10th: Commercial audition for Fox Sports

May 11th & 12: Attended Drag Con!

May 14th: Commercial audition for Fed Ex

May 19th: Shot the scene from Black Mirror for my theatrical reel

May 22nd: Met with the LoveStone Agency for theatrical representation

May 23rd: Commercial audition for Honda Pilot

May 24th: Applied for the NHMC Television Writers Program

May 29th: Did a kick-ass prepared audition and a kick-ass cold reading for TV episodic director, Lily Mariye

May 31st: Acted in two scenes for scene study class: Girls Trip & Elaine Earnest

June 1st: Commercial audition for WALLY

June 4th: Got a callback for WALLY

June 6th Commercial audition for Universal Studios

June 7th Put up a repeat of Weeds in scene study class

June 8th Audition for Amex

June 11th Audition for Thermador

July 9th Audition for Google Chrome app

July 10th My weekly blog, Chasing The George, celebrated its 3rd anniversary

July 26th Finished paying off my Citicard credit card

July 31st Finished post production on The Doppelganger, a film I wrote, executive produced and starred in

August 3rd Submitted The Doppelganger to the Santa Barbara international film Festival and to Sundance

August 7th My blog qualified for the Word Ads program on WordPress

August 11th Submitted The Doppelganger to the Atlanta Film Festival

August 13th Audition for Toyota

August 15th Meeting with MZA for theatrical representation

August 16th Got a callback for Toyota

August 18th Submitted The Doppelganger to the Maryland Film Festival

August 26th Celebrated 16 years in LA!

August 27th My blog entry, How I Wrote A Script In One Hour, got published in Medium and Thrive Global

August 30th Signed with MZA for theatrical representation

September 7th Commercial audition for a national PSA for Teachers/PTA members

September 22nd Submitted The Doppelganger to the D.C. International Film Festival and the Florida Film Festival

October 3rd Got a series regular audition for a new TV series titled, People Just Do Nothing

October 8th Had successful eye surgery

October 21st Leased a new car

October 30th Voice over audition for a Slender Tone fitness product

November 3rd Did a kick-ass cold read audition in front of a packed room at the Actors Expo in Hollywood

November 14th Had a successful glaucoma surgery

November 15th Submitted The Doppelganger to the Phoenix Film Festival and the Tribeca Film Festival

December 1st Commercial audition for LA Tourism

December 4th Commercial audition for Diet Coke

December 5th Did an audition from All American in class

December 12th Re-introduced a new half hour pilot I wrote

December 12th Commercial audition for Facebook

Overall 2018 wins:

Taught many classes at the Richard Lawson Studios

Did numerous prepared auditions and cold read auditions in my PDP 3.0 class (Professional Development Program)

Increased my financial abundance

Quality time with my partner and friends

Made new friends

Supported many friends in their personal and professional endeavors

Go Out With A Bang!

Chasing The George

Hello fellow artists! With 31 days left in 2018, is it time to slow down? Are the upcoming holidays tempting you to wait until the new year to get back into the game with your career? For me, this is not the time to slow down. Rather, how can I go out with a bang this year?

How can YOU go out with a bang this year? Is there a project that you can finally bring to completion? Is there a project that you’ve been putting off that you can finally begin? Is there a call you need to make to your agent? Or a meeting you want to have with your manager?

I believe that there are a plethora of artistic and administrative things that can be done over the next 31 days. For example, I had a great audition today. I have another audition on Wednesday. I presented the research I’m doing for my half-hour pilot a few days ago in class. I am still submitting my film to film festivals. I am still working on my relationship map in creative and engaging ways. I am still utilizing social media to put myself out there. I am going to re-post a fun project I did at the end of 2016 (“Elf On A Shelf”) on social media from now till December 31st.

And I know what you’re thinking: “I, I, I. It is always I” And you know what? You’re right. This is about me. You have to be a little selfish in the pursuit of your dreams and in the creation of your career. By the way, “I, I, I. It is always I”, is a line from the movie, “Lean On Me”. A little fun trivia for you all!

There’s something really powerful about ending the year with a bang. It’s like a stamp. A touch down. The boxer who triumphantly throws their hands into the air. You throw down till the very last day and the universe sees that. It’s a powerful energy that you have put out there. I think some people lament the end of the year and lose steam because they get caught up in whatever losses–or perceived losses–they have. They focus on the acting jobs they didn’t book or the projects they didn’t start or the film festivals they didn’t get into or the writing competitions they didn’t get into or whatever. So they throw in the towel and wait until the new year to tackle their careers again.

I’m like, “Fuck that.” Focus on the wins you’ve had. Focus on the lessons you’ve gained and how you can improve the next time around. See what wins you can have over the next 31 days. What new relationships can you start developing? What shows are you interested in targeting? Start reading the industry trades to see what’s going on. See if you can land yourself more auditions. Thank a casting director for the great work they do. Buy a self-tape kit for your self-tape auditions…and then practice auditions at home. Re-arrange your office. Or buy an office, a base of operations from which to work from, if you don’t have one yet.

And the key to all of this is to look within and ask yourself, “How do I want my year to end?” So that the actions you take are personal and specific to you.

And I know what you’re thinking, “I, I, I–” Just kidding. Yes, Hollywood starts shutting down during this time of the year, but that’s just one piece of the puzzle. Refer to the above again to get a sense of the things you can do to end the year with a bang.

The possibilities are endless. Have fun with the process. End the year with a bang. And remember to celebrate along the way!!

What Is Tenacity? And Do You Have It?

Chasing The George

Tenacity

photo credit: makeitsweetandneat.com

Tenacity, as defined by Dictionary.com, is: the quality of being tenacious, or of holding fast; persistence. The quality or property of holding together firmly. Origin of the word: Latin tenācitās equivalent to tenāc- (stem of tenāx ) holding fast, derivative of tenēre to hold + -itās -ity

This word has been in my existence for a while now. It keeps popping into my head as a reminder to not give up. To keep going. To hold fast and to hold on. I’m going through a challenging experience that I know is only temporary. It’s definitely challenging, but I remind myself that this too will pass. And I have been tenacious so as to not fall into apathy, scarcity or despair.

With certain temporary modifications set into my routine, I’m doing everything in my power to stay in the game. I am still going to acting class. I am still around other artists. I submitted a self-tape audition for a series regular role. I submitted a self-tape audition for a national voice over campaign. I recently finished the first draft of my business plan for 2019 and have already begun utilizing it. Tenacity.

I recently did a kick-ass cold reading demonstration at the Actors Expo on November 3rd in front of a room full of actors. I am about to do another round of film festival submissions for a film I executive produced, wrote and co-starred in. Tenacity.

On and on I can go with more examples.

Tenacity. I have to hold on. I can’t quit. I won’t quit.

I am grateful to have tenacity in my life to keep me going. I hope that you do too because life will throw us challenges. Will we let those challenges stop us from being artists? From doing the thing that we love to do? Or will we let those challenges defeat us and make us quit?

With the challenging experience that I am currently going through, I’m also looking at where I can reach out for help so that I don’t disappear and quit. Asking for help is so important. Having a community to lean into is important because we can’t go on this journey alone. Positive thinking also helps in terms of the postulates you are putting out there.

So, what challenges are you currently facing and how can you apply tenacity in these areas? So that in this way, you continue doing the thing you love to do. You hold fast and you hold on.

I’d love to read your comments below in terms of what you’re going to do to be more tenacious.