Please Note

  At 7:48pm, EST, on Sunday, December 12th, 2010, I finished my novel.  I was in my apartment in Burlington, Ontario. 

  Convergence is 311 pages (8 1/2 by 11), and the first draft is 127,511 words as of the end of writing.

  I've finished my novel. 

  Huh....isn't that something?

Soul Mates, Stunt Doubles, and Other Realities....

  Watched Will Smith's Hancock the other day for the first time.  I enjoyed it. Grittier than I expected, and Jason Bateman's performance inspired me to push Michael to become a PR guy: I think he'd be spectacular at it, personally.  Michael and Bateman's character Ray share that quality: they can persuade you to do good, functional things simply by talking to you, not by raising their voices or pushing you around, just talking.  Theirs is a subtle power, one that's far more effective on me than "C'mon! Go do it!  Do eeet!".  But that's neither here nor there.

  What most caught my attention was Charlize Theron, and who could blame me? Oh, Charlize....

I thought her role in this movie was especially poignant.  The only other "superhero" in the world, Hancock's wife for over three thousand years.  Built, like he was, to have her superpowers diminish and immortality fade when she chose a mate, so that they could live and die together, as normal people, if they so chose.  The only way they can be "superheroes" is to be apart. 

  What powers do we lose when we're in love? 

  It's coming up on a year that I've been single.  I've had the privilege of meeting so many others, some in my boat, others paddling alongside me in their own, who were in wonderful relationships, and are now out of them, floating along this unexpected river. 

  Some I've only known as single men and women, others I met when they were just out of a relationship and in the "crazy" stage.  A few are still "recovering", years later, from what happened to them. A few of them went the other way and are now in relationships whereas before they were single.

  For some, life lessons need to be taken internally.  No matter how much people will give you advice on relationships, early on and well after you've fallen out of love and gone back on your own, you have to learn numerous things completely through your own experience.  The old "I'll believe it when I see it" adage applies to some people more than others.

  From a year's worth of owning the whole bed to myself, I can say two things for sure: I know who I am, and I know who I'm waiting for.

  But first, one random point:

Stunt Doubles

 Lining up for Harry Potter  a few weeks ago with Michael and Aaron, we were talking about the new "See Friendship" function on Facebook.  I off-handedly remarked that Alice had said that our "friendship" was so epic that you'd swear we were dating.  "Aren't you?" teased Michael.  "Yeah, she's like a part-time girlfriend for you," said Aaron.  "You need to consider getting an actual girlfriend and not just a female friend."

  Checking this with Alice through our preferred medium of BlackBerry Messenger afterwards, she concurred:

"Yeah,you should get a full-time girlfriend soon. As much as I enjoy our friendship, it'll be a lot more fun for you ;)"

 The next day, I met Pam for coffee at the Indigo bookstore in Stoney Creek.  When we were walking to our cars afterwards, I mentioned the conversation of the previous night.

   "Oh, you mean stunt doubles," she said.

   "What?"

   "Well, it's like an opposite-sexed substitute for either an existing partner or none at all.  You know how sometimes if a boyfriend wants to go somewhere that his actual girlfriend doesn't like, he'll sometimes get a female friend to go with him?"

    "Yeah?"  Pam nodded.

    "Yep. Stunt double.  A fill in for an actual partner."

    Not a new concept for me, for sure. One of my favourite movies, Elizabethtown, featured the idea prominently.  As Kirsten Dunst's character Claire says of her friendship with Orlando Bloom's Drew Baylor:

"We're the substitute people."

 

   Being a stunt double or sub for an actual partner's supposed to be something of an insult, but that usually presumes that one of the people involved wants to be more than that.  This is what my ex's current boyfriend used to be: in the end, he got his wish, rightly or wrongly. 

   But for myself, the (re)discovery of the concept made me realize something new: most of the female friends I'm closest to serve as substitute people for my ex.  They're part-time girlfriends, totally platonic, but serving the same functions. And we're all cool with this arrangement.

