Less thinking, more doing

I've been quiet lately after having my most prolific year on The Sensible Flutist. One of my goals had been to have two new posts up a week but after a while, these began to feel contrived and forced. One of my favorite aspects of this blog is how I can write based on inspiration. If I don't want to write, I don't have to. Readers keep coming and I appreciate them greatly.

When I was in the throes of moving in the summertime, I was writing a lot on various life and musical lessons I was discovering in the process. I learned a lot about myself in those tumultuous months when my husband needed a job and we suddenly needed to find a new place to live. I felt I had something to share as I had to scramble to meet basic needs. Life wasn't comfortable.

Now that life is somewhat comfortable again, I'm trying to do a little more. I'm trying to better utilize the time I have available to make some other projects come to fruition. My output may be small, but I'm proud of it.

I have a project list tacked onto my corkboard that I look at daily. I purposely kept it simple. Life is a moving target and I know that I have to keep my number of projects small. This is easier said than done.

For the time being, I'm spending less time thinking about issues and more time putting my ideas into motion. Writing is an incredibly important tool for me, but I feel an innate need for concrete action.

Let's all do more, shall we?

The Super Efficient Practice Hour

I feel like I haven't been getting a whole heck of a lot of work done lately. In the midst of a job search for my husband, we are also moving. We don't know where this will take us, but we're forging ahead. Being the administrative whiz of the family, that means I'm doing a lot of the grunt work on the computer. Given we've done this type of thing several times already, roles are established and defined.

Image courtesy of janetlanier.com

With all the stress that looking for a job and moving brings, my constants are running and music. At the present moment, I have about two hours a day to myself. That leaves one hour for running and one for flute. Not wanting to lose the progress made during my week at Summerflute, I have jumped in with my available time. I have no prominent deadlines coming up, so I can simply explore and enjoy.

How much do you think can be done in just an hour a day? In two weeks with a day off here and there due to life, I've managed to learn 80 percent of the 1st movement of the Copland Duo, I'm ready to finish recording the 4th movement of twtrsymphony's Symphony No 2 by Chip Clark, I'm continuing to solidify my interpretation of the Allemande from the Bach Partita and I am rotating through a satisfactory tone and technique practice schedule using Fiona Wilkinson's The Physical Flute, Walfrid Kujala's Vade Mecum and Marcel Moyse's Tone Development through Interpretation.

How do I do it? I've returned to using the Pomodoro Technique for my sessions and using the Focus Booster desktop app to keep track of time. In short, this technique breaks a half hour into 25 minutes spent working on a task with a 5 minute break. I have been using Session 1 for tone and tech and Session 2 for repertoire. My 5 minute breaks are used for constructive rest.

What I have noticed over these past two weeks has been that the focus I devote to this one hour carries itself through the rest of my day. For one, it's hard to work from home which I have been doing since February. All the distractions are sometimes too tempting, but adding a dose of super focus to my day helps me stay on task for the rest of my to do list, especially those I would rather not do.

When I get my super efficient practice hour done, I feel at peace with myself. I know I've broken my work down into manageable tasks, and I accept that the work I've done is worthwhile. It's taken me a long time to get to the point where I am able to accept who I am as a musician, and find a path that suits me (see my Manifesto for more details about this). My practice goal at this moment in time is to give myself time to begin integrating the next wave of changes into my musicianship. 

The super efficient practice hour is the gift I can give to myself everyday in order to preserve my sanity. We each have our own problems to contend with. Even if you play for a living, do you approach your instrument with joy and curiosity or with dread? It's times like these that make me grateful that I have music in my life to give me a release valve when I begin to internalize my daily stress too much. These life experiences also deepen my appreciation of music, and the range of human emotions that music can express.

My simply advice is this: take the time you have and accept it no matter how little time you may have available. Choose one goal to work towards, and base your work on that goal. Whether you have an hour or you have more, deliberately ensure everything you do in your time works towards that goal. You'll thank yourself.

Note: The foundation of my practice goes back to what I call, "Holistic Practice." I'll be presenting a workshop on it at the upcoming convention for the National Flute Association on Friday, August 10, 8 AM in Octavius 21-23 at Caesars Palace in Las Vegas. The type of focus that we need to achieve real results in the practice room applies so well to the rest of our lives, that "holistic" really describes a way of practicing for our whole selves that we can carry through our day. If you're interested in approaching your practicing in a way that maximizes your time and minimizes stress, this is the workshop for you!

