Alex: Hey everyone, welcome! Today we're diving into something super personal, but also totally universal: creativity. Seriously, when was the last time you just let yourself play? No pressure, no agenda, just pure, joyful…messing around? Michelle: Play? Does meticulously curating my Spotify playlists count as "play" these days? Didn't think so. But seriously, Alex, what's "play" got to do with actual creativity? I always thought it was about, well, you know, innate talent or just grinding really, really hard. Alex: That's such a common misconception, Michelle, which is why I'm excited to talk about Felicia Day's Embrace Your Weird. Trust me, it's not just about being "artsy." The book is about reconnecting with your true self. Those weird quirks, forgotten passions, even the stuff you were made fun of as a kid…they might just be the key to unlocking a new sense of joy and growth. Michelle: Okay, so less of a step-by-step guide and more of a…creative kick-in-the-pants with actual exercises? Alex: Bingo! Day shares stories from her own life, throws in some fun creative prompts, and gives you strategies to shake off the anxiety, perfectionism, and self-doubt that can completely shut down your creative flow. So, it's part memoir, part toolkit, but it all points back to this idea that creativity isn't this optional extra, it's fundamental! Michelle: I'm intrigued. So, what's the plan of attack for today? Alex: Good question! It all boils down to three parts. First, reconnecting with your inner child – the source of all creativity., we will talk about rediscovering that authentic, vibrant part of yourself. Second, we hit those creative roadblocks head-on. Anxiety, perfectionism...we have some tools to break through them. And finally, look at how having a mentor or even building a community can feed your creativity and help it flourish. Michelle: A little less soul-searching, a little more strategy. Sounds like a plan. Let's dive in!

Alex: Okay, Michelle, let's dive into our first topic: reconnecting with your inner child. This isn't just about, you know, feeling nostalgic. Felicia Day argues that childhood is really the purest form of creative expression. It's when we were unfiltered, fearless, and just unapologetically imaginative. Michelle: Hmm. So, you are saying our creativity is like treasure buried somewhere, and our childhood memories are the map for getting it? Sounds beautiful, but tell me more about how this actually works. Alex: Well, it's about figuring out those moments when you felt free to create, without any pressure. Day suggests remembering the toys you played with, or the games you made up. Maybe action figures, or even just games you invented on the playground. Because that wasn't creativity for show, you know? It was inventing and telling stories purely for the fun of it. Michelle: Okay, let's say I remember creating dramatic storylines for my G.I. Joes. How does that actually help me create something actually useful now? I mean, the stakes now are greater than deciding if my action hero should bake a pie or save the village. Alex: Well, first off, those G.I. Joe scenarios probably showed you had a knack for telling stories, Michelle. But really, it's about remembering what excited you back then—creating a world, solving imaginary problems—and translating that feeling into what inspires you today. Day tells a story about someone who loved styling Barbie dolls and creating narratives around their outfits. Years later, she remembered that passion, started crafting again, and even started a small business on Etsy. Michelle: So, we're not saying we should buy Barbie Dolls again. We're really trying to figure out what that impulse means to us. Something like, expressing yourself, or being craft, or telling stories? Alex: Exactly. It's less about the thing itself and more about what that thing unlocked in you. And here's where it gets interesting: Day says you should actively think about these memories, not passively. Picture yourself as a kid. Close your eyes. Remember that Lego set or train track. What did it look like? How did it make you feel? Michelle: Got it. So, like a guided walk down memory lane with all your senses. But Alex, I'm sure people are already thinking, "What if I didn't have a great childhood?" Alex: Great question. I mean, for some, it might be hard to revisit their childhood. Day's very clear: You don't need to try to make the past something it wasn't. It's about finding the small moments where you were able to be creative, despite whatever was going on. Even something as simple as doodling on your notebook during class could help spark rediscovery. Michelle: Alright, I see what you mean. But if we're moving this to adulthood, how do just playing with crayons as a kid help you actually find yourself now? Alex: Right! That's why the next step is reconnecting with who you are today. Day says adulthood often makes us lose touch with who we really are. We become defined by our roles, like employee, partner, parent. And that thing that makes "you," you, can get lost. By thinking about what made you creative as a kid, you can ask yourself questions like, "Why did I stop doing this?" and "What if I started again, just for fun?" Michelle: Ah, so it's like peeling back the layers. What if you find something unexpected? Like, say I used to love doodling, but, wow, I haven't gotten any better since I was ten. That sounds pretty demoralizing to me. Alex: Well, it doesn't have to be! I mean, that's kind of the point. Day says don't worry about talent; focus on the process. So, try to create something “bad”—a messy drawing, a terrible poem—and try not to worry about how good it is. Think about it: kids don't stress over whether their drawings are good or not. They just create, and that's freeing. Michelle: Alright, so just create without worrying. I like how