Episode 131 - Making time for creativity - with Nye Wright
Nye Wright is a graphic novelist, husband, and father who works in tech during the day and uses his commute to make art. In this episode, he tells us about why prioritizing his personal projects is essential to his mental health and gives us tips to organize our small amount of free time and be less of a perfectionist.
Topics
Importance of making time for creativity.
The concept of finite time and traditional time management approaches.
Importance of choosing what to do instead of trying to do everything.
The importance of planning in advance for productive time.
The value of the process.
The significance of art on well-being.
Links
What would you do if you had the AUDACITY to act on your "weird" ideas?
Where to find Nye:
Nye on Instagram: @welsheldorado
Nye is currently nerding about:
TV series: The Bear (2022-)
Transcript
[AUTO-GENERATED]
Marie-Pier Tremblay [00:00:04]:
Hey, welcome to the self-growth nerds podcast. I'm your host, Marie, a courage coach, creative soul and adventure seeker. Since through hiking the Pacific Crest Trail in 2019, I'm on a mission to help you embrace your most confident self so you can achieve your dreams too. If you're eager for deep conversations, big questions, and meaningful connections, join me on the quest to discovering how we can create a more magical and memorable life.
Hello, nerds. How are you? I am great, because today we have a special guest. His name is Nye Wright. Am I pronouncing your name right, Nye?
Nye Wright [00:00:49]:
Yep. Rhymes with hi and nye.
Marie-Pier Tremblay [00:00:51]:
It's very great. So I met Nye at the DO lectures, which I've been telling you guys about for a few weeks now. Basically, on the last day of the retreat festival event, we had a conversation by the coffee machine on the last morning, and I could tell he is a nerd with a kind heart and a sensitive soul, which is exactly the kind of people that I want on this podcast. So welcome, Nye. Welcome.
Nye Wright [00:01:23]:
Thank you. But I think I met you shortly, like a few hours before, when I was going off to bed at three in the morning on Sunday morning. And I think you had just come out of the sauna at three in the morning, which is the perfect thing to do at three in the morning on a Sunday morning in the Welsh countryside.
Marie-Pier Tremblay [00:01:46]:
That's so funny. Okay, so you met me then, but I didn't remember. Good. Yeah. I wanted to live fully, experience fully.
Nye Wright [00:01:55]:
Yeah.
Marie-Pier Tremblay [00:01:56]:
Would you introduce yourself to my listeners, please?
Nye Wright [00:02:01]:
Excellent. Yeah. So, my name is Nye. I am from the States, originally from Idaho, the middle of nowhere, lots of potatoes, lots of mountains, not a lot else, but I live over the UK now. I've lived in England for the last 16 years, have two little kids over here with very English accents. They make fun of my accent, which I suppose is comeuppance for the fact that my mother, who's English, I used to make fun of her accent when she was raising she and my sister. She was raising me and my sister back in the States many years ago. But I'm two halves by day. I'm a program manager for a technology company, have a regular job for which I commute in from the countryside into London. And then my nighttime gig is I'm an illustrator, a one time animator and graphic novelist, where know, love to draw, love to doodle, love to observe things, and love more than anything to tell stories with pictures. And I guess the reason we met is that at the do lectures, I was fully embracing my artistic side of things and was there as resident due diller, meaning I was doing live drawings of the speakers whilst they were giving their due lectures. And then we were adding these things up on a kind of wall, a little gallery wall over the course of the lectures so that people could come out and see these portraits of these people. And then also I tried to capture interesting snippets of things that they said in their speeches and integrate that into a piece of art.
Marie-Pier Tremblay [00:03:41]:
Yeah. And I mean, I want you to tell my listeners the story of how you got to go to the do lectures. Because basically, to go to this amazing place, you have to fill in an application and then you have to be chosen and then you have to pay to go there. But you took a different path, and I love your thinking. So share with my listeners what you had going there.
