THE INSPIRATION PLACE PODCAST
Miriam Schulman:
Hello, this is your host artists, Miriam Schulman, and you’re listening to Find Your Artistic Voice, which is episode number 49 of the Inspiration Place, and I’m thrilled that you’re here. Today, we’re talking about the journey that creatives take to find their creative voice. In this episode, you’ll discover; what is an artistic voice, why having a voice matters, and also some of our favorite strategies for developing your voice as an artist.
But before we get there, I wanted to tell you about my Unlocking Your Style book program, which contains 30 days of exercises to unleash your creativity. When people ask me, how do you create your own style? I always tell them it’s not about creating it. It’s about uncovering what’s already there very deep inside. Everyone already has their own style. They just don’t always know what it is yet. Most of us have spent our entire lives putting ourselves on the back burner, which means we’ve never spent any time uncovering any parts of ourselves, let alone our painting style or developing our own voice as an artist.
And by the way, today, we will be talking about the difference between your voice as an artist, as well as your artistic style. Now, if you’re a regular listener, you know I don’t talk a lot about specific art classes here on the podcast, but I did want to share this with you, because it really has some great exercises in it to help you loosen up and lean into your own personal style. And it compliments today’s episode so perfectly. A year from now, I would love for you to look back and say, “Wow, I’m really glad that I did that.” All you have to do is go to schulmanart.com/stylebook. You can use a coupon code TIP when you check out to get $18 off. Okay. Now back to our show.
Today’s guest is a fine artist, illustrator and author, and is best known for her colorful drawings and hand lettering. She works for clients around the world, including Crate & Barrel, Facebook, MoMA, and Harvard, among many others. Author of eight books, and here to talk to us about her latest book; Find Your Artistic Voice, The Essential Guide to Working Your Creative Magic. All the way from Portland, Oregon. Please welcome to the inspiration place, Lisa Congdon.
Well, hello, Lisa, and welcome to the show.
Lisa Congdon:
Thank you. It’s so great to be here with you.
Miriam Schulman:
I’m so glad you’re here. I wanted to, first of all, thank you for … You’re 50 right?
Lisa Congdon:
51.
Miriam Schulman:
Yeah. 51. Okay. I just turned 50 and you’ve put some post out, like how your glasses got weirder. Do you remember that?
Lisa Congdon:
Yes, definitely.
Miriam Schulman:
I was like, “Great idea. I’m doing that.” Not that I copied your glasses, obviously, but I was like, “I’m getting weird glasses for my 50th birthday.” Not that they’re so weird, but that’s the way to go.
Lisa Congdon:
Well, I also think we get a little braver when we get older and that sort of what happened to me. I just started not caring. I always wanted to wear weird glasses, but maybe part of me was afraid that people would think it was silly and now I don’t care. What your audience doesn’t know is that we can see each other and you have this amazing purple lipstick on. And I’m like, see another example.
Miriam Schulman:
That is another example. My husband hates this lipstick.
Lisa Congdon:
I love it. So there yo go.
Miriam Schulman:
It is another example. I found that the more I act like a cartoon character, the more fun I’m having in life and people enjoy it, too so heck.
Lisa Congdon:
Exactly. I heard this interview between Krista Tippett of On Being and poet, Mary Oliver, who just passed away actually this year. And they were talking about how the sort of life cycle is that when you’re really young, you’re super playful and you don’t necessarily pay attention to what other people are thinking about you. And then most of our life we spend in this area where the opposite is true, and then you become older and you get that sort of playfulness back again. I feel like I’m just entering that phase and it sounds like you are too, so yes. Yeah.
Miriam Schulman:
And then when we’re really wise, we learned that nobody really cared about us all along.
Lisa Congdon:
That’s right.
Miriam Schulman:
They all care about themselves.
Lisa Congdon:
It’s true.
Miriam Schulman:
I’m not sure who said that. I want to say Elizabeth Gilbert said that in her book, but that may not be right.