Get your copy of The Musician's Personality here!

Extra, extra! Read all about it!

You can get your copy of The Musician's Personality: How Intention and Free Thinking can shape Artistic Freedom here! 

For a sneak peak, here's the book's preface:

From the beginning, The Sensible Flutist has been about my personal journey. When I began the blog in 2010, I was asking a lot of questions and while I thought I had definitive answers, my perspective has evolved as I’ve sought to find my unique voice and path. My ability to flesh out my thoughts on the blog led to the development of a network of likeminded colleagues on Twitter. Two years later, I’ve had the pleasure of meeting several of these influential people who want to make the world a little bit better by breaking down the barriers present in our art.

The basis of this E-book spans a series of posts I wrote for The Sensible Flutist between June 2010 and August 2011. This book seeks to connect the pieces of my progression. It presents these posts as an expanded guide for you, the reader. For the sake of space, I am not republishing these posts verbatim but I am expanding the ideas as a call to action for my readers. These posts relate as much to my own evolution as a musician as they do to encourage those who may find themselves asking the same questions. If you are struggling to find your individual voice, read on to find out how to balance your education with your free-thinking creative self, the musician’s personality.

If you download the book, please let me know what you think and please spread the word!

Many thanks,

The Sensible Flutist

What and how many income streams should you pursue?

In my last post, I asked you some pointed questions to help you identify potential income streams. As musicians, teaching and performing are primary income streams for most of us. What if that isn't enough? What if you have additional interests that still relate to music, but you would like to expand your list of income generating activities?

While some people may not have enough income streams, others may have too many ideas that they can't focus on one long enough to get any real work done. While my last article was meant to get you thinking about any additional skills you could bring to the table (including the possibility of getting a day job to help you build skills), this is going to be a post to help you focus and refine the income streams.

1) What do you value? Time with family? Fame? Money? You can determine the number of income streams you can handle answering this question first. As I refine my own streams at this time, I'm discovering that I must preserve a work/life balance and this is my current priority. My goal is to eventually be able to work no more than 4-6 hours a day, so I cannot handle more than 3 or 4 different streams. A great site to help you figure out your strengths is the VIA Character Strengths Profile which you can take for free. My profile says my best character strengths are curiosity, gratitude, judgment, appreciation of beauty and excellence, and honesty. All my current income streams of performance, teaching and writing play to these strengths.

2) Do you thrive on multiple projects or would you rather work on just one or two? Again, this goes back to determining your strengths and values. I'd argue that no one is able to multitask too much. Our brain simply can't function at its optimum level. Instead, determine your work preference and choose your streams from there.

I would also point out here that this question is important to consider when you get calls for gigs or new students. It's so easy to take any opportunity that comes through the door when we don't have a full performance schedule or teaching roster. I don't believe that it's necessary to take every opportunity. If it doesn't align with your values, don't do it. Instead, spend your time on efforts that play to your strengths. Long term financial security is much more important than the short term.

3) Do you have an idea for a new business but don't know how to get started? I discovered Lea Woodward through colleague Marion Harrington. Lea has now begun offering free e-courses to help you establish your path. Consider her latest offerings from her Path Finding for Pioneers site.

I am currently working through Path Finding for Idea Pioneers and working through it task by task (which come to you every other day in an e-mail so you can work on the course when it's convenient) has left me focused and energized. I see great value in what Lea is offering and I'm happy to be able to take these courses to determine whether I want to invest in her paid options down the road.

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When we're working on our own, the hardest thing to do sometimes is to maintain laser focus when you don't have a separate office outside of your home. If you can discipline yourself to set work boundaries for yourself to preserve focus and concentration, I believe the payoff is worth it. If you begin laying the groundwork by answering these guided questions, finding your strengths and taking advantage of the resources available online, you can begin working in a new way that doesn't take every waking minute.

Regardless of whether people understand what you do, the key is to communicating what you do to prospective clients and customers so that they understand the benefit to them. Focus your income streams for maximum results.

How many hats do you wear?

photo moolanomy.com

Ask a classical musician what they do for a living and be prepared for a less than straight forward answer. We do a lot. Most of us perform, teach, compose, write and do many other things that all fall under the freelance title. The challenge of succinctly describing to laypersons what I do is ever present, and most time I simply reply that I play the flute.

