SPS 268: How To Make 6 Figures As A Screenwriter / Script Consultant with Derek Rydall

They pay you for the hundred or thousand or 10,000 hours you put in to be able to deliver that value . Do you want to spend the next 10 years figuring out everything I've figured out in the last 10 years , or do you want me to support you ?

He had a lot of success with books , including his book is called Emergence Seven Steps for Radical Change and a bunch of other books . He's coached Fortune 500 execs . This is a fun fact . He's written 20 feature film screenplays , maybe more than that . At this point that's just the stat that I have . And he's written a book . My research I found this .

I was like this is a fun angle . It's called I could have written a better movie than that . How to make six figures as a screen consultant , even if you're not a screenwriter . So we're going to zero in on some of that stuff because we'll talk about his book journey .

But we'll also talk about screenwriting and becoming a six figure screenwriter or script consultant . I've never even heard of that . So we're going to dive into what that is and I think this will be fun because we haven't talked a lot on this podcast about script writing , screenplays .

I think when we had Steven Pressfield on here , maybe he talked about his experience writing screenplays it was either on this podcast you guys can check out the previous episode with him or maybe it was at Author Advantage Live , our conference , where he talked about that I'm sure Stephen did , because Stephen definitely has written scripts as well as books .

So I was an actor and and I was , you know , kind of part of a new brat pack and I was doing films and I was down to the wire with multiple movies and and then I would get down to me and one other person and they would be a star and so they'd get the part , and so I kept experiencing this .

I'm like I'm going to take some agency under my control . So I began to write screenplays and began to develop my screenwriting ability . People will read my scripts and think those are amazing , but for whatever reason they wouldn't get made . They wouldn't buy them them . But you're a good writer , come and consult on our screenwriting and our play screenplays .

So that was kind of how the consulting started and and then I was doing a lot of options with screenplays but nothing was getting made . And if you're a screenwriter , it's hard to . If you're just a writer of books , the thing you write is the thing .

If you write screen , it's a blueprint for the thing right , it's like an architect and building writing all these blueprints and never seeing a house get built . You don't have an office papered with blueprints . Hey , come look at my blueprints , it's the house , it's the building .

So I kept creating these blueprints ie screenplays and they weren't getting made and I'm like I had to take it one step closer . What's the thing I can create ? That is the thing . Even if I have to self publish it and hand out a thousand copies to friends and family , at least the work I've made will be appreciated and will make a difference .

And that drove me eventually to write books . And at first , writing books was like it was hard . I was the last thing I ever wanted to do . It felt like I was back in English class you know , making movies and you know , and , uh , but I , I , I did the work and dug in and , you know , got over my whatever .

I had my issues with my , my 11th grade English teacher and I began to write books . And the first books I wrote were around the entertainment industry , around how to succeed as a writer even if you're not getting your movie made or whatever .

So there was a lot of different categories and this was in the early days of things that are now called Fiverr and Upwork and they used to be even more easily accessible sites and I began to take all the skills I'd stacked as a writer , as a reader , as a person who understood story and structure and all of that and began to offer my skills and begin to

build a business as that . In fact , I don't know if you know that book Think and Grow Rich . I actually had an initial program out there it's not around anymore called Ink and Grow Rich . I-n-k right .

How to write how to get wealthy with your writing , and by all those skills I had stacked , I began to build a six-figure business , consulting and all of that . And then I ended up consulting on a lot of scripts and some that became movies and things like that . And then I wrote a book called I Could have Written a Better Movie Than that ?

Was that what it's called now ? I'm drawing a blank . Yeah , yeah , yeah , exactly . And that became really successful and started to help people launch their work all these struggling writers and screenwriters .

And then I also had a near-death experience along the way and out of that , all the stuff I was learning about the deeper purpose of my life and I began to write another book called there's no Business Like Soul Business .