Lisa Congdon:
Yes.
Miriam Schulman:
Anyway, this is very important to what we’re talking about today, because leaning into what makes us weird and different is really all about what finding our voices and our styles as artists is. Don’t you agree?
Lisa Congdon:
Absolutely. Yes. You said you were talking about this class that you teach and that finding your style isn’t about finding something new that’s outside of yourself. It’s sort of digging deep and finding what’s already there. And I agree with that wholeheartedly.
Miriam Schulman:
But I also like what you’re talking about, both in your book. It’s a little bit deeper than just the style. The style might be like the glasses I wear and I put on purple lipstick and that’s great. But then having a voice is different. Let’s break down the first thing, how would you define having an artistic voice? What is an artistic voice?
Lisa Congdon:
There are several components, of which style is definitely one. Starting with style, so style is often by many people used interchangeably with voice. I think at one time I might’ve agreed with that. And then the deeper I dove into this topic to write this book, the more I realized that style is actually just one component of your voice. It’s an important part. It’s sort of like all about the decisions you make about the shapes and lines and texture that you use in your work, your use of pattern and rhythm and movement, all of that stuff that makes your work yours. But voice is also your skill level. And that changes over time. The more you paint or draw or write or make music or dance, no matter what your artistic medium is, the more skilled you become and skill matters.
And I don’t mean that in the traditional sense. And in the book, I talk a lot about how we used to think of skill as being this very specific thing, academic definition of what it means to draw our paint well. Which would be realistically, or like being able to render something. But fortunately in the last century, most of the greatest artists have sort of blown that idea of skill out of the water. It’s doing what you do well and having certain level of consistency in your work. And I’ll talk about consistency more in a second. So skill is super important.
Subject matter, sort of what you choose to make art about. Sometimes that changes over time. But for a lot of people, it remains fairly consistent. We are all individually attracted to different things, to rendering different things. And again, that might shift, but we have natural tendencies. Because as you said earlier, these things are already inside of you. They were forming when you were one or two or three years old. Your medium is part of your voice. What you choose to use makes a huge difference because every medium, even in the category of paint makes things look so different. And different medium have different effects and relay different emotions.
I talked a little bit, when I was talking about skill, about consistency and that’s another one. Skill is important. And what skill helps us develop is a certain level of consistency. If you’re waking up every day and making a painting, but it looks different. I mean, that never happens because your voice is in you, it’s part of your DNA. So it’s going to come out a certain way. The more skill you have, the more consistency you have in rendering your work. And that’s when it becomes sort of recognizable. You know how people will say to you, “Miriam, I recognized that painting before I saw your name.” [inaudible 00:09:23]. Because your work has a certain look and feel. And the same thing happens to me and it happens to a million other people out there making art, especially people who’ve developed their voice. So consistency is also a big, big part of it.
Miriam Schulman:
See, now I see voice as being a little bit more than that. Style is influenced, like you said, definitely by your skill, definitely by the medium you choose and you know how you are expressing your voice. But the voice to me is really what you’re trying to say with your artwork.
Lisa Congdon:
Well, that’s what I mean by subject matter? So I go into more depth than what I just explained.
Miriam Schulman:
If you want to give an example like Ernest Hemingway, just to pick a non-art subject, a non painting subject, he had a style of these very short sentences and very simple writing, but what his voice is as a writer, it goes much deeper than just the stylistic. When I talk about people do have … I feel they have both. Their style is something that they always had, but a voice that is also influenced by your life experiences.
Lisa Congdon:
And I go into depth in that, in the book. I glossed over the category or the component subject matter. But that’s really what I mean. It’s like your story. Your voice is your story. And what you choose to make work about. My topic heading for that is subject matter. But underneath all of that is your culture, your religion, your belief system, your values, all your family history, your preferences, all of that. And in some ways that’s the most important part.
Miriam Schulman:
Why does having a voice matter?