I have many income streams that I'm in the process of developing. Currently, I teach, perform and write. I'm also working on capitalizing on my day job experience to create new work. My goal as a musician is to be portable and flexible; however, like any small business, income streams take time to develop into money making ventures. The key is to not give up.

What unique skill sets and interests do you have? Does being a musician completely define you or do have a broader scope of experience that you can draw on? I worked a full time day job outside of music for nearly three years. I treat that work experience as my business management education since my job consisted of accounting, human resources and operations components. Aside from that, my other day jobs have been primarily clerical in nature so I draw on my organizational and administrative skills there to handle day to day stuff and not get overwhelmed. Although I'm now beginning school to obtain my physical therapy degree, these skills will serve me well.

Don't be afraid of the additional experience a day job can give you. If you feel you need more business experience, try to find a administrative position. The hours may not be as flexible, but you're gaining experience, honing your skills and earning a paycheck in the process.

Another question to ask yourself as you begin to develop income streams is how many can you handle? For instance, if you're interested in self-producing concerts, the amount of work involved in handling all the details from securing a space, negotiating fees, hiring additional musicians and promoting the event to get an audience is a huge undertaking. I didn't even mention the hours of practice needed to prepare a program!

Instead of thinking about each separate hat you have to wear under the auspice of generating income via performance, think about the project in its entirety then break down the steps into manageable bits from there. You'll otherwise risk burnout and becoming overwhelmed with all the little bits of work that need to be done.

Become a self-sufficient musician means that you have to develop business skills. Choose income streams that reflect your interests and match your values. You'll be more likely to stick with it especially when the monetary payoff isn't immediate.

We're artists, but we're also forced into the tricky world of business in order to cobble together a living for ourselves. My next set of posts will attempt to give you some perspective on how to overcome these challenges and keep moving ahead even when it seems that you're stalled.

Perspective: Abundance or Scarcity?

In my last post, I mentioned that I've been reading Rosamund and Ben Zander's book, The Art of Possibility. One of the first things discussed is the lens that people choose to view the world through.

Viewing life through a lens of scarcity means that nothing is ever good enough. There isn't enough work, too many musicians, your background isn't good enough, etc. This limits the viewer in an incredibly narrow way.

Open yourself up to abundance and (Zander is absolutely right on this) possibility begins to pour in.

I feel like I can be the poster child for scarcity since my life story began through what should be a lens of scarcity. I was born and raised in Southwest VA, culturally rich but not in classical music. Although I had a caring band director for the first three years as a flute student, I didn't necessarily have the opportunities that kids have living in urbanized areas...or did I?

Through this lens of scarcity, I began looking for opportunities. I began traveling 50 minutes one way every week to begin private lessons. I auditioned for the Kingsport Youth Orchestra, didn't get in, but kept trying anyway until I did. I entered local competitions. I went to music camps in the summer. I dreamed about Curtis, Julliard and Eastman. I began exploring the online message boards to learn as much as I could about playing the flute.

Regardless of my background, even though I had a whole realm of scarcity grounded in reality to contend with, I never stopped dreaming or trying.

When you view things through the lens of scarcity, your past hangs over you like a dark cloud. You never can seem to move past all the things that you blame for your lack of success. Self-doubt builds and your professional life continues to suffer.

If I chose to live my life in the realm of scarcity, I would not be doing the things I'm doing today. I wouldn't have the courage or confidence to step out. I only have a Bachelor's degree and it's not even from a major music school! What am I thinking?!

I could give you 50 more reasons why I shouldn't be doing what I'm doing if I operated this way.

The quote, "Life opens up with you do" could never be more true. Making a living in music gives you the freedom to take risks, explore life and learn things that a desk job will never teach you. We can return to our instrument every day and come away with a new awareness even if it is only just one tiny thing. That beats the daily routine where you're just counting your working hours down until you can go home.

Articulating the differences of the scarcity vs. abundance perspectives are key to letting go of those elements that hold you back. Life isn't fair, but we can make it more fair when we choose to live an abundant life full of possibility.

If there was an ever more important lesson I could teach to my 16 year old self, it would be this.

Part Two: "...but I practiced!" A technique practice strategy

In Part One, I discussed strategies for learning a new piece especially if you’re a very detail oriented person. The suggested strategies should help you maintain the overall feel of a piece while working.