Nye Wright [00:04:07]:
Absolutely. So my wife had gone to do. She said it had your name written all over it. And I think it was because of this kind of emotional rawness. And so when applications came around in the autumn of 2022 for due 2023, and we can only accept 100 people. So fill out this application, and then if you're selected, you can come along and as you say, you then get to pay. I started to look at the application and the first thought I had was, well, I wonder if I'm an illustrator, let me just draw my application. Like it'd be fun to do the application as a comic, but as someone with a full time job, being a dad, being a husband, having a two hour each way commute on the train to get from where I live to London, which isn't as bad as it says it sounds, because I actually do a lot of drawing on the train. But with all that, I was like, oh, not sure if I'll have time. And then I was talking about to my wife, and she's like, why don't you just drop them an email and ask them if they want send them some of the images you did at makers of Mavericks, see if they'd be interested in having an illustrator. And in the same way that at our wedding, I was the very emotional one, my wife was the clear eyed one. If we were in Winnie the Pooh, she's Tigger and Ivy Ore. And I was like, I don't know. I don't know if they'd ever want me. And she's like, what's the worst that can happen? Drop them an email. The worst is going to happen is they're going to come, but they're either not going to reply at all or they're going to reply back and say, no thank. Like, that's not bad. No big deal. So I was like, okay, fine. So I sent him an email and I said, this isn't an application, but it's a proposal. And showed some of the images I've done, listed some other stuff. I was a guest lecturer at Brighton University in creative writing, focusing on graphic novels and stuff, and have done lots of just doodling on my own when I'm at events and capturing things, and people have enjoyed that. So I kind of featured all that and yeah, a couple of days later, they came back. David Wright wrote back and said, we'd love to have you save the date. We'll see you in July.
Marie-Pier Tremblay [00:06:21]:
That is amazing. That is so amazing. And there's important lessons in there that I want my listeners to keep in mind, is that you broke the rules. I mean, there was one path to follow and you were like, I don't think I have time to go down that path. And so you created your own path and it led you to the same place.
Nye Wright [00:06:44]:
Yeah. And it's an interesting one because that's absolutely a huge thing. I'm so not a rule breaker, which is hilarious. And this is why I can't remember if you and I talked about this that morning, but both in me thinking about the work that I did for Dew and as I think about my marriage to my wife. Remember an old quote of saying, the secret to good, strong relationships is that both sides secretly think they're getting the best end of the deal. And I definitely think I'm getting the better end of the deal for my wife. Without her having made that suggestion, I wouldn't have done it or I wouldn't have followed through on it. I might have come up with the idea, but then I might have talked myself out of it. And what's amazing about just partnership in general? And I think for anyone trying to start out and make their own thing, a lot of people with their own initial ideas, it's just them doing their own thing. But if there's any way whatsoever you can have someone to bounce ideas off of, have someone to just like even if it's just busting out the pompoms and going, you can do this, whatever it is, I think it's so important. And so had she not done that, I wouldn't have done it. Having done it now, it's like, yeah, of course should have done that. That's the obvious thing. And it all seems to have worked out.
Marie-Pier Tremblay [00:08:07]:
Yeah, well, it speaks to the importance of who you surround yourself with. And if it's not your romantic partner, at least having people around you who believe in you sometimes more than you believe in yourself. I mean, that's what I do for my clients. If everyone around them is telling them like, oh, no, it's not going to work, don't do it. You need someone, at least one person in your life that sees all the amazingness in you and believes in it when you don't. So that's kind of what your wife did for you in that moment.
Nye Wright [00:08:40]:
Yeah. In answer to your first question, that's how I wound up at do.
Marie-Pier Tremblay [00:08:46]:
That's amazing. I want to ask you one of the questions you asked me that morning that I thought was brilliant. What space does art take up in your day to day life right now, since you have a day job, that probably takes a lot of your time. Yeah. How do you make space for art?