Lisa Congdon:
For professional artists, in particular, or people who aspire to make art professionally, whether they aspire to make money from it or not. People who want to sort of be part of the arts community, having a voice it’s essential because it sets you apart from other artists. It helps you to … There’s a little graphic in my book about, about the continuous cycle of having a voice that helps sustain your professional life. You have to create something that other people are going to connect with, which then creates value. Money is exchanged. People pay you for your work. You have the time and resources to make new work. That, at least professionally, matters.
It’s also like a matter of sort of standing out. I feel like there’s two components to it. Professionally, you need to stand out, but any time you’re only following what other people are doing or copying somebody else’s work or even heavily copying a genre of work, I mean, I feel like that’s just soul sucking. In a way that’s the opposite of having a voice because it’s not coming from inside of you. It’s coming from outside of you. I feel like that’s not sustainable because you would get bored easily.
Miriam Schulman:
But also I see it happening with artists who are copying themselves. Does that make sense?
Lisa Congdon:
Oh, yeah.
Miriam Schulman:
Like they become known for girls with red hats. I’m just making this up. Girls would put hats. So all they’re painting now are girls with red hats and they’re afraid to paint something different because this is what’s sustaining their career. And this is what’s been marketable and this is what’s been working. Yet, they’ve experienced different things in their life. Now they’ve had a child and now different things have happened. When they are stuck in that mode of creating for this specific market, it can also kill their voice as an artist.
Lisa Congdon:
Absolutely. And I think that happens a lot. You’ll notice there are artists out there or, you know, I pay attention sometimes to people who, it seems like their work hasn’t changed in 10 years. And then you watch their career sort of die a little bit. Your audience wants you to evolve. You want to evolve and your audience wants you to evolve. That’s a way to stay relevant. And it’s also a way to stay interested in what you’re doing. Fortunately, I think more people naturally evolve than don’t. But I definitely think that sort of relying on yourself or what’s worked for you in the past, even when you’re not passionate about anymore, that will be obvious to others as well. Likewise, when you’re joyful about what you’re doing, even when you’re experimenting and things are sort of looking a little crazy because you’re really changing things up, it may be confusing to the people looking at your work, but it’s also extremely exciting to push your work in a new direction.
Miriam Schulman:
And I think you said this in the book, sometimes even when you do try these different mediums, there’s still certain things that come out that has your thumbprint on it.
Lisa Congdon:
Yeah. It’s like you can’t get away from yourself. You try really hard sometimes. I do this all the time and I … I can’t remember who I was interviewing in the book. We talked about this a little bit. Maybe it was Andy Miller. This idea that you, you try really hard to make work that is not necessarily mimicking another artist, but you’re trying to get a certain effect or you’re trying to change things up. At the end of the day, it still ends up looking like your work. And that’s because, as you said, your style is already part of who you are. Change is actually harder than you think. It’s easier to stay in your voice than it is to venture outside of it, in some way.
Miriam Schulman:
What’s very interesting is if you go to like a figure painting portrait slash class, where everyone’s drawing the face of a model, and if you look around the room, a lot of times you can match up the drawing with the artist, because somehow it resembles the artist. Do you know what I’m talking about?
Lisa Congdon:
Yeah. Totally.
Miriam Schulman:
They always say that Leonardo DaVinci modeled the Mona Lisa after himself, which may or may not have been true. It just may be that effect of how, when we try to paint other people, it still looks a little bit like ourselves because our face is the one we look at the most.
Lisa Congdon:
That’s right. It’s the most familiar to us. Yeah.
Miriam Schulman:
I just found that was a little interesting slash creepy when other people’s portraits look like themselves. They’re trying to paint somebody else and it still looks like them.
Lisa Congdon:
Right.
Miriam Schulman:
How do you navigate influence, Lisa, yourself and still maintain your voice as an artist? And what are, and who are your influences?
