Write The Artist’s Way with Paulina Pinsky
https://www.buzzsprout.com/971221/9698865Write The Artist’s Way with Paulina Pinsky
Emma Dhesi:
Well, Paulina, thank you so, so much for joining me today. I’m really looking forward to our conversation.
Paulina Pinsky:
It is an honor and a privilege to be here. I’m very excited.
Emma Dhesi:
I wonder I always start with this question. I wonder if you could share with us your own journey to writing and how you got to where you are today.
Paulina Pinsky:
So, as a young girl, I was a competitive figure skater. And so I had no idea that I was going to grow up to be a writer. However, I always journaled and I have this one specific journal from third grade to maybe seventh grade and it was like this blue fluffy journal with like a faux lock on it. And every day I would catalog who I had a crush on and in what order. So it was like one through four, one Jack two, Kevin three Creighton next day, it was like Jack’s terrible cretins, my number one love. So it all kind of started in a journaling fashion. But it wasn’t until I got to college. When I wrote my first piece, it was called Get your get your teeth checked. And it was published in the Columbia University spectator. And it was really well received within my community. It was about intergenerational body trauma, it was about my bulimia recovery was about my relationship to my mother. However, six months later, it got picked up by the New York Post. And I went viral for a week because of who my father is. And so I learned that because of my proximity to his platform, I was going to be kind of scrutinized in a way that my peers weren’t going to be. And so from that point forward, I was like, You know what, I don’t want to be eating disorder girl anymore. I’m going to pursue comedy. And so I moved to Chicago to do second city after I graduated from college. And I did the conservatory there, where I studied sketch and improv comedy. However, I just, I felt like it wasn’t enough. And I was, you know, looking for more of a sort of intensive writing experience. So that’s when I applied for MFA programs. And I had the good fortune of being accepted into Columbia University’s nonfiction creative writing program. And so my trajectory has been a little bit non traditional, but I think, you know, it all started from a love of just sitting with myself and just pouring out my thoughts. And, you know, I’ve always I’m such an advocate of journaling, I really think it’s the root of like, a healthy relationship with yourself and also like, obviously, a real relationship to writing. And so journaling is at the foundation of my writing practice. And that’s where it all started. However, the trajectory started in a weird kind of way. But I writer
Emma Dhesi:
no has it’s not weird, but it’s been. You’ve gone from, you know, journaling, to kind of stand up and sketch and improv to then to nonfiction. So quite a diverse range of writing styles, and techniques that you’ve you’ve, you’ve mastered over the years really interesting background. But I can’t not ask you about your undergraduate thesis on Joan Rivers, which just sounds like so much fun. But what did attract you to her? And what was the nature of the thesis? So,
Paulina Pinsky:
junior year of college, I did a second city college program called comedy studies, the summer going into my senior year. And that’s like, when I was like, I’m going to be a comedian. With which, who I don’t know, comedian is such a like, loaded term, because then people expect you to be funny all the time. And I just like, now, I don’t want to be funny all the time. But anyways, that’s, uh, I digress. And so fall of my senior year, I knew I wanted to write about comedians. I studied American Studies and undergraduate AI, which is like an interdisciplinary genre of sorts. And Joan Rivers actually died the day I picked my thesis. And my thesis advisor was like, I know you’re gonna write about female comedians, like, why don’t you just focus on Joan Rivers? And I had actually met Joan Rivers the year before. Wow, I was in, like the theater district of New York City with my friends, and we were leaving a play. And we like walked past this lobby. And my friend was like, Oh, my God, that’s Joan Rivers. And I was like, Oh, my dad knows her. And he was like, You got to go in. You have to go introduce yourself. I was like, I don’t know. I really don’t like doing that. He’s like, This is Joan Rivers like you need to go So I walked in. And so I was like, Hi, my name is Paulina Pinsky. My father is Dr. Drew. He’s a friend of yours. I go to Barnard College, she goes, Oh, honey, I don’t care who your father is, you should leave with the Barnard stuff because that’s much more important. Because she went to Barnard as well. Right? And, and I was telling her how I wanted to go into comedy. And she’s like, yes, we need more women in comedy, like you need to do it. And then she passed away soon after. And so it just felt very serendipitous that she become my, my, my focus. And so my thesis was a feminist disabilities lens on Joan Rivers, comedy, plastic surgery and red carpet culture. And so within this thesis, I came up with the spectacle of defacement in that in her firt in her comedy, she would verbally deface herself by saying that she was ugly on marriageable all these things, then in her plastic surgery, she physically use the knife on herself in order to achieve a feminine ideal. And then on the red carpet, she wielded the knife that she wants wielded at herself at others. And so it was like the cycle of defacement through a verbal, physical and you know, interpersonal interaction.