    Pam and Alice are the two primary stunt doubles I have, I think. Even my ex herself at times...well, the new version of her, anyway.  Each serves different purposes.  Pam's like a big sister who thinks much the same way I do and who really *gets* it; Alice shares many of the same interests and quirks that I do and has a knack for kicking my ass in a good way without meaning to, very effectively; and whenever I need historical perspective, I go to my ex, because after all we've shared, she remains the one human being outside my family who knows me best and longest - fourteen years now and counting.  And, of course, my guy friends provide buddy time and act as a rational, more social contrast for me to measure up my crazy introverted ideas. 

   Again, it is what it is, but I find it remarkable that I had to find at least six substitute people to provide the emotional satisfaction I used to get from just one. 

   It goes to show that none of us are truly functioning under our own power.  We all need those social connections, and those emotional ones in particular, wherever we can get them.  And though we'll occasionally burn our friends out with our whining, complaining, and venting, they'll be back for more, because that's what good friends do. 

   There's more I want to say on the subject of stunt doubles, but I want to touch on something else first, so we'll return to this later.

  Who I'm Looking For....

   Personal value and self worth are often the first casualties of a breakup or divorce, provided you didn't lose them already in the time leading up to the split. Thus, you might feel inclined, as I did for about seven months, to look for a new relationship way before you've managed to put yourself back together again.

  They'll tell you "you're not ready to date", and sheer ego will keep you from listening.  But you aren't, you really aren't, until you know you can be on your own.  It's old news, it's what everyone tells everyone else who is suddenly single.  And yet, as I said earlier, you've got to learn this from your own experience to really believe it.  As Ke$ha says, love is indeed a drug, and when you're jonesing for a hit after you're stash has run out, you'll say anything to get it.  That's what desperation does. 

  Hell, they may even have to tie you to a tree.

   So then, how do you know you're ready?  Same way you've got to prove to the bank that you don't need the loan in order to get it.  Same way that you need work experience before you can get that first job.

   You're ready for a relationship when you can feel the same love for yourself as you would if you had a partner to love you. 

   I thought I was ready in April.  Then again in June.  And in August, I was actually dating a girl for a bit, and I though I feel this is when I became emotionally ready, I had a ton of career-related challenges - namely French classes and studies that I needed for a job-saving bilingual test - that would have interfered with any new relationship for at least a month and a half.  

   Those may have indeed been self-deceptions, false Buddhas on the road to Enlightenment, but if you'd asked me then if I was ready to fall in love again, I would have said yes.  Not that it would have been a giant lie, but I wasn't as ready as I am now. 

   Because now, when I think of meeting someone, I'm willing to wait for the right person.  I have a surprisingly clear and ever-evolving idea of who she is, and anyone less than that would always be second rate.  That wasn't the case before, when I was willing to date every kind of girl just for the validation. 

   Love costs you your superhero powers, if not applied correctly.  That subplot in Hancock is a great metaphor for what it does to some people, and what it would do to me if I fell in love with anyone less than the right girl. 

   That's who I'm looking for.  Her and only her. 

   Most women out there don't interest me.  My buddies tell me I have to approach them, say hello, and I'm really good at doing this now, but I choose not to most of the time because there's only one kind of experience I'm looking for, and it's not a casual lay.  Most women don't interest me because I'm not interested in most women. Just one.

   Right now, I'm functioning at an overall peak performance in many aspects of life.  I've improved so much and I'm working on elevating the other parts, career in particular.  I'm as sure of myself as a self-reflective ENFP lone wolf author can be.  My ideal mate is someone who would not cause me to revert back to who I was before, and thus undo this evolution in progress.

   I'm uniquely positioned among other men in my social circle to be able to declare this.  For starters, my sex drive is not nearly as elevated as most guys, meaning I'm not going to go skirt-chasing at bars because I can wait for someone special to share that experience with.  I love myself more now than I ever have, not conceit, but a healthy love of self.  I'm more willing to define social boundaries and not give up my time, attention, or beliefs just to get people to like me.  Most of all, I'm living for things that are bigger than me, primarily art and storytelling in the form of writing, and acting when that gets off the ground. 