Lisa Congdon:
I have so many. And like most artists I’m constantly sort of … I talk about this in the book, this straddling the plane of independence and belonging. And I know you interviewed Austin Kleon and he talks a lot about this in his book Steal Like an Artist, the goal is not necessarily to be completely original because that’s impossible. The goal is actually to take in your influences … I mean, bless our influences, honestly, because we wouldn’t be artists without them. We wouldn’t be inspired to make art. Everybody has influences. The idea is, and this gets easier over time and we screw up a lot when we’re just first starting out, but you know, the idea is to use your influences, but then figure out ways to make adjustments and to innovate and to make your work sort of you. And the fortunate thing is eventually that happens because, as we’ve been discussing, your voice is already in you, you can’t ever be as much as you might like to be your favorite artist, you will never be.
I always say, too, having more than one influence is really important. A melding of influences makes your voice a little bit more of a blended smoothie than [inaudible 00:17:12]. The first thing to understand is that mimicry and influence are completely normal parts of the creative journey. And no one, maybe say for some outsider artists living in the middle of Arkansas, no one is immune. Only people who haven’t come into contact with popular culture are truly uninfluenced. And those people are, in some ways, the most brilliant people, because they’ve managed to make art without ever really seeing much art themselves. Getting over, having this idea that you shouldn’t have influence is, I think, the first step.
My greatest influence, my most favorite artist in the world is Alexander Girard. He’s probably more known as an illustrator and a graphic designer and a surface designer than as a fine artist. I’m actually taking a pilgrimage to Santa Fe, New Mexico in August to see a show of his work at the Folk Art Museum, disrupting my summer vacation to pay a lot of money to go to this place, to see his work. And that’s how important he has been in my journey.
Miriam Schulman:
Have you been to New Mexico before?
Lisa Congdon:
No. SO obviously I’ve never been to Santa Fe and I’m excited about the city [inaudible 00:18:34] large, and the landscape for sure,
Miriam Schulman:
Was there two years ago. Not Santa Fe. I somehow skipped that and went straight to the mountains where Georgia O’Keeffe’s ranch is, which is very nice interesting.
Lisa Congdon:
Yeah. We’re going to try to make a side trip there. I’m going to be there for a few days with my friend, Patrick, who’s also an artist and also obsessed with Alexander Girard as an influence. But there are so many other artists out there, like Mary Blair, who was an illustrator in the mid century. She designed a lot of the stuff that we see at Disneyland. She was a children’s book illustrator. I absolutely love Andy Warhol. My work looks nothing like his, but I tend to love artists who are either from the mid century or artists who have a graphic design, a very bold and graphic look to their work.
I also have always been really influenced by folk arts in general. And folk art is more of a genre and it’s a genre that crosses so many different cultures. There are so many iterations of it. I think one of the most important parts of my journey was acknowledging that I had these influences and then using them in strategic ways. How does this person use color? How does this person achieve a powerful image? And looking and studying that instead of trying to copy the work directly. I’ve sat down and literally copied folk art from the 1800s, just as an exercise in my sketchbook, for sure.
Miriam Schulman:
It is a very important part of learning that you do learn a lot more from copying because you’re involving all your senses to really study. It’s a form of studying, the copying.
Lisa Congdon:
It is. It is.
Miriam Schulman:
And that’s why artists for centuries have copied … Shouldn’t be then turning around and that is your [crosstalk 00:20:23].
Lisa Congdon:
Yeah. Or that you sell it. Yeah. I agree. I think it’s an important exercise. I have these strategies for navigating influence in my book. And a lot of them are just things I already talked about, like just owning it. And not thinking of it as something to be ashamed of and just understanding that everybody experiences it. I always say, get to know and honor your influences. Write them letters. I think, especially now in the age of Pinterest, we have this tendency to find work that we like and pin it. And we have style boards. Sometimes they’re actual physical pin boards. Sometimes their virtual pin boards. You can even bookmark things on Instagram now. But what I encourage people to do is dive into that artist, find out who they are, who influenced them, who are other contemporaries of theirs that you might also be interested in learning more about. Really kind of blow open your influences because the more you go from one person to an entire genre or way of working, the more your work will sort of settle into that genre as opposed to looking exactly like one other person’s work.