Emma Dhesi:
Yeah. So interesting. And I just, I guess he’s not alone in that either. There’ll be many other maybe and you think as a generational thing, perhaps?
Paulina Pinsky:
Well, Joan Rivers was really one of the first female stand up comedians, like before her it was like Phyllis Dillard who really like wore she dressed up like a clown, she would wear like crazy, you know, feather head pieces, and, you know, pointed red boots and big fluffy boas and all those things in order to sort of remove the sort of the spectacle of being a woman. And, and it’s interesting, because when I was in comedy studies and doing comedy all the time, and like, this is probably this may come off the wrong way. But like, people would be like, Oh, you’re too pretty do comedy. And I’d be like, No, I want to be funny. Like, I don’t care what I look like, like, that shouldn’t even be a factor. And, and I think for so many women, either you have to physically, you know, or at least at the time, you had to physically sort of deform yourself, or you had to verbally tear yourself down because Joan went on, you know, late night and would wear, you know, a black a line dress with a pair of pearls and her hair up nice. So she looked beautiful. But this this sort of, I mean, she was you know, the last girl in Larchmont, you know, that’s sort of like her thing. And I think that she sort of created a lineage after her whether or not people recognize her for that, because she became such a spectacle, and she became so inflammatory. But that’s because, you know, she was like, the first stand up comedian to talk about abortions, you know, and that was like, totally a no, no, in the 50s. And so it’s, it’s, it was a, it was amazing to kind of study the trajectory of her career because she, she has been, or she was she was transgressive for each stage of her career. Right. And because in the 50s, like, you know, talking about not being marriage material and abortions, his transgression in the 1950s, you know, 22 2015, she was going to talk about, you know, Heidi Clune being as hot as the Auschwitz ovens, you know, like, that’s the same sort of like, it’s the same intent, but it’s intensified for the era in which it exists.
Emma Dhesi:
Gosh, fascinating, so much more to her than just being on chat shows and just being outspoken and being among Yeah, absolutely interesting. And, and fun as well, I would imagine as well to study her was. So on your website, you talk about the fact that you go through hypomanic periods, and then also periods of depression, and it’s a very, you know, opening have you to kind of share that with us on your on your public forum there. But I was interested because I wondered, does that impact your writing life generally? And as well? Does it have an impact on the writing that you do as well?