   As such, the only dance partner I'm willing to take for a spin will be the so-called "One".  Soul mate. Twin flame.  Whatever you want to call her, she's the only one I'm willing to go and get.  I'll know her when I see her.  And since I'm waiting for only one particular girl to show up, I don't need to waste my time chasing other ones around the ballroom.

   That way, when I do fall in love, I won't be giving up any of my power. The love-drug makes you do so many stupid things. Given the right circumstances, you can fall in love with just about anyone: it's how you explain the "why is he with that bitch?" or "why is she with that asshole?" scenario. When you're with the wrong person, you can damage yourself for life, lose your abilities, sometimes forever. Love isn't enough.

   In a relationship with my soul partner, however, we can only add our powers together, because she's the optimal match for me. She doesn't have to be a complete copy of me - she'll have her differences, obviously - but we need to be in the same wavelength in life, giving off the same type of vibration, for this to work right.  Call me picky if you wish, but why the hell would I settle for anything less than the best for me?

   There's a girl out there right now who's everything I'm looking for, and for whom I'm everything she wants to have.  In a way, we're already together, we just haven't caught up to the reality.  And if we're already destined to meet, then in the meantime, I'm going to enjoy today as much as I can, do my utmost to maintain positive energy as work does its thing and the holiday stresses mount and the cold closes in. 

   Who is this girl, though? My equal and complementary spirit? What does she look like?  What is her story?  Does she enjoy Babylon 5 reruns as much as I do? (Scratch that question: of course she does!). 

   I have no answers to the detail questions yet, but however, wherever, and whenever we meet, I'll owe Serendipity a drink at the bar for all of her hard work. 

  Can't buy it now though: Serendipity's busy working as I write this, and there's no drinking on the job.

  Until then, read this.  I thought it was rather sweet.  A page from Serendipity's portfolio right there.

Stepping Stones

  This week should see my first calls from the agency for acting auditions.

   It seems like I've been waiting on this forever, ever since Labour Day when I happened to chance upon the two recruiters in Burlington.  Sometimes I get a small worry that I've oversold this to people.  I mean, I had one person in the last week ask me "besides acting, what do you do?" and yet I haven't even been to an audition yet!  Still, if ever there was an application of the "act as if" principle, it's this.  I'm going to take this one heads on and see where it leads.   I'm excited!

   Creative people are difficult to place in a capitalist economy.  It's probably why so many artists grativate towards socialism or communism: if the basic necessities of life were taken care of by the community, then it would free up artists to explore their craft without fear of homelessness or starvation, whatever it might be.  I can definitely see that appeal.  Sadly, while that could be the way things go in the future, at the present, creative men and women are still having to wait tables, serve coffee, lug boxes, or push paper in offices to support the basics of life to follow their dreams. 

   When they do succeed, though, they succeed big.  It's the difference between Harrison Ford the Carpenter - the job he held to pay the bills; he'd met George Lucas when the director hired him to fix his cabinets - and Harrison Ford the A-List Film Star.  If you look at the percentages of artists living almost obscene affluence thanks to their craft and those struggling for rent and food....well, I'd rather not.  As one of Ford's more famous characters, Han Solo, once remarked:

"Never tell me the odds."

    Off the top of my head, I've held something like nine jobs in my fourteen year work history.  Two were logistics clerk positions; one was a warehouse co-ordinator for a marketing company; one was as an office customer service rep; two were pure administrative clerical gigs; two were as a warehouse material handler; one was as a virtual concierge (in an office, but not doing administration); and one was in sales. 

   Out of the nine, I was happiest in the concierge and the sales gigs.  I only left the concierge for the better shift and pay of government work, and - I'll admit - the presence of a union to keep the man at bay (my new thoughts on unions are a whole other entry altogether).  I only stopped working the sales job because the company itself was shady and disintegrated, resulting in a layoff (I enjoyed the work, though).