That became a really popular book and I sold both of those books to a traditional publisher and that became a popular book that you know actors and writers and producers and and I began to be a consultant to media moguls and academy award-winning writers and producers and it just kept expanding . So that was kind of a journey , you you know , of doing that .

At birth I tried to write . I was an actor , couldn't get the starring roles as often , so I became a writer of the scripts couldn't get them made , so I became a writer of books and then I took all the skills I'd stacked and began to find a way to make a business out of all those skills , whether something got published or not .

That was kind of the journey to writing books , if that makes sense .

How much of it is like , hey , this is kind of the same thing and what of it is very different .

If you keep ingesting and writing , ingesting and creating , you begin to understand rhythms and you begin to understand , because the very best writing has a musical quality to it , a rhythmic , a flow , a rhythm to it , a cadence . So you begin to understand that almost through osmosis . So there's , in my opinion , nothing more important .

If you want to write anything , especially if you know what the thing is , you want to write , read a lot , ingest a lot and write a lot . Writing needs to become a habit . A writer writes right . An athlete does athletic activities every day , right . They don't just do it when it's game time .

They don't just do it when somebody's paying them , they do it all the time , right . Fish are really good at swimming because they're swimming all the time . So that was the first thing , is the process of doing it , and I have passion for it . But there's other things and they're different . It depends .

If you're writing a screenplay , you have to understand the medium , whether it's a screenplay for film or for TV , or a stage play or a non book or a novel

. They all are different mediums of expression . So you have to understand what are the tools and the form and why did that medium emerge in history in the first place ? Because it emerged because it was able to do something that the other medium couldn't . So you have to understand that . Like , stage is where a lot of you know , obviously , drama started .

It started around the tribal fires but then eventually it got . You know , they said hey , get away from , the , move over there onto that rock and tell us your story . So it became a stage . But it became about much more about the dialogue . So a stage play is much more about dialogue because you're not going to have a ton of sets .

Obviously we've grown in our ability to do sets , but a stage play tends to have unity of place and not too many set pieces . Again , that's gotten better . So you have to think in unity . And what can I create ? Where it mostly happens in one or two places and with minimal , again initially , minimal props , minimal effects .

So it's all about dialogue and theme and character , of course . And then the screenplay came along , or rather than there was the novel that came along and that was how can I explore the inner realm of a person . How can I have two people sitting at dinner and they're just saying some stuff , but actually the whole journey is what they're thinking about ?

Because , again , you can do some of that on stage , but they have to kind of keep doing it to a side . So , anyways , I'm sitting here with this guy and I'm thinking but in a book , you know . So , anyways , I'm sitting here with this guy and I'm thinking , but , but in a book you can .

You can take us on a journey of a whole lifetime in a novel by their inner thoughts . So that was where novels emerged , because you could get much more in depth and you could also do much longer because you could .

You're not going to sit there for a hundred hours and watch a stage play , but you could tell a journey where you could put it down at chapters and pick it back up again . So that's where the novel emerged .

And then film emerged , because we had all these different abilities to have sound and sights and we can now create epic journeys and bring together sound and music and visuals to create a more holistic and fully dimensional experience .

So you have to understand the history , or you don't have to , but it helps and then a screenplay you only got sight and sound to work with . So if you come from writing a lot of themes and ideas and overly you know , overly verbose thoughts and all that , if you can't film it , you can't put it on the page .

Now you can cheat there's ways to cheat but fundamentally you have to learn the ability to express in in the show , don't tell mode . So that's where screenplays are different .

And then obviously not if you're , if you want to write about like this was part of my consulting somebody would come to me with an idea and say what's the best thing way for me to do it ?

And if they came to me and they had a bunch of ideas they wanted to explore I want to explore the nature of consciousness and the nature of this and that and quantum physics or whatever , some ideas , or why school education is so bad or something , and they may have had some story to it , but what they were really excited about was the ideas Then I would

say , unless you're truly an A-level writer with the ability to turn that into drama or fiction , you're probably meant to write a nonfiction book and so it goes . So you have to look at at what am I most excited . Is it the ideas , the concepts ? It's probably a nonfiction work of some kind , whether it's an essay or a self-help or whatever .