Miriam Schulman:
I think it’s great to have influences where people sometimes run into danger is getting inspiration from going to Pinterest or Instagram. So be influenced and let that seep into your subconscious. But when you’re ready to go get inspired, find a different activity. Go out for a walk, do something physical, read a book, see a play, engage at different sense or have a different experience that doesn’t involve looking at other people’s, if we’re talking about painting, looking at other people’s paintings.
Lisa Congdon:
That’s right. Oke one suggestion I have, too, is diving into history and architecture and things like folk art that are super old or studying ancient culture versus other contemporary artists. If you need visual inspiration, go to places that are beyond your favorite list of contemporary artists, for sure.
Miriam Schulman:
One question I had for you is in chapter five of the book, you talk about the importance of showing up. Which I always like to say, like the Woody Allen quote, that showing up is 80% of life. And the importance of practicing and setting routines. But what I’m really curious about Lisa is what your routine is right now for your artistic practice. And if you could also talk about how you’re balancing your art making with your writing.
Lisa Congdon:
That’s a really good question. It’s also super relevant to where I am right now. My routine changes based on what my workload looks like. And my workload will look very similar for weeks or sometimes months at a time and then it changes, once I sort of transitioned from certain projects. But right now I’m both … Well, I’m actually only working on writing one book, but I’m working on illustrating two that are already written.
Miriam Schulman:
And the two that you’re illustrating that’s client work. Is that correct?
Lisa Congdon:
One is my own book. And one is a book that I’m illustrating for someone else. I’m writing a book that I haven’t illustrated yet, that is actually light on the writing. I’m about to explain my routine. And so imagine the routine, I’m about to explain where the majority of that routine was taken up with writing where now it’s heavy on the illustration. Depending on what phase of a book I’m working on, sometimes my work hours, my office hours as I like to call them, are really all about writing. And some phases I get to draw more. And I actually like both a lot. People ask me all the time like, “I hate writing. Do you hate the periods where you’re actually working on the writing of a book? “And I’m like, “No, I like it to actually find it refreshing and sometimes I find it even easier than drawing.”
But right now, so I’m working on writing one book. I’m thinking about the illustrations as I write it. And then another book I’ve been working on for three years, it’s an encyclopedia of the periodic table of elements. It’s a kid’s book for 10 to 14 year olds. That’s completely written and about half of it is illustrated. Between now and the end of the summer, I have to finish illustrating that. And then I’m working on illustrating a book, a children’s book by Jennifer Ward. That is a book for toddlers. The illustrations are actually super different than the ones in the science book, which have to be more realistic. Ones in the book for toddlers are very stylized and kind of fun and I have way more freedom to do what I want to do.
Miriam Schulman:
I have four nephews, by the way. So hurry up because [crosstalk 00:24:59] exactly who should get each of those books.
Lisa Congdon:
I think they both come out and about a year, so I’ll keep you all posted. Every morning I get up around 5:30 or 6:00. Most days I go to the gym. I am kind of an avid cyclist, so I also go to spin class. I get my workout, have my coffee first, drink a smoothie. And then I get home and I take a shower and I start my workday. For the next three months, I have mostly blocked off every morning. I like to work in time blocks.
Miriam Schulman:
Nice.
Lisa Congdon:
Every morning I work from about 8:30 to noon, set the timer for periods of time, which changes depending on what I’m working on. And I’m either writing, as I said, or right now I’m mostly illustrating and I’ll switch back and forth between both books. I’m really lucky that I have a brain that shifts easily from one task to another. Some people have to work on the same thing or it drives them crazy. And everybody’s brain is different.