   I liked them because they appealed to my creativity, because they challenged me to think outside the box, to use my unique talents.  It's a satisfaction I can't get in government.  Here, there is nothing outside the box.  The box is everything.

    There's a lingering convention in the way Western culture - and the American workforce paradigm in particular - views careers, and that's the idea that you're supposed to find one career for life.  It's that 1950s ideal of the man who works for a loyal company, for fair compensation, who gets rewarded for his efforts if he shows effort.  He sticks with the company for 40 years, then retires with a good pension. 

   Flashforward to the Great Recession...hell, even before.  The 1950s vision is only a memory, and a laughable one at that.  Not only has the economy grown more unstable, but several new work paradigms have emerged.  One of them suits the artist very well: the job as a growth experience, as a stepping stone. 

   You start a job with a great level of excitement, stay as long as the gumption stays with you.  Enjoy your time.  When the gumption runs out, and the job feels like an existential drag, or when you no longer see any chances to move up, start finding something else.  Send out the resumes, do the interviews, and when you get an offer for a new place, tender your resignation at the old, and start again.

   In a way, it's more natural than sticking with the same job for decades.  In nature, there are many species of fauna that will habitate one place for a while, and then migrate to greener pastures when the habitat no longer supports them.  Western culture, for all its greatness which I do admire and defend, seems wont to impose artificial expectations on work, as it does other aspects of life.  Why should anyone stick with something long after it's outlived its usefulness?  When it not only stops providing satisfaction and a feeling of purpose and belonging, but actually starts working against your happiness? 

  The reflex of the traditionalists, of course, is to slap back with the other extreme: you don't want a string of fifteen jobs on a resume.  You don't want to show you're non-committal.  To them, I say this: employers are non-committal.  Way more than their workers.  They won't hesitate to let you go if it serves their interests.  You shouldn't hesitate to drop them in favour of something new if they no longer serve your interests, as long as you do so in a professional manner that prevents too much damage on either side of the arrangement.

   When we say we're in a new economic reality, we need to appreciate that this reality now changes on a daily basis, not a generational one.  Most of the gray hairs for whom I work and who still cling to the old 1950s vision of career will never accept that, nor will their younger disciples for whom life has indeed been a straight and narrow path of relative ease.  Adaptability and knowing when to leap are two qualities I'd advise any young person entering the workforce to develop, no matter what they studied in school, at no matter what level. 

   Above all, I say to these kids: don't look for your career to define you as it has previous generations.  Instead, try to resist the tendency to label yourself and others you'll meet by what they do, and focus instead on the experience of life as a whole, in which "career" is only one thread in the tapestry.

   Your career, like your relationships, like your health, like other parts of your life, should all have one thing in common: they should be accurate reflections of the strongest version of Who You Are. Present tense. That is, they put you in the zone and give you a zest for life, make you excited to wake up in the morning to face the new day.   Doesn't matter what the job is, whether it's in your trained field or not, as long as it contributes to your overall joy.  When it stops doing so, look for something else that's more in line with Who You Are, however you define it, wherever you find it.

   I'm mindful that I'm now as excited about acting as I was about starting my current job, as I had been about the virtual concierge, about many of the jobs that ended up burning me out over the years. I haven't left my day job, and don't plan on it, for all of the shortcomings it has of low creative satisfaction and the social isolation. But I'm no lifer: my boss knows that, and if this new adventure turns out to be lucrative and personally fulfilling enough, I'd be silly to stick with a sure thing that fails to satisfy on both counts.

   How this turns out remains to be seen. That's why it's called "risk". Stay tuned.

***UPDATE: For those of you who have expressed concern, even criticism, that I shouldn't write this for fear that current and future employers may Google me, read this.  Frankly, any employer who would seek that much control over my thoughts and feelings does not deserve my services.

Confidence without Douchebaggery

  The following is a recounting of something Jody witnessed, and may not have happened exactly as depicted, though that's totally okay, because this version's been sexified by Jody's awesome imagination.