Am I more interested in the drama and the conflict and how that reveals it ? Then it's probably fiction . And then have I learned mostly from watching or from reading . And if it's mostly from reading , you've built the neural pathways and developed by osmosis a greater understanding to write a novel or some form of fiction .

If you've learned it more from watching , then you've built more of a visual catalog and you should probably start there .

And I think that layered with what do you primarily consume ? Because then there to your point , there's those neuropathways of hey , I read a lot of nonfiction books . I probably kind of understand the structure of that .

Oh , by the way , writing nonfiction is way easier because the ideas carry the weight and the writing you know should be good but it doesn't have to be Right , whereas if you're writing as Greenplay , if you're writing fiction , I mean the writing needs to be great . We always joke kind of gets people riled up .

We've got a whole fiction side of the business at selfpublishingcom , but the running thing is like real writers write fiction . This is like it's really really hard . You mentioned , I guess , the other piece that you mentioned that I found really interesting was understanding the mechanism , how it came to be , and then writing . To that I remember .

I want to say I was looking at my notes but I couldn't find it . I want to say it was Steven Pressfield that , because I've never done any screenwriting obviously , and so it just was very foreign to me and very interesting .

But I want to say it was Steven Pressfield that , because I've never done any screenwriting obviously , and so it just was very foreign to me and very interesting , but I want to say it was him that said something similar to what you were saying . He's like you don't think about it .

But when you're writing a book you can be so descriptive , right , you know this person was , you know his

mom died , right . But then when you get that in a movie , it's like died right . But but then when you get that in a movie , it's like you , how do you show that ? And and how he's like ?

You know you have to you get really good at writing in like okay , in this minute segment we can reveal five different details about this character , develop that character to where now you understand all this context that I could have just written in in a couple sentences in the book and and that just unlocked .

That's a couple sentences in the book and that just unlocked . That's a small distinction , that's actually huge . That then bleeds into everything that you do and write . So are there other things that jump out like that , either per medium or just again , kind of comparing books to screenwriting . That's just a different way of thinking .

And then also to create the thing and see it filmed or see it acted , in all those levels you're going to know . And then also to create the thing and see it filmed or see it acted , in all those levels you're going to learn oh , that's what it really sounds like , that's what it really looks like .

So , for example , yes , you can write in a book he looked at Bob and he suddenly remembered when he was 10 and dah , dah , dah , dah . Or you can even cheat and say he looked at Bob , or he looked at Sue and he loved her so much . Little did he know it was the last time he would see her , right ?

And now we're like uh-oh , it's a cheat , but now it hooks us to keep reading . But now , if we're watching that scene you can't have a narrator . I mean you could , but it's really cheating . He's looking at Sue and he's loving her , and then you say , little did he know she would .

You know you can't cheat , so you have to find how do I , how do I create that moment ? But similarly , you might write a book where there's , you know , a page of describing the emotions of Bob and or or a whole monologue that Bob is expressing you know to be or not to be .

You know a whole monologue , and then in the screenplay all it is is Bob looks at Sue and , you know , a tear drops down his face , or he takes her hand and and he just squeezes it . And in the context of the story , in fact I get chills thinking about it we get everything . We don't need the monologue , we don't need anything .

We don't need the monologue , we don't need anything . We get it . Because when you see Bob and you see Sue on screen and you see them looking and you see him squeeze her hand , and you remember a scene before where he said the first time I took your hand , I knew I would be with you forever .

And then , when he takes her hand now , the same way he described it in that previous scene we suddenly it all makes sense . So that's where you can't do that as easily in a book .

In fact , there's been many examples where , even in a screenplay , you write all this dialogue and then the actor comes , you know , over to the director and says , or the right , this is beautiful , but I can do all of this with a look . So it's like .

