You're at the Coaching Inn, 3D Coaching's virtual pub where we enjoy conversations with people who engage in the world of coaching. Welcome to this week's edition of The Coaching Inn. I have been after today's guest for about 18 months. And I've kept saying to people, if only we could get her on the podcast. And then I met somebody and he said, he told me that he knew her. He wasn't lying. He wasn't lying. So welcome to The Coaching In Pippa Evans. Hello, thanks for having me.
It's a pleasure because Pippa, what you don't know is that you've done something huge for the coaching profession without knowing it. Yeah. We only recommend three coaching books. Do you? Yes. One of them is mine. Which is absolutely right. have to promote. Come on. One of them is Catherine Mannix's book Listen and the other one is yours Improv Your Life. Wow, I'm really honored. Thank you. And we only recommend those three. Wow. Wow. That's, I feel very humble.
So, it's absolutely just wonderful to have you here. And I'd love to make some connections between improv and coaching as we go. But I would love to start by getting to know you a bit. Tell us a bit about your journey, Pippa. how long, how long is each episode? about three hours. Yeah. Great. Great. We'll get through the beginning. so my journey, well, I suppose, Jimmy, let's sort of my professional journey. Yeah. As an improviser. As an improviser and performer.
I suppose the reason I immediately go, is because I have many sort of strands of things that I do. and often what happens when someone interviews me is there's a weird bit where we do a sort handbrake turn because we go, so you do comedy, you've done a lot of Radio 4, but also you started a church for people who don't believe in God. they go, oh, you started a church for people who don't believe in God. Oh, that's interesting. But you're also an improviser in a Western musical.
So it can be quite confusing the narrative of my to find that lovely, clean narrative that we love to have, don't we? love to have a nice, clean narrative. I was born and I decided I wanted to be an improviser. And so I became an improviser with a lovely, clean narrative. But actually, most of us when we investigate, realize that none of us actually have a very clean narrative.
And once you realize that, gosh, doesn't life feel a bit easier that we're all just a load of strands tied up in a messy plat. So anyway, so I, but I wanted to be a performer when I was younger, and I love comedy. So that is where I went off to do. So I went to university and studied drama and theatre arts. I thought I was going to be a serious actress. I was very good at being a serious actress. Worthy. Worthy. was going to be worthy. I was going to do a lot of Shakespeare.
I remember clicking on, so when you first go into the professional world, you do a lot of these kind of online profiles on dodgy websites. And they always ask the question, would you do nudity? And I'd always click. Yes, if the part needed it. Which always makes me laugh because I know there's no way I'd want to do it at all. And that was me trying to be like, well, in a way, that was me trying to be yes and but with my parameters. So so early work with boundaries there.
And anyway, so then I met, I went on a stand up comedy course. That's right. And met this lady called Marie, who was writing plays. And about four years after I did this course, so I did this course when I was 18. And then when I was 22, I got this email from Marie saying, I bet you don't remember me, but I remember you because you were very good at improvising when we did that standup comedy course.
was a week we did improvisation and I would love you to come and help me improvise in this play for a day. It was just like a day's development workshop. So said, okay. So I went along and did this weird day and I met this guy there. who was an improviser who was going to the Edinburgh Fringe Festival. And he's and I was going to the Edinburgh Fringe Festival with a very serious musical about a circus that was failing. he said, we must come and see my show while you're up there.
And I said, Sure, absolutely. I will. So got to the festival started doing my show turned out my show was a right old mess. And was really miserable. had hardly anyone in the audience. The funniest thing about it. So it was a show about a failing circus. And I was the wife of the ringmaster. And my first line was only 10 people in tonight. And there was never more than four people in our audience. So even we were failing worse than the failing circus.
Anyway, I went to see this guy's show to cheer me up. And he said, and I thought it was really fun. It's such a funny show. And he said, well, when we get back to London, why don't you come and try out for our show? And I said, sure. Okay, I will. So I went and I tried out and at that in an improv show, there would be mostly men and usually maybe one woman. And the woman in the show had just left the group. So he said, there is space for a woman.
And I wish I kept those text messages because now they would seem so archaic. But at the time, I was like, great, there's a space for a woman. And I joined this group. And that was kind of the beginning. And then I was just off, you know, started doing shows in pubs around London. and then got involved with Ken Campbell, who was at the time improvising theatre. And then that met these people who were improvising musicals.