 The Phidelts had Wing Night this past Sunday in Westdale.

 After gorging on the delightful parts of some hapless, mass-produced chickens, me and the younger guys chill for about ten minutes before they head off to another pub. 

   During that time, two lovely young ladies emerge from the restaurant, walk past the bunch of us, and get into a car to light a cigarette.  Long story short, one of our entourage - driven by courage, apathy, and a deeper fortitude located somewhere in his pants - walks over to the driver's side.  I have no idea what he says - I'd later find out he opened with "I'd like to see some ID" - but the girls seem to enjoy it and the rest of us are quite entertained.

  "I love the way he sauntered over there," I say aloud.  "It's such a balls-out approach."

  At that point, a brother - who I shall deem "The Moustache" until he gives me formal permission to reprint his name publicly - responds with a cool point. 

"The trick is not giving a shit if people think you're a douchebag". 

  Think about it.  How many "nice guys" worry about looking like anything but "nice guys" when it comes to impressing the ladies?  That's why nice guys fail so frequently and so hard when they try to be less "nice" at bars and at parties: they're aware that they're putting on an act.  They're too afraid of saying something wrong that will make them look like complete assholes to the women.  Their fears become their focus, and thus become their experience.  There's nothing as confidence sapping, as emasculating, as the feeling that you have to choose between being a dick and being the Pillsbury doughboy to succeed at dating, and life.

  The trick is to lose yourself in the part.  And also to eliminate the word "douchebag" from your self description.  All you're doing is just walking your confidence. 

  Much like Jack the Clawless Tabby did in 2006.

  Call it a biological Napoleon complex all you want, this cat is one mean pussy.  Never once did it occur to him that the bear cub could easily take him out with the slightest of swipes, or that he was about five times smaller. The cat had his turf to protect. 

   Jack the Clawless Tabby never dwelled on his shortcomings: instead, he pushed his natural strengths to the max and harnessed them behind a single goal: telling a wandering bear to get the fuck off his property.

 Issues of confidence are rampant in my daily existence, mostly in the assertion department. Assertiveness remains a challenge for me, especially in the presence of stronger, go-getter personalities who are way more cock and balls than I'll ever be.  They give me little room to maneuver: if you push, I'll either dig in my heels or I'll just walk away, start some lone wolf time. 

  Or, if you're really being direct, I'll push back a little more out of proportion to what's called for, but that's a last resort.  I don't much care for pissing matches with people, but if you're on my territory - my home, my office, my arena - I will do what's necessary to protect my sovereignty.

 And yet, in situations where I'm not forced to beat my chest, I'm damned good at the confidence game.  I've landed a couple of jobs where I only barely met the requirements, based mostly on the interview.  Aaron pointed this out a couple of times when I've had moments of doubt: he's one person who sees that strength, and he's one of the most confident guys I've ever met. 

  We have an archetype in Western culture of the disgruntled office clerk.  That person who occupies a lower station in a greater organization who is so much more capable than what he's getting, if only he had the guts to just speak up for himself.  Frequently, the place where he paralyzes himself is one concept, this all-too-familiar fear:

"I don't want to be an asshole."

  Nor is it just guys.  Alice remarked to me today, in a somewhat related discussion, her own qualms with self-assertion.  After showing her the story on Jack the Orange Tabby, she said this:

   I'm always afraid that I'll look like a bitch if I assert myself like that.

    Back to the Moustache for a moment.

    "You know," I say to him, back at the parking lot of the restaurant after Wing Night, "I've always struggled with issues of authenticity, especially when it comes to meeting girls, but you know..."

     I steal another look over at Mr. Ballsy, chatting up the two girls.

    "It's nothing new.  I've summoned that kind of confidence at job interviews, why not here?"

    The Moustache agrees.  "Real douchebags don't care what people think.  That confidence is attractive and they know it.  You can be a good confident person without being a dick."

    Plus, as much as pretty girls can't initially tell the difference between an asshole and a confident good guy at a bar, I'm willing to bet they enjoy the process of sorting them out.