And then boom , they do a look , you know , and it's like , oh , I could never have written it better , right . So it's like , and then boom , they do a look , you know , and it's like , oh , I could never have written it better , right . So it's understanding again , the medium .

There's a whole different and that takes a lot of confidence and trust to develop that . And there's a whole other sidebar , which is there's a difference between a reading script and a shooting script . Right , you write a script to make a movie in the reader's mind .

First you have to be able to write it in such a way , without all the cheating , that it produces that emotion and produces that internal movie . But when they go to shoot it , a lot of that changes . As I said , we don't need as much of this . We don't need all the little parenthetical things that tell the actor how to say it or do it .

We often don't even need as much of the dialogue . It can be done like that or it can be done with a shot . We see him take her hand , we see the sun rising or setting and the music swells and we get it all .

So understanding how much you can do with a multimedia expression like a movie or a TV show , that changes how that happens a lot and that's something you can learn by doing it , by watching it , by looking at a book the novel versus the script , versus the movie you know you can even get some of that . You know reading really great nonfiction work .

You know reading really great nonfiction work . You can also pick up on similar tools , some of the very best nonfiction , not sometimes self-help , but usually it's more .

You know nonfiction memoir or nonfiction reporting where you're like , oh my God , the turn of that phrase or the way they described that , or even terse direct writing the rhythm , it's gritty , it's real and you're like , yeah , you could take that and put that kind of writing in your novel and sometimes even screenplay .

So there's a lot of areas where it translates . But it's about again being a reader , being an ingester of content and really looking for what really lights you up and what turns you on and taking note of that , because that's how you develop your unique voice and your unique style . That's cool .

All right , let's implement what you're learning in this episode and let's see how we can help with your book . Go to selfpublishingcom forward slash schedule . And I mean you . I feel like an example that I'm about to finish up Steve Martin's biography and memoir . I mean biography Born .

Now you mentioned a phrase that I just want to go back to .

But you just see again the decades of development of his writing and it's both serious and comedic and thematic and comedic . And if you want to write things that are both meaningful and maybe funny and can balance those different elements , it's incredibly good writing . You may not agree with the politics and that doesn't matter .

Read it for the writing quality , cool , nice .

It's often going to readers , people that are reading for the agent or the producer or the director or the actor reading for the agent or the producer or the director or the actor , and it often has to go through multiple readers and the readers do what's called script coverage , where they give a synopsis , they say what they like about it , what they don't , and

they give it a grade Consider , high , consider recommend or pass , and 99.9% of all scripts are pass and so . But they , they , uh , but you have to first create and produce this movie in their mind and you have to do it in a way where it's not overwrought and overwritten and , um , where it looks like you're trying so hard .

And so , again , how do you do that ? The the very best way is try to get your hands on some of the best screenplays that have been written and get them in their original screenplay form versus their shooting form . You don't always know that , but nevertheless get a hold of them and you can do that online .

There's , there's whole in whole libraries of screenplays , um , but but writing .

But I'll also say what I believe is true is because I started in the fundamentals of drama and structure and storytelling and Aristotle's poetics and the very fundamentals , and then eventually screenplays , which is one of the most difficult mediums , because it's like , oh gosh , you don't have to write that many words . Compared to a novel , it's easy .

No , it's harder . It's like that letter . What's that anecdotal story from ? What's his name Huckleberry Finn , the writer ? What's the guy with the big white ?

But it focused me on the fundamentals of structure , of having to pull people in and hook people and say what is only needed and nothing more , and beginning , middle and end and set up and pay off and all of those particular fundamentals of storytelling structure , so that when I went to even write nonfiction and began to build the frameworks for my nonfiction work ,

that same thing is incredibly important Setting up a hook , the opening premise , not burying the lead , the ability to hook and to set up things that start to develop and pay off throughout . Because even if you're just writing about how to be a better person or whatever the thing might be , it's still a story in a different way .