Paulina Pinsky:
Definitely. I love this question. And I definitely I haven’t spoken about it publicly and as much as I would like to mostly because I think the more we talk about these things, the more destigmatize they become. So in 2018, I experienced my first hypo manic episode. I’ve yet to have another one. Part of it was I was on too high of a antidepressant. And that sparked the hypomanic episode plus filming a millennial talk show pilot with my dad which is its own chaotic like anyone would have a hypomanic episode after that, I think. So, I, what I appreciate about that period is I discovered that I paint. And so when I am more manic, I kind of move out of verbal expression and move more into sort of abstract, theoretical shapes. And I kind of do these sort of floral kind of like Hawaii inspired flowers everywhere. And so 2018 was a big painting year for me, I just like painted everything. But I think through that, I learned that the creative impulse always remains, it’s just a matter of how it’s expressed. And I definitely go through sort of seasons of writing where it’s like, like, over the pandemic, I was writing, like I was, I was in it, you know, and I’m part of that was like, I had the time and space and privilege of apartment and food and all those things. But it definitely, it’s cyclical. However, I do really believe in routine Ising, the creative process, because of that sort of cyclical nature. It’s like, okay, well, I may not write an essay today, but I have to do my morning pages, like morning pages have to happen. That happens every day. And so I’ve sort of created writing structures so that even when I’m not quote, unquote, writing, I’m always writing. But I definitely I, you know, it’s, it’s interesting, because I feel like the cyclical nature of sort of the way my body works has, at first was sort of like, I remember I, I, like, wrote this thing, and I like sent it to my agent, and it was like, not cogent at all. And she was just like, I can’t do anything with this. And that moment really shook me where I was like, Oh, my agent can tell me that this is not good. I was like, Okay, I need to be a little bit more purposeful about when I like send things to people. But I, the cycles, kind of help me kind of let write writing brief, like I really believe of like, letting things sit for a period of time and then coming back to them. So, yeah, that’s very interesting question.
Emma Dhesi:
and so the kind of opposite then of that hypomanic period, is that that period of depression, did you find that you were less creative in that time that the impulse left you? Or that maybe the the paintings that you were doing changed? Or did you Yeah, during that period,
Paulina Pinsky:
I, I think I do more painting when I’m depressed, too. I do more painting. Jet. I think writing and painting have sort of kind of been my two modes of expression. I mean, I also like, I grew up as a competitive figure skater. So like, dance is also something for me, but I like haven’t quite integrated that into the the cycle yet, which I’m hoping to do. But I guess, like when I’m depressed, you know, how like open a Google Doc. And like, usually a couple sentences will come out and then six months later, I’ll find it and I’ll be like, Oh, that was stark. Oh, I felt that way once. I really just like, I think my main thing is like documenting everything so that my future self can come back and be like, Oh, that’s what that felt like, oh, that’s what that looks like. And so I guess it matters less to me what the? The output is, it’s just a matter of there being output at all. And then if I’m really, really depressed, I just lay in bed. Then I just, there’s no,
Emma Dhesi:
no, quite frank. And now I know that Julia Cameron’s The Artist’s Way sort of came along a pivotal moment for you, and you’ve described it as changing your life. So can you tell us about that experience? In what way? Did it change your life?
Paulina Pinsky:
Absolutely. So 2018 After the manic episode, I was gifted the artist way, and which is probably the best way to receive the artists way. And I I started the workbook by myself. And it. I mean, first of all, I love a workbook. I love being told what to do with structure. But more than anything I love sort of the concept of just like, everyone is an artist, point blank. Everyone is an artist and everyone has creative potential and it’s just about kind of thinking of your life as your medium. And that really helped me kind of identify the way I wanted to live and to like, so morning, so the artists way is a 12 week spiritual workbook. And there’s, you know, 12 chapters, and at the end of each chapter, there’s assignments and tasks that are like, if you have mending that needs to be done mend it, or if you have a pot that’s overgrown, please report your plant, you know. So it’s all very, like simple kind of tangible tasks. And then there’s also the tasks that are like, you know, right your hall of monsters, like who have, who have hindered you in your artistic process throughout your life. And so you like LIS, like your third grade teacher, your mom, your aunt, whatever. And then like, the next week, it’ll be like, write a letter to your monster, you know, and then it’s it, there’s a lot of tasks in there that are actually really conducive to unblocking creativity, which is the point of the book. Um, but this sort of requirement of the book is morning, three pages of stream of consciousness every morning, which is mourning pages, and then an artist state once a week. So that can be like literally stepping into a church and looking at the stained glass windows or going to a movie by yourself or going on a walk, you know, it’s really or going to a concert or museum. You know, it’s, it’s, it’s a it’s a player determined, which I love.
