Rob Tourtelot

Find the moment in your story that everyone has been waiting for, then flip that Hourglass and let the sand run.

A lot of meditation is just showing up for what we have, and there is joy in that. It’s diferent from the kind of happi- ness that comes from getting what you wanted. It’s a joy that doesn’t have a good reason. It’s a joy that allows you to be sad or upset, because you’re alive in the midst of it.

The best stories are a little messy at the end. They offer small steps, marginal progress, questionable results. The best stories give rise to unanswered questions.

Oftentimes I will load a portion of a story with superfluous information simply to hide the one important bit of information that I need the audience to know but not yet recognize as important. I clutter the landscape so that the audience can’t tell what is important and what is not.

Some questions that I’ve found to be very effective in one-on-ones: If we could improve in any way, how would we do it? What’s the number-one problem with our organization? Why? What’s not fun about working here? Who is really kicking ass in the company? Whom do you admire? If you were me, what changes would you make? What don’t you like about the

That’s the trick. A simple one: Make sure that every moment in your story has a location attached. Every moment should be a scene, and every scene needs a setting. It’s the simplest, most-bang-for-your-buck strategy that I have to offer.