this changes the focus from achievement to joy. But what about memory here? Are we just being nostalgic, or does this process add something more? Alex: Memory is a starting point, but not the whole journey. More than nostalgia, it's a way of finding tools to rebuild your creative self. Day asks her readers to think about items from their past that have a strong emotional connection. Things that make them feel safe and secure. For her, it's a baby blanket in a shoebox, a reminder of comfort when things are uncertain. Michelle: That's interesting, viewing nostalgia as a tool for grounding yourself. But I think our conversation is leading us to a bigger point. Okay, so we reflect on our childhood, then we reconnect with ourselves. Where does this journey eventually take us? Alex: It ends with you embracing your full and imperfect self. Day points out that we are most creative when we embrace our unique qualities and stop worrying about what others think. She talks about creating timelines of your life—charting your key moments, challenges, and things you're proud of—and even asking others to point out your most unique traits, things you might not even realize about yourself. Michelle: I like mapping out your life events. It seems like, like a mix of therapy and productivity. Your hardest times and strangest traits become the foundation for your creativity. Any examples from the book of where this type of radical acceptance leads? Alex: Definitely. There was one story about a reader who was inspired by Day’s openness to start a blog after years of holding back her creative voice. The blog combined personal stories of difficulties with writing fanciful short fiction. She developed something that resonated deeply with her audience by embracing imperfection and seeing herself for who she was. Michelle: I have to admit, hearing about someone using their vulnerabilities as creative strengths is inspiring. Sounds like the main takeaway isCreativity isn't about "what's cool" or about being "perfect," right? It's about being your messy, wonderful self. And the best part? No talent required. Alex: Exactly. Rediscovering your creative self doesn't mean you need to become Mozart, or become a professional anything. It's about finding joy, being curious, and, you know, having a little fun, even in adulthood.

Alex: So, after exploring our creative origins, we need to face the obstacles that often hinder us. Creativity isn't just about rediscovering; it's also about learning how to remove the barriers that stop us from actually using the tools we’ve rediscovered. Felicia Day breaks these barriers down into identifying powerlessness, addressing emotional blockages like anxiety and self-doubt, and dismantling perfectionism. And ultimately, it's about learning practical strategies to overcome procrastination. Michelle: Sounds like she covers all the bases. Okay, Alex, let’s dig into this. First up: powerlessness. What exactly does Day mean by that? “Powerlessness” makes me think of huge, systemic issues. Like being stuck in a job you hate. But how does that directly affect our creativity? Alex: Day defines powerlessness not so much as a specific situation, but as the feeling that our lives are controlled by external forces. It's that feeling of being overwhelmed by everything, you know? Work, family, societal expectations. Day actually gives a really relatable example: a parent humorously lamenting the never-ending demands of breastfeeding with this visceral, almost primal cry for freedom: "WHEN ARE YOU GOING TO STOP DRINKING FROM MY BOOBS I REALLY WANT THEM BACK!” Michelle: Okay, that's both hilarious and brutally honest. Seriously, though, that really hits home. It describes that constant struggle between what other people expect of you and what you actually want for yourself. Alex: Exactly! Day links this tension to creativity because when you're constantly under pressure, you kind of lose the ability to even recognize your own desires. You forget who you are beyond those obligations, right? Her solution is to start small. She suggests listing everything that makes you feel out of control, big or small. Then, find small, doable changes you can make. It could be something as simple as rearranging a rug in your bathroom that's been annoying you, or as big as finally taking charge of a project you are passionate about. The point is to reclaim control bit by bit to build momentum. Michelle: Okay, so it's not about instantly winning the war, but more about annoying the enemy with tiny little attacks. So, if my crazy schedule makes me feel powerless, maybe setting aside ten minutes for a hobby is my “bathroom rug.” Alex: Precisely! Day talks about her own experience, how she went from waiting for acting jobs to creating her own web series, The Guild. That shift—from waiting for opportunities to actually making them happen—was a huge deal. Even if what you control seems irrelevant, like arranging furniture, it still has a psychological impact. It’s about telling yourself, "I can make a change." Michelle: Alright, I see where she’s going with this. But, couldn't this backfire and turn into micromanaging? I mean, rearranging rugs is great, but how does that become actual creative work? Alex: It's not really about the action itself; it's about what happens next. These little acts of reclaiming control build confidence. Once you switch from "I can't" to "I can," you start building momentum. Day says that the initial steps don’t have to be creative at all—it’s just about proving to yourself that you're able to make things happen. Creativity thrives in situations where you have some control, even if it's just a little. Michelle: That’s a fair point. Starting with small steps before taking big leaps, right? Speaking of big leaps, let's talk about anxiety and self-doubt—those two huge mountains blocking the