In Part Two, I want to discuss a technique practice strategy that B and I devised for them to cover more material while regularly rotating through every major and minor key. This is particularly useful for adults, amateurs and professional alike, who may be squeezed for time to cover everything. I tend to practice technique largely in only the areas I feel need attention. I do try to get through a larger technique practice once a week (a la Practice Like you Train), but sometimes I just don’t have this time. This strategy is a four week cycle, allowing you to visit all your go-to technical exercises once a month while rotating through all keys once a week.

The books B is using are The Flute Scale Book by Patricia George and Phyllis Louke, Marquarre Daily Exercises for the Flute, and the classic Taffanel and Gaubert 17 Big Daily Finger Exercises for the Flute. Since the Flute Scale Book is founded on the Taffanel and Gaubert, most of the work can be done from the Flute Scale Book. In the plan below, I will notate both the Flute Scale Book exercise title and the corresponding Taffanel and Gaubert exercise.

First, decide what you want your material to consist of. You may have a goal of getting through the practice plans listed in the Flute Scale Book or you may want to devise a strategy for getting through all of the Marquerre exercises. The point of this strategy is to devise a plan that will help you achieve your goal. This works because it’s breaking a long term goal into smaller manageable bits. The key to this plan is consistency. You won’t get bored practicing the same things everyday while you’re building or maintaining a strong technical foundation.

There are infinite possibilities when working with E.J. 4 (corresponding Tone Color Scales in the Flute Scale Book) so I keep these scales as a constant every week while rotating through the keys. This sample plan is good for an amateur flutist who only has 10-15 minutes a day to work on technique. This is based on a 6 day practice schedule, practicing 2 major/minor key pairings a day with varied articulations.

If you're more advanced, please adapt to fit your time constraints technical areas of weakness. Please feel free to share other plans based on your material. I’d love to see them!

Week 1:
Flute Scale Book Tone Color Scales (T&G E.J. 4)
FSB Ascending and descending arpeggios (T&G E.J. 8 and 9)
Marquarre Exercises 1 and 2

Week 2:
Tone color scales
Scales in thirds (T&G E.J. 6)
Marquarre Exercises 3 and 4

Week 3:
Tone color scales
Broken arpeggios (T&G E.J. 11)
Marquarre Exercises 5 and 6

Week 4:
Tone color scales
Modal scales in 3rds and 6ths, flats on MWF, sharps on TRS (T&G E.J. 6, played in 6 note chunks)
Marquarre Exercise 7

*For more suggestions on technique books, read Flute Warm Ups

Avoidance and what to do about it

The past couple of weeks, I’ve noticed that I’ve been avoiding several daily items. Catching up on paperwork, practicing any more than bare minimum and running all come to mind. I find myself doing other things (like Christmas shopping...) when I really should be prioritizing and getting work done.

Other than the obvious chore that paperwork is, practicing and exercise are my stability points. No matter what else happens in my life, I know I can always count on music and fitness to keep me sane.

Avoiding the paperwork made me realize why I’ve been avoiding the other two: overwhelming inconsistency. With the best of intentions, my plans have overwhelmed me. So I need to start somewhere to get back on track.

I’ll start today by simply working. Take a half hour to work on paperwork, break my practice down to focus on a short term goal and just get my workout done. I feel like life has gotten in the way a lot lately, but really it’s just been me.

For those looking for ways to be more productive and to minimize your chances of going into avoidance mode, visit David Allen’s site. He’s got lots of great tools available on his site to help you keep things in perspective.

If you need help figuring out how to break down your career goals (or music goals) into manageable chunks, check out Astrid Baumgardner’s site and blog. She is an excellent professional coach who has helped artists figure out their path and the steps they need to take to get there.

Get to work!

Racing or Fluting, Performance Anxiety Exists

I’m running the Army Ten Miler for the second time this Sunday and I’m a little nervous.

I didn’t follow a set training plan, but I increased my mileage from week to week and ended things with a 7 mile long run. Now I’m tapering and resting and I’ve had to keep my easy runs from turning into a mad dash when I start thinking about last year’s excitement. My run yesterday was an easy 11:00/mile pace, which makes me hopeful that I can PR (“personal record” for you non-race folks) compared to last year’s broken toe time (1:59:14). That doesn’t stop the occasional butterflies when I think about Sunday morning.