It's still a story in its own , in a different way . It's still a narrative , because we have literally evolved and adapted for story right . We dream in stories , we think in stories , we tell stories all day long to ourselves and to whoever else will listen . Story is equipment for living and and so , and .

When we learn , when we learn the best , we learn because somehow it's in a context of a story . Either they're telling us a story or they're telling it to us in a way that helps us remember and relive our story .

The more you understand the fundamental structures of good storytelling , you're going to be better across the board giving a speech , writing a nonfiction book , writing a self-help book , writing a novel , whatever the script .

Rami , who runs the fiction side of the business , just goes super in-depth about writing great fiction novels . I want to shift , derek , for kind of our final time . We're in our final few minutes here and I want to go lightning round on the business side of this .

So what's the path to six figures as a screenwriter , as a consultant or script consultant , all that stuff , and I want to kind of understand how do you get your first paid gigs in that arena ? And then how do you really make it ?

I guess , for starters , though , the question that's been on my mind since I kind of opened with this is what does it even mean to be a script consultant , and how do you get a gig doing that ? Or is that better or worse than screenwriting ? I know I'm throwing

a lot of questions at you , but I'm just really curious on the business side of things you're taking me back to , to some pulling out some of the oldies .

But there's the idea of a script consultant is a person who or a script coach , and you know there's many books out there . If you're into screenwriting , you all have probably I mean I've written some of them , have read some of these books .

One of the famous ones , chris Vogler , the Writer's Journey , which was based on the hero's journey , based on the Joseph Campbell work . Chris Vogler was a script consultant and a film consultant and then Disney took his model and turned it into a lot of their films , the Lion King and a lot of these films . So that's an example .

He was I mean , I knew Chris , he was a script consultant and Linda Seeger , another script consultant . There's a lot of very popular people that have been script consultants and what they do on the most basic level and can do for anybody that's a screenwriter is they will . They can write articles and things that teach about it .

And then they take on clients who have written scripts or who want to write scripts or who have ideas for stories , and , at any level , depending on what you want to do , they will coach you on how to take that .

Like I said , somebody would come to me with five ideas and I would help them identify what's the best , what's the one they're most passionate about , what's the one that's most commercial , what's the one that's most sellable for the times , et cetera , et cetera , and then how to turn that into a three act structure , and then et cetera , et cetera , all the way

to they send me their , their outline and I give them notes on the outline , or they send me their script and I give them notes on the script .

It could be a general analysis all the way to the most in-depth , all the way to being like a script doctor , which is actual doing rewrites of the script for them , and ultimately that led to me being hired to write people's ideas , just from people all over the world , and then eventually to being hired to write at a much higher level with the writers you know

people that were hiring me and writers guild contracts and then eventually being hired to write for a studio , you know , but but that's kind of that was the journey , right . And then and then writing my own stuff and selling it on spec , which means speculative , where I haven't been paid , but I'm going to write the script . But I started with .

Means speculative , where I haven't been paid , but I'm going to write the script . But I started with .

There's a large community of screenwriters out there and by offering these services , whether you can help them write a better pitch , pick the right story , turn it into an outline , critique their outline , turn it into a script , critique their draft , edit or rewrite their drafts with them or for them , those are like the span of it .

But the thing is is , if you want to do that , you have to then be able to have something of value to bring to them that they don't have .

And you can do that either by studying and being truly well-equipped and well-armed with the knowledge of what it takes to write a good script having watched the best movies , analyze the best scripts , even if you yourself aren't selling scripts at the time . If you've got that knowledge , you've taken all that in .

You can give them 100 hours worth of value and they don't have to read all the books and watch all the things . That's how you build up your sense of value . That's the business strategy is , people don't pay you for your hour or for your time . They pay you for the hundred or thousand or ten thousand hours you put in to be able to deliver that value .