creative path. What does Day have to say about them? Alex: Day describes anxiety as this constant thing, like a villain looming over everything. She even compares it to Sauron, the all-seeing, judgmental tyrant from Lord of the Rings, crushing your every move. This anxiety pops up whether you're starting a project, in the middle of it, or worried about how people will react to it. It’s that nagging voice saying, “You’re going to fail,” or, “Why even try?” Michelle: Yeah, I know that voice all too well. Usually shows up right when I'm about to try something new. So, how does Day suggest we defeat Sauron? Alex: Well, one thing she recommends is turning anxiety into excitement. Physiologically, they're actually pretty similar. You know, racing heart, adrenaline—it's just how we interpret those feelings that changes the narrative. Instead of thinking, "What if I fail?" you shift to, "What if this turns out better than I ever imagined?" Michelle: That's interesting—basically flipping the script on your own brain. Using the energy from the bad feeling and turning it into something positive. Alex: Exactly. Another thing she suggests is journaling. You write down all those anxious, negative thoughts—what they are, why they're there—and then you break them down with logical responses. Like, if you're afraid to share something you've written, you write down, "What's the worst that could happen?" and then you “really” think it through. Often, you realize that the worst-case scenario isn't that bad, and honestly, it’s probably not going to happen anyway. Michelle: I like that—taking that vague, scary feeling and making it real. Once you name it and examine it, it doesn’t seem so scary anymore. Alex: Exactly. Day’s not trying to get rid of anxiety completely, but to make it smaller, something you can deal with. And when you combine that with reframing fear as excitement, you have a toolkit to stop anxiety from stopping you when you’re trying to be creative. Michelle: Okay, so we've dealt with feeling powerless, we’ve quieted Sauron. Now for the last monster: perfectionism. How does Day suggest we get rid of that one? Alex: Perfectionism, as Day sees it, is the ultimate enemy of creativity. It's that voice saying every line, every brushstroke, every note has to be absolutely perfect—or it's worthless. For her, perfectionism turned writing into a “real” struggle, where every word felt like it determined her value as a person. Michelle: That sounds intense. So, what do we do? How do we find the lightning rod to calm this storm? Alex: The main thing is to purposefully create bad art. I know it sounds weird, but deliberately making "trash"—a terrible poem, a nonsensical sketch—frees you from the pressure of being perfect. Day talks about a reader who used her lunch breaks to create absurd, messy art. Over time, it helped her accept imperfection and made her creative process more fun. Michelle: Intentionally failing as a way to find freedom. I like it—it's like hacking the system by doing the opposite of what it wants. Alex: Right! Day also says it's important to celebrate small wins—like finishing a first draft, even if it's terrible, right? And since perfectionism often comes from comparing yourself to others, she suggests limiting your exposure to things that make you feel bad about yourself. Whether that's scrolling through Instagram or constantly studying the work of famous artists. Michelle: Makes sense. It's about making room for messy, “real” exploration—without all the noise of comparing yourself to others or trying to meet impossible standards. Alex: Exactly. And when you combine all these things—starting small to fight powerlessness, reframing anxiety, and embracing imperfection—you build a foundation where creativity can flourish. A place where curiosity is stronger than fear.

Alex: So, after clearing those hurdles, we're going to look at how to keep creativity alive through habits and community, which brings us to a really crucial part of Felicia Day's journey: building your support system. She walks us through three interconnected layers. First, handling those creative “enemies” we all face, then the game-changing effect of mentorship, and finally, the pure power of tapping into a wider community. All together, these things show us that creativity does well both alone and with others. Michelle: I like the plan here, it is really well-structured. It’s like building a creative village, right? First, clear the land—get rid of the “enemies”—then you invite some wise mentors, and bam, you have a little artsy community ready to thrive. But let's start at the very beginning: these “enemies.” Who are they and where did they come from? Alex: Day divides these enemies into internal and external forces. They're those doubts and criticisms that shadow your creativity. Sometimes it's clear, like a harsh comment or how society judges what's valuable. But often, it's those sneaky inner voices saying, "You're not good enough," "This is a waste," "Who cares what you think?" These voices are strong because they sound like past failures or disappointments, so we accidentally believe them. Michelle: The classics. It's like your brain is playing a self-loathing playlist on repeat. But what does Day suggest, Alex? Because just hitting 'stop' isn’t enough you know? Feelings stick around. Alex: Exactly, it's not as simple as flipping a switch. What she suggests is facing these voices realistically. One exercise is writing them down, and then answering them on paper. So, if the voice says, "You're not original," you'd write back, "Originality isn't something you're born with, it's something you create. I can find my own voice by practicing and trying new things." Writing down your fears weakens their power, makes them real enough to question. Michelle: So instead of ignoring them, you’re shining a light on