    Simple concept, right?  And yet, so many people fret over it.

   Losing yourself in the role doesn't mean putting on a show.  It's the acquisition and continued accumulation of a genuine feeling, and then just running with it.  It's like summoning a comic book superpower and then swaggering around. 

  Easiest way to summon this power?  Do what Ben Affleck's character talks about in Boiler Room - which Michael is watching over at his place as I type this:

"Act as if". 

   Assume you're a superstar, then lose yourself in the part.  I do this a lot lately as part of my visualization for acting.  Since I started, not gonna lie, my swagger's gotten more attention from all the right places (and a few of the wrong ones).

   As that superstar, walk up to someone today and strike up a conversation like it was nothing.  Unless the other person has some malfunction in that moment, I promise it'll go smoothly.

  If anything, that other person should feel anxious talking to you.  Be polite, kind, say whatever comes to mind, thank them, shake their hands if the chat was meaningful, then make your way out. 

   As you leave, notice that feeling - high, energized, certain - and carry it with you as long as it lasts. 

  And remember it the next time you see that cute girl you've been dying to talk to.

  To the naturally confident, extroverted A-types, this seems so basic, but to guys like me, it's always a new revelation, like a monolith from 2001.  Some people need to have this literally beaten into our skulls with a proto-human femur bone to make sure we never forget.

  And yes, lately I've been following my own advice and doing this with women.  More on that in a later entry.  Back to the novel, in the meantime.

Dare the Universe

Blog Evolution

To make any blog more searchable, it helps to include a few words about what it's about.  It's also preferable not to have those keywords all appearing at once in the title banner.  Hence, why I've resorted to the tag cloud, visible in the module on the upper right corner of the homepage to Dispatches.  I did a quick skim of all the entries to date and tagged according to what I saw. By the numbers, this isn't as much of a divorce blog as I thought it was.  We'll see how it evolves from here.

The Secret, on Amphetamines

Thursday, I returned home from work.  Another busy week, yet more mediocrity. 

The reason I'm perpetually unsatisfied in most jobs I've held is that most of them have been office work without much room for creativity, and I'm a creative person.  The most creative office based job I ever had was at the virtual concierge where I worked before lucking out on the government position.  Even that gig was heavily regulated due to the nature of the service we were providing.  I stick with administration for the same reason that food servers with other passions stick to waiting tables: it's the only means of making money to support their basic needs they've ever done while bigger dreams are still pending.

I'll also flat out state that the Public Service, from a creative standpoint, is a zombie apocalypse.  It does many things well, but encouraging innovation, imagination, and outside-the-box thinking is not part of the deal.  Nor should it be: you need to conform to existing processes and suppress all independent thought or desires to change the system, because there's only so much you can change.  Again, nothing inherently wrong with that.  But  I can decide is where I want to stand in relation to it all.  I'll do my job, but I need to get out before I, too, get zombified.

So, I returned home from work and decide to pop in The Secret. 

Now, most of my science-y friends and more rationalistic buddies don't necessarily buy into the Law of Attraction, or the way it's presented in The Secret. Fair enough. What you have to realize is that this DVD was my introduction to the concept.  I have it practically memorized. So even though I have my own doubts from time to time,  The Secret is part of my own belief system. Thus, telling me not to watch it, or to discount it on empirical grounds, is like telling a Catholic not to attend mass, or a Muslim not to bow to the east. Many scientists are devoutly religious, keep that in mind.  And I have had some rather anomalous experiences the methodology that prove, in my subjective experience, that the Law of Attraction exists, and works as advertised.

And one such experience occurred that night. 

I decided to do some visualizing of my own.  Scheduled to pay a visit to my talent agency on Saturday to activate my profile and start getting auditions for film and TV work, I started to fantasize about such a gig. 

Since this opportunity landed in my lap, I've had various fantasies and daydreams of success in commercials, film and TV which I won't share here, frankly because I don't trust that some well-meaning but skeptical readers won't shoot them down on practical grounds.  Watching The Secret, I decided to indulge in these daydreams. 