It’s a lesson in dealing with performance anxiety. The race part is easy – I can use those nerves to my advantage since it’s a methodical sub-2 hour process. How do I cram those lessons learned over a 2 hour period into a 10 minute audition or performance?

The biggest thing that has helped me shake the nerves is to acknowledge them. I attempted this in the audition I took a couple of weeks ago, and it helped somewhat. I gladly welcome pre-audition nerves because it means less adrenaline in the actual audition.

We’ll see what happens in my race on Sunday. I think my nerves are coming from a worry that I didn’t train long enough or I didn’t strength train enough. I have to accept that I’m as ready as I can be at this time. Just as we worry that we didn’t prepare enough in the practice room, the lessons I learn as an amateur runner easily translate to music. All we can do is plan, discipline ourselves to get the work done and remain self-confident.

Regardless of my performance anxiety on the course or in the audition room, both experiences make me crave more and they reaffirm that I need challenges in my life. Let the excitement of the moment overshadow your momentary discomfort. Accept the challenges and grow.

Peeling back the Layers

Since I began seriously playing again, I have struggled with performance anxiety in ways that I don't recall ever experiencing. I have read books, talked to my teachers, and sought multiple performance opportunities in order to practice the skill of performing.

But I still feel like I fail. Why?

Interestingly enough, I had an epiphany sitting in my car listening to the radio. P!nk's song, "F'in Perfect," was on and I really started listening to the lyrics. All of a sudden, I realized that the negative performance experiences I had as a child are still affecting me emotionally and psychologically.

On a personal level, you can hide behind a shell of yourself. As a musician and an artist, you must lose that shell. Losing it can induce anxiety and self-doubt. There are different types of performance anxiety as listed in my colleague Marion Harrington's article; however, when I read these, I found that I couldn't exactly define how I suffer.

I began my musical journey as a singer. As a kid, I sang all the time. I would sneak into my brother's room, play a record, and sing along. If I didn't know the words, I made them up (I especially remember "La Bamba").

As I got older, I began singing in public. I could easily get up and sing in front of a church full of people. I was singing because I loved it, and I didn't have any preconceived notions about what I was supposed to do. I didn't start developing preconceived notions until I began entering talent shows at school.

I grew up in rural Southwest Virginia which is very religious. I sang anything my mom could find a taped accompaniment for, which was usually gospel or Christian contemporary music. And that's what I sang for my talent shows. The rejection that I remember most is a school assembly that I sang for. I don't remember the song, but I do remember looking up into the bleachers and seeing a boy mocking me.

I never tied this experience to my flute playing, but I think that it is a factor in how I deal with my anxiety. As I got older, I began burying more of my true self in order to fit in as most of us do. I have an "old soul," and I had only a few close friends. Because I find myself caught in the middle between those my own age and those older than me who I'm closer to in maturity, I have built layers of walls to protect myself from getting hurt in relationships with others.

We all build walls. Breaking them down in order to perform without fear is perhaps the most difficult part of our job.

Ultimately, this realization peeled back one more layer of my psyche to figure out exactly why I get anxious when I perform. My ease as a singer and a natural performer has evolved into a nervous adrenaline rush that affects my entire performance. It has struck at the beginning, in the middle, and sporadically.

How do I start to let go and enjoy the music?

My most recent post (Opening the Heartspace) is a step in the right direction. I actually started writing this post several months ago, but I've been letting it simmer. There was something there that although realizing that my childhood fears have followed me into adulthood, it doesn't explain everything.

There's something more. Perfectionism.

When we're children, we don't try to be perfect. We are able to perform without expectations or pressure. We sing/play/dance simply because we love to do it. Somewhere along the way, we learn that this isn't good enough. We must be perfect. We must please others. And when someone laughs at or mocks you, then you begin avoiding that which used to give you so much joy.

My experiences make me who I am today and I know who I am as a person, but the more I can break down the walls that I have built around myself to protect myself, the more true artistry will emerge in my teaching and on stage.

Here are some resources to help you overcome the "lizard brain" (as Seth Godin puts it):

Elizabeth Gilbert on nurturing creativity


Seth Godin's Linchpin

A Flutist's Self-Worth

A thread on the FLUTE list popped up that saddened me. The question of the distinction between amateur and professional players came up, and I read the thread with dismay. The original poster's intent was to ask the valid question why we flutists don't support each other more, but the resulting discussion didn't answer this question.