And then that's how I got into Showstopper, the improvised musical, which is the show that I do the most live. And it's really exciting, a big West End production. But while I was doing all that work, I did, as I mentioned earlier, start a church for people who don't believe in God. Why? Because I was really interested in community and where are the spaces for people to think about life. If we lose church, what do we lose? So what could we create that is an alternative for that space?
So me and my friend, Sanderson Jones, started this thing called Sunday Assembly, which was essentially a place for people to think about life. But better PR handle was church without God, because goodness, doesn't that get people talking? So then I started seeing this crossover between people really wanting to find ways to embrace life and feel present, an epidemic of loneliness, people finding it hard to connect.
And also this work with improvisation, which was all about connection and co -creation and wrestling with these things that we have our egos, and our wish to put something beautiful in the world. And then how do you deal with it when your teammate doesn't quite go with your idea or you don't want to go with their idea. And I could just see how much improvisation had to tell us about how we exist together in a very complex world.
And so that's why I wrote the book and started teaching a course called Improv Your Life, because I wanted people to learn improvisation not as a performance skill, but as a place to explore these principles around co Wow, because we have a course called Coaching with Presence, which is an, it's an improv day. There you go. That's where we found out about your book from the improv teacher Stuart Reid, who we use. And he said, you must read this book. Well, that's nice.
And I read your book and it's such a useful thing for people because it helps you think about how, how to not know what you're going to say. and how to be fully present. And the thing that I love the most, well, I love many things about your book, but the thing I think is the most is one of the most useful things is your solo practice. Right. Yeah. So your ideas of on your own, here are some things that you can do to improve. Well, I read it as really improve your presence.
Yeah, that would be another way to write it. But I think because I have this comedian's brain, whenever I hear phrases like that, I turn into like a Californian, you know, like coach. So, please don't do that. Exactly. So let's not do that. I wouldn't have read your book if it was called that, by the way. Well, exactly. So I also think what's interesting is so much of this. These things are different ways of saying the same thing.
Yeah. And previously, that's always been a bad sort of suggested that's a bad idea. It's like, no, actually, we all need to find the way we can hear it. So for some people, they will need that California life coach, right? That's exactly how they hear it. But other people will need my voice and someone else will need something completely different.
And I always I always liken it to you know, when you're talking to someone you go, because you know, Marion, and they go Marion, yeah, Marion, you know, Marion. No, Marion. You know Marion, Marion. I don't know Marion. Marion. You must know Marion. Marion. Marion. Marion. yeah, I know Marion. And it takes that long. like, I said exactly the same thing. But something about the way you said it that last time, Marion appeared, So I think that's it. think it's finding the way in for yourself. yeah.
Yeah. But those, the wisdom. The simplicity, the try this out stuff is just amazing for coaches to get them out of their heads and into being much more spontaneous. Love it. Great. Yeah. Well, I, I mean, I did write this book also for myself. So I think that's important to say, and because I think, again, it can sound like, don't worry girls, I figured it out. When actually it's like, this is, these are the things have helped me and still helped me. In fact, I was having a bit of a tricky time.
I just had a baby. And going back into performing I found quite hard because turns out having a baby is quite a full on experience. can't believe no one told me. And so I just found it really hard going back into performing and felt like I wasn't. myself anymore, which of course, in a way, I'm not I'm someone else. Another ring on the tree, as I like to say. And, and so I just found it really difficult. My husband said, I think you need to go and read your own book.
Which I thought was really funny idea that actually I needed to be reminded of the things that I found helpful. Because I think sometimes we think we're fit within it fixed. I've done it now. I fixed myself. But again, as I say, at the end of my book, we're always we're always working, we're always finding new things we're always developing. So, you know, let yourself continue to grow. Absolutely. So that was a really just a nice reminder that you do know what you're talking about.
But sometimes you need to remember what you were talking about. Yeah. Yeah. So what do you hope for the book? What do you hope it's going to do to the world apart from I hope it's going to be on every coach's bookshelf? But apart from I mean, that would be delightful. just really, I genuinely hope that it's a book that people pick up, maybe even not realizing that it's a book that they need. And, it, and it speaks to people.
Because I, I don't know about you, but there's been maybe three or four books in my life of this kind of ilk, a sort of self help, self exploration kind of book that have really, really helped me at times. I'm sort of forever grateful to those authors, but also just to that physical book that it's there and that you can go back to it. so I really hope that it becomes something of that to people and a way in, like I've said already, to the improv world.
I also just really hope that improvisation could become something that people learn. just as a not as a weird hobby, or a crazy, a crazy extracurricular day at work. Because I think what it has to teach us about accepting where we are and what we're doing, and building on ideas, and listening to ourselves as the first offer.