And so , whether you've gotten it from lived experience like I've written a bunch of screenplays and sold movies and many options , so I've got a certain kind of lived experience . But but I've also got 10,000 hours of studying and reading and writing as well . So , wherever you find yourself on that , if you want to do that , then it's also .

If you are a screenwriter and you are reading all the books and you are doing all this stuff , it's another way to supplement your income . Because you've already been doing it . You've been putting in hours .

I had read a hundred books , I had written a million words , I had , you know , been through the mill many times , even though I had not yet broken through . So for those of you that have put in a lot of time and energy , this is another way to package it and then to position yourself with all of that , those hours and those years and that experience .

For the person that's a few steps behind you and hasn't put in all that experience . You can help them . Save them days , weeks , months or years just because of all the experience you've been through and all the things you've learned not to do and to do . So that's how you position yourself , so that the value proposition is really clear .

Do you want to spend the next 10 years figuring out everything I've figured out in the last 10 years , or do you want me to support you ?

There's a lot of ways .

So I first positioned myself with the experience as a consultant and all these different things and whatever it is if you have book writing experience or if you have a specific niche experience and smart .

, how do I get my first paid screenwriting gig ? That's super smart . Find someone who has a budget , who wants to make a movie , who needs screenwriting help , and you can pitch to them to be able to . It's almost like ghostwriting their , their movie and so that you said that you've done it that way .

I would become the new writer on that script , so to speak , and script doctorate or ghost write it , which is similar to script doctoring , and and then maybe they'd have a new idea , or I'd help draw out of them or a better idea , and then I would pitch to them .

Either I'm going to first create an outline for you and then I'm going to you're going to hire me to write the script . However , the thing is and there's business people that want to get involved , there's entrepreneurs that want to make movies , there's dentists and doctors that want to make movies .

So I worked with people all around that , again , that were executives , business owners , dentists , doctors , neurosurgeons who wanted to write movies , and then eventually , as I went into books some of them who want to write books , you know , and like you know and help them to do the same thing there , to help them develop their book or their book proposal .

So , again , you can fan out in different ways . We're just focusing on this , but I took all of those stacked skills and I just kept going what's the next , what's the next level , what's the next level ? And built multiple six figure business being able to provide those services , whether I was consulting , and the consulting jobs got much more .

My price got higher and higher .

As I was writing scripts for people , I was able to enroll some of these higher level clients to invest or pay me to write my script , my idea , which had an even better chance of selling , and then actually , you know , making a deal on which is like basically getting a producer , and then eventually I was selling my scripts and optioning my scripts to studios

and things like that or independent producers , and and then eventually , you know those would get made or not . You know you can have a lot of option deals when they don't get made .

If there's a competition for it , like if there's a bidding war for it , if multiple people want it , then you can help them sell it outright .

If you're just , if you're just an agent's going or a producer's going to another company and there's not a competition , they'll usually option it for a period while they try to put the package together , while they try to bring on a director , bring on the actor , all that kind of stuff , and then they pay for the script in full before the film or when the

film starts shooting .

But are they saying , hey , I'm going to pay you 10 grand for a one-year option and we have the option to make this movie within that year ? If not , you know all right now you can go back to shopping it . But if so , then the kind of like you said , we would pay you that a hundred grand before we make the movie . Is that typically how it works ?

Sometimes they'll give you very little to nothing for the option and it'll be a 6 to 12-month option with the ability to re-option it for another six months , and then there's a purchase price in there and then it's just a lump sum purchase at the end .

Sometimes there's a some kind of option up front , a money amount , but then again , usually what they're always trying to do is if it's a studio , there's usually always at least an option , money amount , if not outright purchase .

But in the different seasons where things are hotter and there's just different seasons where it's hot , things are hotter and they're they're just buying stuff more . But um , and that's gotten a little more difficult now .

But when we had I think was in the late 80s , early 90s the big spec boom where people were just putting scripts out there in studios or buying them for a million dollars , you know , half a million dollars , just like crazy , um , that's . Those kind of times are gone for the most part . But and what does that word mean , by the way , spec ?

