Challenges Choices and Consequences

If you take a look around you, at the life you’re living, this is of your making. You have perfectly designed the life you live every day, as it is the result of your challenges, choices, and consequences.

If you are not liking your life so much, then all you have to do is change it. You. I know, you can find 100 other people, circumstances, or things to blame, but the truth is, you’ve allowed all those things to be present and have power over you.

Nothing can have power over you unless you allow it because you are a mighty child of God, with all the rights of sacred royalty bestowed upon you, all yours for the asking, but you continue to play small. You think of yourself as a victim of life, when all the while you are the child of the Creator. What if you create your world?

As a child of the Creator, you have all the power to create anything you want. Your world, the world you step into every day is of your design. You have chosen the geographic location of your life. You have orchestrated all the players, invited them to play in your world, and have settled into the character you play.

In this role that you have set up for yourself, you face certain challenges and make decisions based on your character’s profile. You enjoy the results of the choices your character makes, or suffer the consequences, and this is all the result of you, and the part you chose to play in your terrestrial play. Your life is the result of the choices you make.

As the playwright of your life, you can choose a new life, rewrite your part completely, if you so choose. You can change the set, the geographic location, and all the players to better suit the life you’d like to live.

Will it be perfect? It depends on what your definition of perfect is. To me, the perfect life is not too safe or stagnant. It comes with plenty of opportunities for growth and expansion (challenges), for myself, and the other players in my world. I want to experience the full spectrum of what this life has to offer.

What’s in your movie?

Every now and then, you need to make adjustments to your story and the cast. Some cast members which you had faith in to play out their roles provided lackluster performances. Just like in any long-lasting teleplay, sometimes you have to change the cast up a bit to breathe new life into the property.

Ask yourself, is it time to sit back and review a vulnerable and honest director’s cut of your project?

You will know when it’s time to change it up, and if you’re not paying attention, your viewers and sponsors will let you know. They will either start complaining or start pulling away taking their resources with them.

“Fine,” you might say, “Who needs them,” because you’re committed to your project the way it is. Another challenge, followed by your choice, which may come with consequences.

Sometimes, you’re so focused on the details of your life, the interaction with the cast and crew, all the necessary details, lighting, locations, props, and shots, that you forget to take a look at your project from the lot, or better yet, an aerial view.

Getting a different perspective of your project from another point of view, reviewing the stats, reading the reviews, getting input from outside sources about your project, maybe even considering new sources of funding, could set your project on an award-winning trajectory.

It’s amazing what little adjustments can be made which can change everything drastically. A one or two percent change in straight-line trajectory from Seattle’s airport will result in landing in either New York or Orlando. That’s a huge change from a small adjustment.

When you make adjustments, some will be small and less significant, while others may include a total re-write and all new characters. And the time may come when you walk away from a project altogether because it does not serve you. This may be the case if you’ve allowed yourself to play small in someone else’s project.

I know what it feels like to have your character overwhelmed with thoughts, like, “My life has been so awful,” when you think, “Things couldn’t get worse,” then they do. When you’ve lost all hope and nothing seems to go right.

You know what if feels like to face insurmountable odds, to feel like you just can’t take one more

No one is more keenly qualified to step into your role as the sacred director of your own life. Make yours the best story ever.

If stepping directly into the director’s seat is too much to ask, then maybe just reviewing your life as a 2-hour YouTube video might be a good start. You might discover that you are the reluctant hero in your story.

If you need a hand, we are here for you.

Challenges, choices, and consequences? Your life is the result of the choices, challenges, and changes that you make.

Start making changes.

You got this.

What’s in Your Movie?

Imagine you’re a genius filmmaker who has been assigned a very special project challenge. Your film company has made all the arrangements. They have found a town to use as your next film’s location. All the arrangements have been made. The local government has received signatures from every person who lives and/or works in the town authorizing you to make any film you like using local talent, any naturally occurring events, and locations to make your movie.