Emma Dhesi:
Yeah, I think that the idea of the the artist states, and I think it’s just the best one and and bizarrely, in some ways, I find it the hardest one, just before I know it a whole week has gone and I haven’t done anything that is out with family work the home, whatever it is, and especially in the last 18 months or so. Yeah, it’s so what Joanna pen calls, you know, refilling the creative. Well, it’s so important to get these outside influences that can then spark something in us or just refresh us in some way and maybe give us a new perspective on something and take us forward in some way. It’s such a for me, that was the biggest takeaway from hurt for me. Yeah. Have you done it? Yes, yes. And again, like you I was gifted it by my cousin who had done it. He’s an actor, and then tense journalist journaler. And so he said, it was really helpful to him, and he gifted it to me. So yeah, it’s had a special place in my heart, too. But you’ve taken it one step further. Because you know, host the writers that what’s it called the artists way group. So tell us about that as well. That sounds like fun.
Paulina Pinsky:
So, this January, I’m going to be leading group of people through the artists way. It’s going to be 12 weeks. And the reason I’m doing this is because June 2020, I decided I was going to lead a group for the artists way. And I you know, I recruited all my friends. I was like we’re doing this this summer. And the kind of intense reality of it was like, the the the protest started the Black Lives Matters. protest started, like literally the day we started, um, artists way. And so we had a very, America had a very tumult. I mean, the world had its most of the summer, but like, America had a very tumultuous summer. And it was like kind of, like it both felt stabilizing, and weird to like, make time for ourselves and kind of cultivate ourselves during that chaotic time. But I also felt like, that’s all we could do really, is like, really look at ourselves clearly and kind of reacquaint ourselves with ourselves so that we can be better people. And so the first 12 week, one was June 2020, it went really, really well. And so I I’m so the main reason I’m leading this group is because I need the structure. I need the artists way back in my life. But yeah, we’re going to be meeting on Monday nights, six to 7pm. Eastern, I’m potentially going to have multiple groups meeting. So it might be more than that, depending on who signs up. But really, you know,
Emma Dhesi:
online? Yes, it’s going to be through zoom. And so anyone can sign up.
Paulina Pinsky:
Anyone, anywhere in the world can sign up. If we get a Scottish Consortium. I’ll do it on your time. So yeah, Andre,
Emma Dhesi:
and people can sign up for that on your website.
Paulina Pinsky:
Special guests, Georgina. Yes, you can sign up on my website under the artists way tab.
Emma Dhesi:
Okay. Okay. I’ll link to that in the show notes for sure. Thank you. So you find it very helpful then just to have this kind of structure in place for not just the morning pages, but do you find that are you able to apply your painting to this as well? Or is it solely focused on your writing?
Paulina Pinsky:
I think this time around, it’s gonna be focused on my writing. But it previous times, I think, the artists way sort of open the door to painting And that’s what I love about the artist way is like, literally one of the tests will be like, list five things you want it to be when you grow up, and then circle one. And like, that’s what you’re going to be, you know, and it’s like, painter was one of the ones I put down and I was like, Wait, that’s how I feel like blood. You know, it’s like, you kind of surprise yourself with whatever your first impulses. And so this will be my fourth time going through the artists way. And this time around. So I’ve been working on a memoir for like, five years now. And I my intention through doing the artists way as sort of to create structure and accountability for myself. So that I’m I continue to do my own writing.
Interview with Paulina Pinsky:
Emma Dhesi:
Yeah. Yeah. And I do want to come on and talk about your memoir in just a moment. But I wanted to ask you, first of all about the book that came out this year, and you’ve heard you’ve written you’ve published, it doesn’t have to be awkward, dealing with relationships, consent and other hard to talk about stuff. And so what was the drive behind behind this book?