the monsters to make them seem smaller. And I guess the power of writing it down is that it moves the battle out of your mind, where they always feel huge. Alex: Right. And with that, Day emphasizes setting boundaries, since not all “enemies” are internal, they can be people as well! Maybe it's a friend who always criticizes or a colleague who thinks your creative projects are silly. Limiting how much these people influence your work protects your creative process. Michelle: Right, like not letting Debbie from accounting give feedback on your poems about rainbows after she makes fun of them every time. Alex: Exactly, Michelle! Protecting your creative energy from unhelpful negativity is vital, whether it's from inside or outside. And once you've handled those enemies and taken back your creative space, the next thing to do is to get mentorship and allies. Michelle: Alright, mentorship. Everyone agrees that mentorship is important but many people don’t know how to find one. What is Day’s suggestion for this? Alex: She emphasizes that mentorship is more than just gaining skills. Mentorship is about finding someone who helps to grow your mindset. A good mentor doesn't just teach you, but they create a space where you feel safe to take risks and view mistakes as great learning opportunities. Day talks about when she was in improv classes her instructor would say, “Every mistake is a chance to find something amazing.” This thinking broke down her fear of failure and instead failure became a necessary part of growth. Michelle: I love that: finding beauty in mistakes. But Alex, if someone has no way of accessing mentors, like those improv instructors? What do they do? Not everyone can find a support system that easily. Alex: True, Day knows that in-person mentorship is not the only way. You can also seek guidance from creators or thinkers who you admire, even from a distance. Read their books, watch their talks, or study their process to extract lessons applicable to your journey. Plus, mentorship can come from peers. In creative accountability groups, people share feedback and celebrate achievements, supporting and guiding each other. Michelle: So peers can be sounding boards and motivators. That makes sense, and it connects with the idea of building supportive communities, right? Alex: Exactly! That's Day's next point: creativity, while super personal, thrives when it's nurtured within a community. Connecting with fellow creatives provides feedback, inspiration, and support. She talks about fans who started their own creative projects after being inspired by her work, like the woman who started a nonprofit animal rescue because of the confidence she gained reading Day’s stories. It's a ripple effect—one creative idea sparking others within the community. Michelle: Yeah, but—here comes my inner critic—every art group has that person, you know? The one who takes over the conversation or gives feedback that is really just about their own ego instead of helping. How can you avoid that type of energy while still being open to community? Alex: Great question, Michelle; and Day covers that too. She says you should choose your creative communities carefully. Seek out spaces that focus on positivity, collaboration, and helpful critique. And most importantly, you do not have to take every piece of advice given. Learn to ignore the unhelpful feedback, and it is okay to say, “That doesn’t work for me." Michelle: So community is about selecting people and ideas, not just agreeing with everything. That feels good to know. Alex: Absolutely. The best communities are a balance of inspiration and individuality, allowing growth while keeping your unique voice. And in these spaces, creators often feel like they belong. It helps them realize that we all have similar struggles, which can be a powerful motivator to keep creating. Michelle: It’s interesting - all this discussion about community actually flips the romantic idea of the lonely and isolated artist! Turns out, creativity should not be a lonely lighthouse, but rather a supportive and busy harbor. Alex: Beautifully put, Michelle! And that harbor not only amplifies your creativity but also reminds you why it is important to share it. Day is clear that creativity is about others as much as it is about you. It’s about inspiring, connecting, and growing together.

Alex: So, Michelle, to bring it all together, “Embrace Your Weird” really boils down to this: Creativity isn't some rare gift only certain people have. It's a fundamentally human thing, something we can all access. It starts with getting back in touch with your true self, facing down what's holding you back, and finding strength in the people around you. Michelle: Right, and Felicia Day isn’t just throwing out a bunch of high-level concepts—she's giving us actionable strategies, like diving back into the things you loved as a kid, turning your anxiety into a kind of creative energy, accepting that things don’t have to be perfect, and setting some limits with that inner critic, and even the external ones. Oh, and then there’s the whole tribe thing—finding mentors, peers, or just folks who believe in you. Alex: Precisely! At the end of the day, creativity thrives when you ditch the need to be perfect and rediscover that sense of joy, curiosity, and just plain fun. So, the key takeaway here is: give yourself the space to be imperfect, to be a little odd, to be completely yourself. Start small, you know? Write that awful poem, do that wonky sketch, join a creative group. It's the act of creating that matters, not necessarily what you end up with. Michelle: And on that note, we’ll leave you with this question: What's one small, not-quite-perfect thing you can do today to tap into your own creativity? Because, like Day says, all it takes is a spark—even a messy one—to kickstart something amazing.