It just means it's like people that build their houses speculatively and sell them . It means you're , you're doing it , you're investing in building and creating something for no upfront money . I'm writing this screenplay speculatively , like I'm speculating .

You know we'll see if it'll sell or not , and so you have power in terms of I'm going to write it , I'm going to make it the way I want to make it , and then I usually can get more money for it when I sell it outright , versus if I'm hired to write that idea in a development deal , then I may not get paid as much .

The difference is that you may also not sell it , so you may spend a lot of time on something you know . Professional writers do a lot less speculative writing and wait until somebody hires them or buy the idea and then develops it . And that's where you want , at a certain level , you can pitch ideas , sell them and then get hired to write the idea .

Also , where you know similar to books just like I mean with nonfiction books you're writing a pitch , basically in your proposal . You're not writing the whole book and then you sell it based on that , so you don't have to put as much work into it . It's still a lot of work . Anybody that hasn't done it yet , believe me a lot more work .

Buckle up , a lot more work . Anybody that hasn't done it yet , believe me , buckle up , buckle up . It's going to be turbulence . With a novel , with fiction , usually have to write the whole thing , but once you've been a successful fiction writer , you can then sell novel ideas to a publisher without having to write the whole book because you have a track record .

So it's similar to that .

Where can people go , as kind of a parting thing here , where can people go , derek , to find out more about you , your books , working with you , hiring you , whatever would be most helpful ? Yeah , I mean you know it's out more about you , your books , working with you , hiring you , whatever would be most helpful .

I think I don't sell them personally , the publisher sells them minimally , but I think you can still get those online . And then my , where most of my energy is now . Whatever your thing is , if you want to write a book , be a successful author , teacher , you know , writer of fiction , non-fiction , whatever .

I have a community of a couple hundred thousand people and they are authors and artists and performers and teachers and coaches . And what I mainly focus on helping people do is getting clear on what it is they're trying to create , what it is that they are most here to create , what are they made for ?

And then , instead of just their script idea , I help them take all of their life ideas and basically identify what's the best path for you . And then I help you master that path and turn that into a platform and live your work and make a living doing what you're made to do mostly .

And then , of course , I have this domain expertise because a lot of my clients are writers . They do want to write books or they are writing books , but , as you know , also are writers , they do want to write books . So they are writing books , but , as you know also , it's not just the book . There's a lot more work around it .

There's a platform , there's promotion , there's positioning and , probably even more important , you can have all the right tools . But if you don't have the right mind , if you're not in the right mind , you're most likely not going to be able to stick the course and stay through .

So that's definitely something that I can help people do is get an integrity with their deepest potential and purpose and then stay the course until they absolutely succeed , because it's a very difficult and turbulent path to make a living doing what you love and to do it with excellence . To make a living doing what you love and to do it with excellence .

So you can go to , you can also go to my website , derekrydellcom D-E-R-E-K-R-Y-D-A-L-Lcom , and there's tons of free trainings there and , you know , download all the free trainings . They can also go to my podcast Emergence on iTunes and again , dozens and dozens and dozens of trainings to help them to succeed .

I know there's so many places that you can be spending your time . There's other podcasts that you can be listening to , youtube channels that you'd be watching , so thank you so much . It means the world . Now I want you to do three things right now . If you found this episode helpful I don't know if you know this , but we've got a YouTube channel .

It's a companion channel to this podcast . All the video versions of the episode are on the YouTube channel . So , number one subscribe to the YouTube channel . Number two , if you're listening to this podcast wherever , whether this is Spotify , apple Podcasts Number two , I want you to subscribe to this podcast right now so you don't miss a future episode .

And then , number three , this is probably the most important Leave a review on the podcast . All right Reviews are super important and help this podcast get discovered by other people . So , number three leave a review on the podcast . Thank you so much . I'll see you in the next episode .