It's a process.
I am an unlikely person to become a money coach. For one thing, I had a pretty dysfunctional relationship with money for most of my life. For another thing, I’m not particularly motivated by money for money’s sake. Wealth without freedom doesn’t get me out of bed in the morning. And while I am currently focused on being debt-free by the end of next year, I am also spending most of my time working on creative projects that I can’t monetize right away.
In short, I’m a walking contradiction. Which is why I see the work that I’m doing as so essential. Back when I was starting out as a creative, I had no one like me to show me how to get into a healthier relationship with money. As a result, I assumed that money would be a constant stress in my life and that I’d always be compromising my personal and professional boundaries just to stay afloat financially.
Fortunately, I was wrong. After spending my late teens and all of my 20s in tumultuous pursuit of the place where money and meaningful work meet, I learned that there were other ways to relate to money. Financial wellbeing wasn’t just possible, it was available to me even when I was broke and drowning in student debt. Best of all, reworking my dysfunctional relationship to money brought me back to working with puppets, something that makes me very happy.
While the road to get to where I am now was long and at times painful, I needed every lesson along the way. On top of the learning curve, I’m sure I also slowed down the process a lot of the time by making things more complicated and difficult than they needed to be. Still, this too proved to be a gift as it forced me to think about how I wanted to be in the day-to-day process of rewriting my money story.
As I continue to work on my first online course, I am constantly reminding myself that this is a long game. While working with urgency is important, rushing my creative process isn’t going to do me—or the folx I want to serve—any favours. The same goes for the show I’m co-writing with my creative soul twin. The practice is to show up and do what needs to be done. It’s to work with our edges not as obstacles to our work but as the work itself.
So, what part of your creative process informs your work the most?