Paulina Pinsky:
So fall 2019. It was the height of the me to movement, and my dad was approached about a consent book. And he, you know, he, of course, thought that the topic was important, but he was like, Listen, I’m old. We need a young person. My daughter’s a writer, we should pull her in. And so basically what happened? I was selling T shirts at his podcasting event, because my mom made me family business.
Emma Dhesi:
Sorry, pleaded just for those of us outside of the states. Yeah. Your your father, Is he well known in America?
Paulina Pinsky:
Yes. So my dad is Dr. Drew Pinsky. He is a internist addictionologist. And television personality. So he’s done like he, he started by doing late night radio in Los Angeles on Loveline. So he would talk about he would give out medically based sex advice from like, the 80s to 2016. And then from there, he did, like, local, he did news, he was on like, a CNN sister channel HLN for a couple years, five years or so. Celebrity Rehab on VH. One, and now he like he’s, he’s everywhere. He’s like, this is how I would describe it. People don’t recognize his name. But when you see his face, you’ve seen him on the TV so many times that you know him. Okay, so that’s, that’s kind of he’s in the ether. And so my dad does a lot of podcasting. So much so that they renovated our childhood play room into a podcast studio in the house.
Emma Dhesi:
Lucky for some How nice. Yeah, it’s
Paulina Pinsky:
a good gig. And so he came up, and he was like, we sold the consent book today. And I was like, what consent book and he was like, we talked about it, I was like, No, we didn’t. So I was thrown into it. However, you know, I had just graduated from the MFA, you know, not even six months before, you know, I was like, Okay, this is a writing Robert tunity. Like, most people don’t get a book deal landed in their lap, like, six months after graduating from an MFA. And so, yeah, the book itself is about consent, yes, but it takes consent out of a legal slash, a legal standpoint, and, and takes out also a sexual inner like context to, mostly because we wanted kids to have practice with consent before getting into sexual sexual interactions. And so it’s actually a lot more based on identity. And so we get into like gender and sexuality and like, like relationships with friends, relationships with parents relationships with teachers. We don’t even get to crushes until Chapter 13. Okay, and so it’s really about like, the first six chapter, it’s, it’s, so it’s meant to be read the first six chapters, like straight through, and then you can kind of bop around for the rest of them. But we really wanted kids to think about their identity in relationship to others. Because if you can trust yourself, have compassion for yourself and know your own boundaries, then you can trust someone else have compassion for them and respect their boundaries. The sort of central tenet of the book is TCB trust compassion boundaries, which is the origin of that comes from my obsession with Elvis Presley. And he had a pack of friends like his sort of what’s his his friends, his Memphis mafia friends, that’s what they call them. And they all necklaces which stood for taking care of business. And when I was in the third grade, I became obsessed with Elvis and I was like, I need one of these necklaces mom. And I proceeded to wear it for the next 10 years. I pray to Elvis before anything important. And so TCB seemed like an easy acronym to take and repurpose. And so, yeah, I mean, and it’s interesting, because throughout the book, we have sort of fictional scenarios that help you apply TCB. So it’ll be like, you know, Georgia and Jim have been friends since the third grade. Georgia has feelings for Jim, like, what is Georgia? Do you know? Like it kind of gives a both children and adults with sort of practical situations to apply TCB?
Emma Dhesi:
Yeah. And this this for both young boys and girls, or is it mainly for girls for both
Paulina Pinsky:
now 1212 to 20 year olds, big demographic.
Emma Dhesi:
I saw a really interesting read for appearance as well to kind of get a younger perspective and kind of know what’s going on in? Well, kids these days that some things will be the same, some things will be different I imagined. So I think I might be thinking that out. Because,
Paulina Pinsky:
yeah, I’ll say,
Emma Dhesi:
Yes, twins. So these will be the thing very soon.
Paulina Pinsky:
We definitely the one that’s sort of like been sort of the hot button everyone’s been asking about we really get into gender and pronouns and all that stuff. So I really recommend the book for people who are struggling with understanding like that about gender and what that even means and what are pronouns, and how do you use them. And so this is a very practical advice guide to that.