And so that this idea of having to be in relation to people without losing yourself, that's kind That's such a hard one, actually, because we are always in relation to other people always. And it can be really hard to get that sort of balance or that experience right where you're open and present and listening and and still bringing your full self. Yeah, absolutely. And that's an art, isn't it? can't, you can be inspired by a book to think about how it works for you.
But actually the physical and the the doing of it is the thing that makes the difference. absolutely. And yeah, so just finding, finding different ways, different places to explore these, these things. I think also improvisation, the good thing about improvisation is the most accessible of the art forms in terms of you can literally do it anywhere. And you don't, you know, of course, you can pay thousands of pounds to go on a course with a super duper improv guru person.
But you can also find a couple of people or like you say, do some solo exercises by yourself in a park so it doesn't have to cost you anything at all. You can get my book out of the library, you can go to a park, you can start doing these things. So I think that's what I like about it as well is you don't even have to buy a script, know? Yeah. It's a free... Well, of course, it's because that's what we start doing, you know, I've got this one year old daughter Brilliant.
And she's already, you know, making up stuff and responding to what we're doing and making noises and creating little narratives. It's incredible that we have all of these things exist and then they're chipped away from us and we need to find that play again. Yeah, absolutely. So I have a question, which is, can you do improv online? Yeah, I taught online for the whole of the pandemic. And what do you mean? Do you mean leading a class? do you mean?
Just being in a class online, because I've been looking. And there's not that much online around at the moment. I think everybody's so happy to get back to on site. Yeah, I think people are really happy to be on site. Like, also, don't know if you've noticed yourself, I don't know how you work. But having done courses, obviously, during the pandemic, 90 % of people are at home looking for something to do. the this course is eight weeks, eight weeks long, you need to commit to a Monday night.
Fine, because I've got nothing else. Now this course is five weeks long, pretty much every single person will email me saying, I can do it all apart from this one one week or this might happen or whatever. And then even myself, I just had to cancel an online course because some other work came in that I was no longer able to do five weeks in a row. So think that's got a lot to do with it. And actually on zoom, I did over the pandemic, I think did two intensive weekends on zoom. eight hours.
And actually it did work well. But again, I don't think now anyone would choose to do that. So I think so, so it does exist. You can find online improv, but like you say, most people are happy to be back in real life. Yeah. And so, absolutely. Yeah, we did loads of brilliant work. And it was really interesting because also everybody was working, who was working in that way, who worked online, was looking for ways to be able to interact with Zoom better.
Yeah. Because the amount of times people were really would say to me, I'm just really impressed by the way you host a Zoom space. And I think, but I don't think I did anything wild. perhaps was just thinking about it, from the point of view of how your head is framed in the box, or how do you if you can't have eye contact, how can you make connection with somebody through a a screen and to think about energy transmitting? Like energy does transmit through your screen.
So if you just sit in the corner, so I get people to do like non optimal zoom sitting, I'm doing this right now. So in the court, you sit in the corner like this, you And I mean, matter the times I did do an online class for a company or something, and I would see people just sat in their chair so far back and just think, how can you not realise that you are affecting the person speaking? Because what they're seeing is someone completely bored.
Even if you're not completely bored, be aware of what your body is saying right now. Yeah, and I've got an aversion to the yeah. What's that? In the middle of the screen. If you're right in the middle of the screen and you're right far forward, you look like somebody reading the news on the TV and it really impacts the quality of people's conversation with you because they give you all the power. Okay, yes. Yeah. Yeah, absolutely.
Well, that was interesting as well, dealing with status on Zoom calls and big loud personalities taking over. Eh? Zoom. Magical. So yeah, status online, but there's something isn't there in what you're saying about, I'm guessing that the holding space thing that comes from your professional development as an actor and as an improviser that shows up when you're online. absolutely. think knowing the impact of your energy is huge.
And again, I think as a performer, you forget that these are actually complex skills that you've learned. And you're just so used to using them that you don't realize. So actually, when we started Sunday Assembly, Sanderson and I, so Sanderson is a was a stand up comedian. When we met, we were both doing stand up comedy. And, and we were and then people, we did the first one, and it was hugely popular. And people got in touch from all over the world saying they wanted to start them.