All the releases have been signed and you are allowed to use anything and anyone in the town as long as you do not disrupt anything that might have (or have not) occurred naturally. The residents have been charged to ignore your presence and that of your crew as much as possible and you may use and/or bring in outside talent as long as they have not been on film before. This motion picture is to have an incredibly natural feel to it, and you have no script, but your mind’s already swimming in ideas.

You accept the challenge.

Day one. You and your crew arrive in Astoria, the location of your film. Immediately, you and your crew drive around the town and scope out potential sets. Any home, any building, any location is yours for the choosing. You take some basic reference shots of potential locations for you to refer to later.

You decide you’ll start shooting tomorrow at a restaurant and lounge called the Crab Pot.

Next up, you have time to select your key players, so you and your crew head out to downtown to see what the locals look like. The local supermarket seems to be the place with the most foot traffic, so you settle-in there, posting up where local Girl Scouts usually are outside the store selling cookies.

At first, a crowd starts to develop around your area outside the store. Local law enforcement arrives to break up the crowd because they’ve pledged to ignore your presence unless you reach out to them. They apologize profusely and you recruit two of the officers, Jason, and Kelly to be talent in your film.

By five o’clock p.m. on your first day, you’ve selected the location where you are going to shoot, and you have a cast of eight locals selected to start filming. You’ve called a dancer from Las Vegas to appear in your film, and she’s on the bus right now, headed for Astoria, she should be arriving tomorrow. You’re thinking she will play your love interest.

That night you’re up all night plotting and scheming as your intention is to start shooting first thing in the morning.

The next morning, before the break of day, you and your crew set off to the Crab Pot to better acquaint yourself with the location and to get some establishing shots. Wait-a-minute… What are all those lights and emergency vehicles doing down the road? You tell your crew to start filming from the limo.

What? You insist they shoot anything and everything. Maybe you will find a way to fit the footage in later. They agree and comply. As you get closer to your location,

Well, I’ll be damned.

Sure enough, the Crab Pot suddenly burst into flames in the middle of the night, and it looks like you’re your location is a bust. You’re frustrated, as you rip out the sketches of your storyboard which relate to this location, as you tell your crew to get out and film everything, getting the best shots they can.

You start sketching-out the events which are currently being recorded, maybe you will find a way to write them in later.

Unfortunately, Eli, one of your cast members was in that fire. Although severely burned, he was rescued by firefighters, treated by EMTs and transferred to the hospital. You send half of your crew to follow him to the hospital while the other half continues to cover the fire. Eli died after being put on life support at the hospital, so now you’re down to a cast of seven, with one en route on the bus. You scratch-out parts you had intended Eli to play in your film.

By three o’clock p.m., you have footage of the fire, emergency response, and hospital footage in the can, as you film the arrival Tasha, the dancer, as she steps off the bus. You take a shine to her, thinking she is going to play a significant role in your reality-feeling movie.

By seven o’clock p.m., the dancer is being handcuffed and stuffed into the back of a police car, kicking and screaming. In four hours, she had gotten drunk, high, lifted the wallets of eleven locals (two from your crew members), stolen three cell phones, had sex with the mayor and his wife (unbeknownst to each other), and was arrested for being drunk and disorderly, theft, and destruction of public property. (Which you have documented and “in the can.”)

You send two cameramen to follow the police car and document whatever happens to the dancer.

You don’t know how this is going to affect your script or if any of the footage collected from your second day in town and first day’s shoot will appear in any of your movie at all, but you will be thinking of ways you can use it for your best advantage in upcoming script revisions.

There’s still hope for the scheduled “chance” encounter when you lightly direct and passively shoot the meeting of Alex and Mandy at the Pig & Pancake, while you and your staff grab a bite out of the camera’s view.

At nine-thirty you get a call from the pair covering the dancer. It appears she has outstanding warrants in Las Vegas and will no longer be a potential cast member. You call the videographers back to “The Pig” to join the rest of the crew.

And so it goes, day-in, day-out, every day after day, just making the best film you can out of the footage you get. You have your plans and ideas, and stuff happens. You readjust and keep shooting.

Just like real life.

What’s in your movie?