Emma Dhesi:
Fantastic, fantastic. So as you say, you wrote it with your father. And I’m interested in the kind of practicalities of CO writing a book. So for example, Did one of you write the first draft of a chapter and then the other revise it? Or did you both work on it together in the same office?
Paulina Pinsky:
So the sort of thing that I’m not supposed to reveal, but I’m going to reveal because I think it’s stupid not to reveal. We had a quote unquote ghostwriter, but she wasn’t a ghostwriter. She, like ended up sort of being like a project manager for us, right. And so we, we would work in a Google Doc, where she would like ask a question, and then my dad would type out all his stuff. And then I would respond to all his stuff, because he is sort of considered the expert in the field. And so the book is really a conversation between the two of us. And you can feel that both in the text and in the audiobook, and that we alternate, right? We’re there’s two different fonts in the book. There’s my dad’s font and my font, and it really feels like a conversation. And mostly like, it was it feels like a conversation because it was a conversation. And so I think because we had that third person who was helping us sort of cohesive all together. And kind of direct it, it was, it became a much better book than had I, you know, six months out of my MFA program like that, and tried to direct my father through writing a book. Because even though I have an MFA, they do not teach you how to write a book like they don’t.
Emma Dhesi:
I’ve heard that so so many times, actually, yeah, you can deep dive, you can deep read, you can pull apart a sentence, you learn how to do all these things. But actually constructing a big piece of, of work isn’t one of the things that’s taught nor kind of on the business side of actually being a writer as well. But I know, I think that’s really interesting point that you’ve made about having. You’ve called them a ghostwriter. But it feels that perhaps they’ve also been a bit of a kind of a book coach in this respect to helping the shape helping the direction, making sure that everybody’s voice is heard, and discussing with you, you know, what would we need to include? What do we not include? And when do we stop? When do we put the chapters when and how, what the reading experience will be like, for the reader as well?
Paulina Pinsky:
Absolutely. And it’s, you know, it’s interesting, because through having that experience with her, I learned how to do it. And so now, like in my writing, coaching business, like I’m able to sort of offer those same services to people because I watched her do it. And so like, I have to say the best part of that book was her being part of the team because so much,
Emma Dhesi:
yeah, it kind of in the weeds. So you now also helped, you’re kind of paying it forward, if you like, and you’re helping writers who are looking to write their first you work with novelists or nonfiction writers what tell us about your name.
Paulina Pinsky:
So a lot of people who come to me mainly want to write memoir, though, I have people who come for college application essays, essay contests, college essays, I have a couple of teen girls who just I give them writing prompts and they write you know, nature seems you know, I pretty much I’m, I’m the full spectrum of whatever you want to do. But the main thing that I do is memoir And it’s been really amazing after publishing this book, because a lot, I’ve been doing more podcasts and all that. And, like, so many people are reaching out. And it’s very exciting. And I really, I feel very lucky that I get to do the work that I do, because it’s so rewarding. And I really do believe that everyone has a story to tell. And it’s it’s an honor and a privilege to help facilitate those those stories.
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Interview with Paulina Pinsky:
Emma Dhesi:
It really is, yeah, people are letting us into their kind of inner sanctum and sharing very vulnerable things with us, as you say, it really is an honor and a privilege to to help them bring that out to the world. That you mentioned memoir there. And you mentioned a little bit earlier, you’re currently writing your own memoir? Yes. What is them? How’s it going? And what’s the kind of scope of the memoir? What’s the main subject?