And so we said, Sure, absolutely. And gave people the sort of formula, as it were. And they started doing them and lots of really struggled. And Sandhya and I were like, why are they struggling? Why is it? What's wrong? we went, well, maybe, maybe it's because we've traveled around the country. We've learned how to put on a show for a dime, stand in front of a crowd, source favors from people. We know lots of creative people, so it was easy to put together a band and all that kind of thing.
We've both had PowerPoints in our shows, so we know how to do that. So all this amazing information and skills that we sort of took for granted that we actually had already. And again, I think that's something a lot of us do is we'll say, I'm just an ordinary person, I've got nothing to offer. And you think, well, actually, let's just make a little list of all the things that you, all the skills that you have. It's always far greater than we think.
And I'm sure know, linked to back in the day when your CV had to all be my 90 cities and my whatever. That actually people have some amazing skills that are, they don't even appreciate themselves. Yeah, yeah, because it's not like we were born on the day that we labelled ourselves with our new profession. No, exactly. Yeah, lots of wisdom. I've just done a video set helping people think about having better conversations at work.
And the first thing I say is it's not like you don't know how to have a conversation. Yeah. Because you do. But this is about just a little tweaky thing that's going to make a difference. I would love to talk to you to ask you about about the improv principle about making an offer. Yes. What would you like to ask? Or was that the question? That was a really rubbish question. get that. Tell us a bit about making an offer in improv.
OK, so we'll start from the theatrical improv point of view, which is when you do a little improv sketch, let's say a sketch. So maybe you've got two performers. they're going to come on the stage and they're going to make an offer, which is something tangible the other person can do something with. that might be a line. Gosh, it's cold in Alaska. It might be a physical move. They might be digging a hole or miming digging a hole.
It might be simply to look at each other and offer sort of energy, as it were. and see what happens from there. So you're making an offer to the other person as to what this thing is that we're about to create. And then what you then have is the counter offer, which is what the second person will respond to that offer. So we have to accept and build. We have to accept that offer. So if they say, gosh, it's cold in Alaska, we want to accept it. Okay. We're in Alaska and it's cold.
According to this person, your counter offer might Glad we bought these giant scarves. so now, so what you, the listener might be noticing now is we're building the picture. So before we were like, okay, it's cold. Okay, it's cold. So maybe you saw snow and we're in Alaska. Okay, we know we're in Alaska. Now we've got giant scarves. So now we can see these two characters with these massive scarves on.
Or if it's the person doing the physical offer of building a we're going to accept what that is. We accept this mime of digging a hole. And maybe we'll say, gosh, a lot of graves needed this week. Okay. Okay, great. We're in a graveyard. In Alaska. No, because this is a separate offer. This is two separate scenes. Two separate scenes. Okay. But that's, that wasn't, my offer obviously wasn't clear enough of two separate examples. So, but it'd be interesting thing about the mime one.
If we've done this physical is you might not see what I think I'm doing. Yeah. Right. So I think I'm clearly digging a hole. I'm just doing the movement to Claire on zoom. And, but actually, what you see is me doing a hula dance. Okay. So you go, gosh, the pig on the spit looks good. Right. So you think you've made it really clear that we're at some kind of Honolulu dance thing. And I think I'm digging a hole.
So now we might need another offer to just keep finding the clarity of what we're doing. And the joy of improvisation is to enjoy the not knowing and discovering. The difficulty of improvisation is to get to a place where you enjoy it rather than freeze and panic or worry that I don't know what's going on. And that might be frustration your idea isn't being heard or seen, whether that's on purpose or not. Or it might be just fear of letting down the other person.
So this is what offers are all about. The offer is to give something to the other person to do with what they will. And actually, that's the bit that's hard is that you can't control what that person is going to do with your offer. And you can't go backwards. And you can't go back. Yeah, you can't go backwards. can't say no. So so for example, if I've done my mime digging a hole and you've said got a pig on the spit looks good. I can't say what do you mean? I'm digging a hole. you know.
And I mean, and so the other thing is, I just said that you can't obviously you can, you can say that. But we're not we're we're already in disagreement. So we're not agreeing, accepting and building. Because that's what improvisation is like, working in agreement with each other. And yeah, I just think all of these things around working in agreement, are we actually talking about the same thing? This isn't about toxic positivity.
not about, gotta say, you've gotta love everything everybody else says. It's have you actually heard what's being said or offered? Are you actually working with what is here or are we still working with the idea that we, of what we thought was going to be here? And that's why improv is so good for coaches. Right. Because there's always misunderstandings. We were to ask the wrong question. It's not quite, but people will build on what was said and actually they'll go somewhere with it. Right.