Miriam Schulman:
I have trouble context switching. It’s hard for me sometimes to go between marketing … The tasks I need to do to market my art and creating art. I find it’s very different. It’s not that I don’t enjoy marketing the art. The problem is just the opposite. It’s like once I get into that mode, it’s hard to shut it down.
Lisa Congdon:
You know, I think the key is figuring out, observing yourself and when are you the most productive. And then I stopped for lunch. And then for the next three months, I also have dedicated, to the extent that I can, afternoons or sort of for creative working in my studio with my hands. I really have gotten away from that a lot. I’m taking a break from client work like you named some of my clients and the introduction. I’ve spent so much of the last 12 years of my career working for clients. And the more you’re doing commissioned illustration work, the further away you can also get from your personal work, which for me is both fine art. And also just making stuff to sell things that I can make prints and products out of myself.
I’m super excited because I have enough time in my schedule now, even with these three books, to carve out time in the afternoon to do that kind of work. I also own a store or have a store in the front of my studio. Two afternoons a week, that’s open. But when there’s no customers there I’m hopefully making stuff or I’m doing stuff like you were talking about, like figuring out how to market things. What am I going to post on Instagram tomorrow? And like preparing my posts.
Miriam Schulman:
And you have help with that. Do you have a studio assistant?
Lisa Congdon:
I do have a studio manager. She doesn’t do any of my social media, but she runs my online shop. She runs my retail shop. She keeps all of my inventory and makes sure that we’ve got everything in stock. She also does product development and research for me. She does some graphic design work for me. She’s instrumental to my business and after many years of not having help because I couldn’t afford it, I feel super lucky.
And then I try to wind out my day. Of course there’s email and admin. And so every day I deal with that a little differently, but I carve out time to answer interview questions or respond to emails and fulfill client requests and press requests and those kinds of things. In the fall, I’m going on a book tour for Find Your Artistic Voice. So I’ll be on the road a lot. And that’s part of why I’m trying to sort of, for lack of a better word, plow through all the other books that I’m working on now, so that I can get them to a point where when I’m traveling, I’m not stressing about working at the same time.
Miriam Schulman:
Yeah. And when’s the Santa Fe trip fit into …
Lisa Congdon:
Oh, that’s in August. And it’s only four days. I’m really around the rest of the summer. And I’ve been traveling a lot for the last few months. So it’s actually kind of … I love being home and I’m sort of a home body, but traveling has become this sort of natural extension of what I do. I do a lot of public speaking and I get invited to teach workshops and do things like that. And I enjoy those things too. I’ll go through a period where I’m on a lot of airplanes and then I purposefully don’t sign up for anything that requires me to leave home for like two or three months, so that I can get grounded again. And I can really get into a period of productivity with my work, which you can’t do when you’re constantly stopping and starting. I’m entering one of those periods and I’m really excited about it.
Miriam Schulman:
Does your wife like to travel with you?
Lisa Congdon:
Yeah. As often as she can. If I can get her to come to a conference with me … We obviously take vacations together, but I’m speaking out Adobe Max in this fall and it turns out she can come and we got her a ticket. She really tries. She also has a job that is demanding. I think she would like to travel with me more than she actually does, to be honest, but she’s got responsibilities. So she can’t always come. And I’ve gotten so used to traveling by myself that it’s sort of not a big deal to me anymore.
Miriam Schulman:
My husband actually doesn’t like to travel. I mean, we’ll take a trip, we take our vacations together, but I’ll do these work vacations make them up for myself. When I went to Santa Fe, I decided that was for work.
Lisa Congdon:
That’s where you get your inspiration. And I think those are incredibly important. My Santa Fe trip is the same thing. In fact, next year, I’m taking what I’m calling a client sabbatical and it’s really just a sabbatical from client work. I’m still going to do other things and completely run my business. I’m hoping that with that much less on my plate, that I can travel more because as artists like, we were talking earlier about finding inspiration, really if you’re able to do it or save the money to do it, even getting out of your town to the next town over or going into nature much less, like getting on an airplane and flying to a different country, it can do wonders.