Paulina Pinsky:
So the memoir, it’s interesting, because when I first got to graduate school, everybody’s like, Do you know what you’re writing? Do you know, do you have a project and I was like, I have no idea. And I don’t even know how I got in, like, I’m just thankful to be here. And unbeknownst to me, I started writing that my more you know, the minute that I said, I didn’t know what I was doing. But I’m thinking that this memoirs, scope is going to be about sort of the, the sort of idea of celebrity and my family and sort of my proximity to media culture, and sort of, yeah, my experience of celebrity culture from, from the inside, kind of. And so I’m thinking about it in three parts, and sort of like three sort of like released, because I end up writing these, like, 60 to 70 page essays. I’m like, no one’s gonna take this. Like, this is only going to be in a book. And so I’m kind of zooming in on these sorts of experiences, like the first one. So when that that the essay, get your teeth checked, was picked up by the New York Post and went national? And do you know what the view is? No, know. Okay, so the view is this, like, daytime show in, in, you know, it’s film New York, and it’s like Whoopi Goldberg and, uh, you know, what’s her name, Barbara Walters, and like, just any sort of, like, adjacent celebrity woman. She is like on that show. And so I was interviewed on the view for my, about my eating disorder. And, you know, it was like this seven minute segment. And, you know, Barbara Walters, like not even looking at the teleprompter. And she’s like, what did your mother say to you, when you told her you were bulimic? And like, I had been through like, a week of interviews on like, CNN HLN Entertainment Tonight, extra, you know, just like every sort of like celebrity tabloid, like I had been on. And I’m a junior in college. I’m just like, this is the first essay I’ve ever written.
Emma Dhesi:
Okay, my fire.
Paulina Pinsky:
Wow. Absolutely. And, and so the first kind of section would be sort of honing in on that experience of like being sensationalized and understanding my proximity to the platform and understanding that, like, you know, I am under a microscope in a way that other people aren’t, but also I’m not at the same time, like, people don’t care. So it’s like that kind of weird balance. And then the second portion is about filming a millennial talk show pilot with my dad with 20 millennial influencers, which was its own kind of insane, like, reality television is disgusting. And that’s, that’s my final stance. Um, and then the third part I’m thinking is going to be like about this consent book experience and like, what that’s been like, and, you know, becoming a writer and what that’s means. And so that’s sort of the what I’m thinking the scope of the memoir is going to be especially since I’m so young, like I’m not trying to be like, do the sort of like monolithic like I was born in Pasadena, California, you know, like,
Emma Dhesi:
I want to wait for that. Yeah. That was to be considering and mulling over and there’s such a lot of scope there. There’s maybe even three memoirs there on the subject. Yeah, maybe. Wow, well, I wish you luck with it. And I’ll look forward to kind of keeping an eye out for it for when it when it does come to fruition and you finally release it into the world. And but until that point, do tell our listeners where they can find out more about you and your writing and the help that you give to writers. Absolutely.
Paulina Pinsky:
I am M iz piggie 111 on all social media, Instagram, Twitter, all that. You can find me there and then my personal website is Paulina, pinsky.com. So you can always contact me through there. I am always looking for people to work with talk to all that jazz. I feel exceptionally lucky that I get to do what I do. So thank you so much for having me. This was, this was a lot of fun,
Emma Dhesi:
a pleasure, an absolute pleasure, and I’ll be sure to link to all of that in the show notes. Well, Paulina Polinski. Thank you very much.
Paulina Pinsky:
Thank you so much.
If you’ve been working on your novel for years (perhaps even decades) the maybe it's time to consider working with a coach.
If you have multiple versions of your novel and you don’t know which works best, are scared nobody will like your book and don't feel like a 'real' writer, then my guess is coaching is the right next step for you.
Find out more and sign up for your free Clarity Call here: https://emmadhesi.com/personal-coaching/
If this interview with Rachel Grosvenor was useful, you’ll love:
Shortcuts for Writers
Emma Dhesi
Emma Dhesi is author mindset coach and bestseller author who helps writers let go of perfectionism, self-doubt and writer's block through her signature programme, Unlock Your Creative Block.
She is the host of the YouTube Channel, Emma Dhesi, where she interviews debut and experienced authors alike.
She is a Certified Author Accelerator Book Coach.
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