And if they're going somewhere with it, that's a great thing. And you don't have to take them back to the beginning. No, absolutely. Absolutely. And I think if we checked in, checked in more with that idea of being with what is rather than what we thought would be. Just think that's there. I think it's really important. Even myself, like constantly I'm having to go, okay, well, why am I getting cross?
it's because I thought today was going to be a really simple day, but these five things have happened, which means now it's a very complicated day. Well. Okay, well, then we need to be with the complicated day rather than with the dream of the lovely simple day, you know, but it catches you out so often. Absolutely. Absolutely. It's my favourite improv principle, make an offer. Make an offer. Yeah. Yeah. And also, it doesn't have to be huge.
Like I was saying, that it could just be a little energy. So often people will do the course and they'll be like, I'm not interesting enough. I don't have brilliant ideas. Like actually, Maybe don't need to have brilliant ideas. Maybe you just need to bring something. Imagine having a conversation like eight people around a table where everybody is having brilliant ideas constantly, it would be exhausting.
How about you have a few people who are bringing the anecdotes and a couple of people who are just really listening and a couple of people who are putting in the yeses and the ands and the other things and those roles can switch around the table as well. The other thing I think I say in the book is don't judge a scene until it's finished. And so often what happens is we're in the middle of a conversation going, is this conversation going well? Am I doing well? Is this good?
Which means we're already not in the conversation. We're outside watching the conversation. So just wait, why don't you wait till the end of the conversation, then you can decide whether it was any good. Because probably what's going to be the judgment of it will be, that bit was quite interesting and that was good. Maybe I went a bit off piece there, you know. Yeah, just, just really just make make an offer. However, small or big that is. listeners, you can press pause now and go buy the book.
Go back and listen to the rest. Improv your life. There's so much wisdom and the thing I really love about it, it's so practical and straightforward and simple. So what you've just described, about don't think it's over till it's over. Yeah, it happens in every coaching conversation. And people start going, am I any good? I'm any good. And as soon as you do that, you're not as you say you're not in it. In in the coaching world, we say you're not listening.
Yeah. And you check out then they'll check out too. Yeah, we just need to stay together and work out what to do next, which is the improv principle, isn't it? Yeah, absolutely. And but again, I really think it's important to to say how difficult that is as a skill. totally. Because I think, again, it's something that sounds so simple, it would just be with the person.
Our brains are literally at the moment, being untrained in concentration by all of the amazing things you can press buttons on and watch and do and listen. You don't have to pay attention to anything fully, if you don't want to. And goodness, how fun is it to press buttons. So, so actually, the idea of spending an hour really listening to someone is kind of dull, you know, in one in one way. But so it is that train, got to train that muscle to be able to do it.
And again, when I came back from having had a baby, and going back into a 90 minute long improvised musical where you have to pay attention, and you have to know you have to listen, you have to make callbacks, and you have to take in all this stuff that's happening and then make up a song and sing in rhyming couplets and all sorts.
I found it really hard because my brain was used to being demanded of by a small baby where I, it was like just be, so in the that you forget what happened the last 10 minutes because otherwise you're not going to survive the six weeks. yeah, so again, it's not even just the computers and everything. There's bits of life that train us to not be attentive for the whole time. yeah. That's a lot of noticing and paying attention a 90 minute show. Yeah, yeah, it really is.
And also, again, it's when it's not one on one, we're talking about a 10 person cast. So you're listening to So again, when I'm teaching, we often talk about improvisation being like a football game or a team sport, where the hardest thing is to not check out when you don't have the ball. So if you play a game where everyone stands in a circle and we have this imaginary ball that we're passing around, and it's about noticing what you do when the ball isn't coming to you.
But actually your presence your energy is felt by the whole group. So if you check out or start thinking about your dinner, you know, wherever it is, or start worrying, why is no one passing me the ball? Do they all hate me? It's one of those weird things that happens. It doesn't matter even if you're the most confident person for some reason, you're playing this childish game, must bring back stuff from the playground, you know. Yeah, what happens when you're not in the direct limelight?
So can you be the chorus member and the lead at the same time? Are you happy to take the limelight and then step back within three minutes? And that's even more artful than the one -on -one that you were describing about being in the Arctic. Yeah. Yeah. And it's really hard. And we've been doing that show for 15 years and we still struggle. And I think we have eventually come to the conclusion that part of the joy of the show is that struggle.