Miriam Schulman:
I completely agree. It really does open you up to new experiences and usually the better kind of experiences, rather than the other kind of experience. There’s a saying I have that experienced is sometimes what you get when you don’t get what you mean. But travel is not that kind, usually.
Lisa Congdon:
No, exactly. Exactly.
Miriam Schulman:
All right. So Lisa’s book is available today. Today, meaning the day … Lisa’s giving me a strange look. We can see each other. The day that the podcast airs is timed on the day that it’s released.
Lisa Congdon:
Wow.
Miriam Schulman:
Yes. So we were able to do that because of advanced planning. Thank you, Lisa. You can order it right now and it’s in bookstores too, I assume.
Lisa Congdon:
Yes.
Miriam Schulman:
Okay. You can order on Amazon and make Jeff Bezos really rich. And I get to earn a dollar from that if you buy it in the show notes at schulmanart.com/49, or you can just go and support your local bookstore. All good, no judgment.
Lisa Congdon:
Exactly.
Miriam Schulman:
And the book is called Find Your Artistic Voice. The link is in the show notes, schulmanart.com/49. And I also put it on my book club page schulmanart.com/bookclub. All right, Lisa, do you have any last words for my listeners before we call this podcast complete?
Lisa Congdon:
This idea of finding your style or your voice, part of the reason I wrote a book about it is because people were coming to me and saying like, “How do I do this?” I think that a lot of people think it’s a mysterious process and there are actually practical things you can do. One of them is just working in spurts, like a 30 day spurt where you work on one thing for 30 days, every day. Doing a daily challenge, showing up every day and forcing yourself through practice. Because really the way to find your voice … I would say if I could like summarize the book in one sentence, it’s; show up, do the work, feel the fear and do it anyway. Eventually you’ll get there. I’m sure people listening know that when they have attempted to practice something over and over and over, they’ve gotten better at it. And that’s because it’s impossible, whether you’re learning to be a good cook or get better at running or swimming or art. Showing up and practicing is actually the key to finding or uncovering your voice, as you said. That’s my little spiel
Miriam Schulman:
I love that. And the book is awesome. She includes not just her own sage advice, but also there’s a really nice curated collection from different artists.
Lisa Congdon:
[crosstalk 00:33:14].
Miriam Schulman:
Lisa was kind enough to send me an advanced copy. I did go ahead and order it myself so I can get my physical copy because I can’t wait to see the illustrations in color on the page. Real exciting. Thanks again, so much, for joining me today, Lisa.
Lisa Congdon:
It was really my pleasure. Thank you.
Miriam Schulman:
To wrap this all up I want to ask you if you are subscribed to my podcast. Next week is episode number 50 and to celebrate, I’m bringing on a special guest. Next week, I’m having on my husband, Ronald Schulman. And it’s not just because he’s super cute and hunky or because he paid me. It’s because we’re publishing an art and poetry book together and our book goes live next week. By the way you can pre-order the book right now. It’s called The Writer’s Sketch. Go to Amazon. You can order a Lisa’s book and then add The Writer’s Sketch also to your shopping cart.
Oh yeah. And one more thing. The e-book, don’t forget, you can get $18 off use the promo code ‘Inspire Me’. There’s definitely some concrete strategies you can use that will compliment what we talked about today.
Thanks so much for joining me here today. I will see you same time, same place, next week. Make it a great one. Bye for now.
Thank you for listening to the Inspiration Place podcast. Connect with us on Facebook at facebook.com/schulmanart. On Instagram @schulmanart. And of course on schulmanart.com.
Miriam Schulman:
The Writer’s Sketch goes live next week, but you can actually pre-order the book either a Kindle version or you can pre-order the paperback version directly from me on my website. You’ll find the links to that over at schulmanart.com/poetrybook.
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