A certain flutist wrote who said that she is a "nobody in the flute world" because even though she leads a fulfilling musical life, the fact that no one knows her outside her own circle and she doesn't hold an orchestra or teaching position doesn't hold value in her eyes.

An unfortunate stereotype of flutists is that we're all catty, uber competitive, and self-centered. When I meet a new flutist, I always gauge the person to figure out their attitude. By the end of my time with them, I know whether they share the same philosophy of music making I do (if you've read the rest of my blog, you know how I feel about music) or whether they are purely career focused (i.e. constantly focusing on the orchestra audition circuit or teaching positions). When I pick up on the latter attitude, I usually come away a little deflated and questioning my own worth.

Seeking approval from others is a struggle for me. When I was in college, I constantly wanted the approval of my flute teacher. She was hard on me, and it took me years to realize that it was because she wanted the BEST for me. I wasn't in her studio to be told how good I was. I was in her studio to progress and become a better flutist...to better my chances of becoming a successful musician.

So what does "successful" mean? For a lot of flutists, this only means winning an orchestra or teaching job at a major school. Orchestra jobs are diminishing. The Philly Orchestra has declared bankruptcy, the Louisville Orchestra is no longer employing their musicians. Now, more than ever, flutists (and musicians everywhere) must be flexible and open to creating their own opportunities.

Your self-worth as a musician and as an individual should not be tied to what others are doing. We are musicians, with creative impulses and the ability to create opportunities for ourselves. This is what creative entrepreneurship is about. It's about taking control of your life and your destiny. It's about creating opportunities for yourself where none seemingly exist.

Do I struggle with self-doubt? Yes. But I struggle more with self-doubt when I find myself worrying about what others think especially those who have won those types of jobs we dream about in music school. My self-doubt dissipates when I stop worrying, and I start focusing on my own goals again.

If you have an idea for something great, pursue it. Don't let entrenched attitudes stop you. Winning orchestra and teaching jobs is the old way of thinking. Now, more than ever before is the time to seize on opportunities. The power of the internet and social media can take you from obscurity into something more.

Unfortunately, a lot of musicians don't know how to seize on these new opportunities. Instead, I meet a lot of flutists who had big dreams shattered by the harsh reality of the real world. Life often gets in the way of what we would like to have, but it doesn't mean that we should give up just because we can't win an orchestra audition or a teaching job.

Be flexible, adaptable, and true to yourself. Your musical career might take a path you didn't expect, but the path least travelled leads to the most fulfilling work.

Go out and create! Here are a few resources to help you get past self-doubt and start or rejuvenate your career:

Jade Simmons' Emerge Already! Blog

Beyond Talent by Angela Myles Beeching

The Savvy Musician by David Cutler

Perspective

I can't believe it's been almost a month and a half since I last posted an article here. You have to forgive me. As a military wife, I've been charged with planning a move all by myself while also practicing as much as possible in preparation for various auditions and a competition. Once the move is over, I will have more time to write and post on a regular basis.

With everything in a chaotic state, I've lost my perspective over the past two weeks. In addition to my perspective, I also lost my mojo to practice. So with an audition next week glaring at me and a competition the week after in addition to presenting my first ever workshop, it's easy to see why I lost perspective.

My advice to myself and to all of you reading, when life throws you a major life change while also involved in career pursuits, don't compare yourself to others. I certainly don't follow the status quo musician route. I'm not going to have the amount of time to practice like I wanted. I like to keep negative thoughts flowing through my head. Instead of looking at my situation practically, it's much easier to shut down and focus on other things.

Planning, efficiency, and structure can get you through these phases. Have conversations with yourself (out loud, even) about your expectations and goals. Be open enough to change and adapt your goals if your life is constantly changing as it is for me. For me, my goal for my audition and competition has changed from winning to one of gratitude for the opportunity to perform and use these as experience building events. Between now and then, my goals could change again. Even if I don't win, I will celebrate the accomplishment of working through my personal challenge.

Adaptability and creativity make us unique as musicians. Don't let your perspective interfere in those processes. By working through major life events, you will discover strength that you didn't know you had and you will be able to meet future challenges in an even more productive way.

Perspective counts.