That actually what we're doing audience comes to watch 10 people attempt the impossible. They're going to improvise a western standard musical. They're going to be completely in sync with each other for 90 minutes. It's not actually possible. What is possible is for everybody to really be going for it. you're really okay with making lots of mistakes?
Yeah, because again, I think when we talk about mistakes and failure, and I talk about it in my book as well, and it's quite an on trend thing now, isn't it? Is to say, hey, guys, we've got to we've got to fail. Failure is part of growing. It's like, well, yes. We do need to be learning from the failure, though. can't just be failing. And also failure doesn't have to mean jumping out of a plane without a parachute, know, like doesn't have to be a massive fail.
It could just be a tiny little thing that happens. Where you go, right. I'm not going to do that again. Or, I see what happens when I do that. Okay, I'm going to stop. I'm going to stop that. Because I think that we love our again, our big glamorous narratives. I started a company that sold by rows that used I know breast milk for ink and for some reason I failed. But it doesn't matter because now I'm making burrows with ink and I learned from my failure. They don't have to be as big as that.
But the mistakes in the show don't spoil the show, do they? You just move on. Yeah, absolutely. And well, again, it depends how your attitude to the mistake is. So you do always move on. I'm sorry, can you hear my baby crying? No. Okay, great. I mean, there was someone with it, don't worry. she's crying for little baby. What was I saying? yeah, our attitude to the mistake. we could be on stage and again, this happened just recently at a Refringe Festival. So there's two things.
Is it actually a mistake or is it something you think is a mistake? So there's that one. In which case, that's one I think you maybe need to unless you've clearly done something of harm to someone else. I think that's one that you need to just put in your pocket to dissect later. We're like, maybe I shouldn't have said that. Shouldn't have sung that.
I'm going to put that in my pocket and I'm going to talk about it By which time, actually, by the end of the show, you'll be like, what was that bit when I think I was, I thought I did something. well, I've forgotten now. So half the time you forget this terrible mistake you made. And then the other thing is, have I frozen as a response to my mistake?
Has the mistake actually made me just stop doing anything rather than find a way to move forward through the mistake and again dissect it if needed afterwards? Because I think I had that experience a couple of times during Edinburgh Fringe where could feel that I was not, I was sort of quite static on stage because I was letting every tiny moment that I felt I wasn't being brilliant in, stop me.
make me go and I was outside going, look at you ruining this entire show, which again is a bit of an ego trip, isn't it? To be like, my mistake ruined everything because I'm so important. So did not. Yeah, so it's probably also that fear of not being the most important person in the That's a very wise phrase, the fear of not being the most important person in the room. So Pippa, if people want to find out where to see you or where to have some training with you, how do they do that?
Well, I have a website, I know, pretty modern, which is PippaEvans .com. That's innovative. know. They call me the innovator. It's PippaEvans .com and I'm on Instagram. I am Pippa Evans on Instagram. post a lot on Instagram. I'm on that other platform who who knows what it's called now. But I'm very rarely ever on there. So I wouldn't bother following me on there. And that's probably that's probably enough things, isn't it? Yeah, that sounds great. That sounds great. Just a story.
I met someone the other day and I recognized their face. And I said, yeah, I think we're I think we're connected and we talk a lot on I can't stay on that platform because that is not a good sentence. It just is weird. Yeah, right. It's not good. It's an interesting one though, and this is probably completely irrelevant to your podcast, but it's an interesting one, isn't it? Because it has power that we've probably all got work through. yeah, loads of work.
The website formerly known as Twitter and connections and all But we all a lot of us now going, I don't really like what it stands for. And I don't like this billionaire megalomaniac guy in charge. saying we're ex friends is really weird. Right. And but we're still there because of like a fear of losing something, even though I don't know about you, I don't I get hardly any notifications on that now these days. Since the change, since the change.
So I think we should all leave, but you have to go first. Well, thank you Pippa for coming to The Coaching Inn and you can buy Pippa's book from all big book retailers, Improv Your Life by Pippa Evans. Thank you Pippa. Thanks, Leah. Brilliant to have you here. Thank you. Bye bye. Goodbye. If you're interested, our next on -site improv training, Coaching with Presence, is on December the 1st in and you can get information from our website.
And very exciting news, we will be putting the improv training online as well as on -site. So watch this space. If you've enjoyed what you've heard today, we'd love you to share the podcast with a friend or leave a comment on social media. And if you'd like to become a regular at The Coaching In, you can subscribe on Podbean and all major podcast channels. We look forward to welcoming you next You've been listening to The Coaching In, 3D Coaching's virtual pub.
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