Two minutes - two minutes! - after I began my reverie, the phone rang.  It was the agency.  On a hunch, they wanted to see if I could audition for a major restaurant chain the very next day!  Normally, they'd wait until I was completely set up, but they were in a bind and were willing to chance a long shot.

I was stunned.  Chalk it up to coincidence all you want, it was a wake-up call of the biggest sorts. 

And I ended up turning them down.  A manager at my office was retiring the next day, so my absence from the office would have been conspicuous.  Or so I told myself.  They said "no worries", and I hung up the phone.

Next day, I went back to work.  Long story short, I wasn't nearly as needed as I thought I was. 

Today, I went in, and finalized my setup.  And I found out I had a great chance to have landed that part had I gone to that audition.  Major.  More where that came from, sure, but I've learned a few lessons from this.

First, office work assimilates people: people become bureaucratized quite easily. This happens in the private sector, sure, but government's particularly nasty at that because everything's hyper regulated and monitored.  Just visit any family court.  Remember the episode of The Simpsons where Homer actually files for divorce from Marge?  Who could forget the immortal words of comfort of the court clerk (who looked suspiciously like Lunch Lady Doris)?  "These things happen. Eight dollars".  This lady actually exists, I'll tell you.

As physically safe and mentally simple as government work can be, it steals the spirit of the artist, one bit of ectoplasm at a time, until you're nothing but an overweight, cardigan-wearing zombie, more concerned with potluck parties and the weekly lottery pool than trying to do anything more creative and passionate.  Don't rock the boat. Don't ask too many questions. Don't take risks.  That becomes your life, if you can call it living.

Second, bureaucratization causes you to lose sight of your own big picture.  No adventure would be considered risky if you weren't willing to lose everything, but it takes balls of pure adamantium to actually do it. 

Had I gone for that audition and booked it, it would have been worth the one day off and the potential wrath of my boss to get the start of a new career and several thousand dollars which would help me pay debt and travel.  But on the phone, having to make a split second decision, the reflex to play it safe that I've developed over a year of government work was all too automatic. 

In order to be an actual risk taker and not some guy who blogs about it from his all-too-comfortable swivel chair on his lunch break, you've got to actually take risks.

Finally, there's always more where that came from.  I'm not only talking TV auditions, here.  I'm talking full-time jobs.   In retrospect, I got everything backwards ass.  I took the risk of leaving full-time work to pursue my passion when I was supporting my ex, and now play it safe as a single guy with no one depending on me. 

Switching that around means daring the Universe.  It means being willing to sacrifice a sure bet for the slippery chance at your own fairy tale.  It means knowing that just as you step over the chasm, a step will rise up just as you're about to fall and catch your foot.  And another, and another, until you reach the other side.

The last time I decided to really take a risk was in 2007. That was when, supported by my ex, I quit my job at the distribution centre where I had worked since high school with nothing else lined up to replace it.  And all along that chain of events leading me to this writing, never once did I end up starving, or on the street, or having to tuck tail and move back in with Mom and Dad.  On the contrary: money and work always showed up somehow, in various forms, just in time to keep me going.

That's not to say it didn't have a price in debt or stress, but overall, Serendipity has looked after me.  I just forget about her in weaker moments, as do we all.  Fortunately, Serendipity is a forgiving lady. And hot to boot.

I'm not quitting my office job, to be clear, nor am I going to slack off.  But I am extending the same rule I had when I started: never let it interfere with my greater ambitions.  There are always other jobs, but precious few big dreams, the latter of which have only the narrowest of opportunities to become reality.

I have no illusions that I will become a major Hollywood star or anything, nor am I giving up writing to do this, but I am definitely open to the possibility, and am willing to be passionnate about any work I get and see where the passion leads me.

And next time they call, I am saying "yes" to whatever gorram audition they have for me.

Eames the Forger says it best in Inception: "You musn't be afraid to dream a little bigger, darling". 

Surely,  I can dream bigger than my desk.