Nye Wright [00:09:04]:
Good. Well, so I'll catch you back to 2015. So I took a job. So I lived down on the south coast of England in a town called Brighton, or I used to live there. On a good day, that's a 50 minutes train from Brighton station to Victoria, but generally it would mean an hour and a half door to door commute. When I took that gig, my previous job in the same company was a 20 minutes commute by walking. And I was eager. So the first thought I had is like, what kind of lunatic am I to go from a 20 minutes walking commute to an hour and a half commute that involved cycle, train cycle on the other end and then the same thing in reverse? So 3 hours each day. But what was implicit in that, actually, is the trains have been incredible. So I've used it for drawing, I've used it for writing, I've used it for working on projects. When I'm at home, at the house, I'm husband and dad. When I'm at work, I'm 100% wearing my work persona. And when I was a 20 minutes walk away from work, there wasn't enough space between those two lives to really do anything. And if I tried to do something at home, other things would come up. Okay, I'll do the laundry. Okay. Yeah. I'll help out with that and love seeing my kids and hanging out with my kids and playing with them. And at that point, my daughter was only three and my son was just born, and they were both adorable. So other things come in. Part of the rationale of taking this job with this insane commute but on pretty good trains was if I'm on a train, I've got a seat, as long as that's conducive to what? I'm not a gallery painter, so it's not like I can bust out an easel and oil paints or anything. But for me as an illustrator, my tools are I'll do pencil sketches in my sketchbook, and then if I'm rendering it, I'll scan into the computer or take a photo of it on iPad and render it in Procreate or something on the iPad. So those are very portable activities, and those are things I can very much do on a fold down kind of table from behind a train seat or a little shared communal table. So part of the rationale of taking that gig was to give myself time to do work, and it's generally worked. So for me, the day job can get a little bit insane at times, but the commute time is pretty sacrosanct. And now we've moved further out to the country. So now the train, now it's a two hour commute, door to door with ten minute cycles on either end, and then an hour 40 on the train, which sounds insane, but again, it's not crazy. Stuck in, like, sardines. I always get a table, I sit down, and that's an hour and 40 minutes for me to do my thing. And there's times when I've sat down, put on music, I'll put on the same music every time because that just gets me in the zone. And if I've set things up kind of in advance and that's an interesting one to maybe talk about systems and planning and stuff, but if I've set things up in advance, I can put my head down and then look up, and it's been an hour and 40 minutes, and I'm suddenly, like, bundling things in because I've just gotten in the zone. That's the first thing, is making time like that.
Marie-Pier Tremblay [00:12:43]:
What would you tell someone who tells you, like, oh, yeah, well, nigh, I have a day job that I drive to and then I'm just in the car and then I'm back at home where I am a parent or have occupations. How do I find that time?
Nye Wright [00:12:58]:
Yeah, it's a good one. Well, I'll share something that might make people recoil in horror, depending on if they're night people or daytime people, but I'll throw it out there. So our kids generally so daughter is eleven, son is seven, turning eight later this month, generally they get up around 07:00 a.m. If I've got my commute, we try to get into bed. My son needs to go to bed a little bit earlier, like seven, and try to make sure my daughter's in bed. And if she's fussing around, that's fine, but in bed by eight. Once upon a time, we did the thing that most people do, which is like, okay, great, now we can have our evening. Okay, so we can work or we can watch something or whatever. What we both found, which we didn't have previously in our lives, is, at the end of the day, just shattered. I've done a full commute up to London, done social interactions with people. I'm just exhausted. The last thing in the world I want to do is sit down in front of my drawing board and try and make something. So we've inverted that. So generally get up at five, and then I'll head down to my work area. And depending on how quickly I get set up and get rolling, I can get an hour and a half of work done between, say, 530 and seven before the kids get up, hang out with the kids for a little bit, and then head off to the train station. It does mean that I am yawning like no one's business. Like, it's 830. My normal thing is like, all right, time to go to bed by nine. And if my wife and I aren't in bed and kind of nearly asleep by 930 ten, then we know it's going to be a tough day. The next day. So rewind several years. There was a time where same day job, but the one where I had the 20 minutes commute. A guy who I'd known through the day job had taken over the blog for Waterstones. Waterstones is an English bookseller, kind of like Barnes and Noble or something over in North America. And he was running their blog, and most of the stuff he was running would be like, press releases for upcoming publications. He's like, I want to do some original content. I've seen some of your at the time I'd done a graphic novel. It had come out. It was getting some good press and stuff. And he's like, Would you like to do a comic strip? I was like, oh my God, that's sure. I just finished a 310 page graphic novel. It's a very different form factor and kind of storytelling pace than single page strips with, like, maybe four panels or something. But I was like, sure, why not? And then I was like, well, what do you want it to be about? And he's like, well, truth be told, you can do whatever you want because I can't pay you. I was like, okay. So I weighed up my options. I was like, Well, I still think it would be fun to do so. At the time, my daughter was five months old. Her nickname when she was in the womb was Sprout, before we knew if she was a boy or a girl. And in this kind of fit of insanity, I was like, oh my God, what if a wormhole opens up in spacetime, allowing the great authors of the past to travel into the present and present themselves and their books to the readership of the future. A five month old baby girl named Sprout. So it's called Sprouts Book Club. I did that. It was fun. It was silly. I did that for two and a bit years. I would do it on a Friday night. I did an all nighter every night, every Friday night. And then I would go to work on Saturday on no sleep. And I did it from 2012 until 2015. I have absolutely no idea how I didn't die of heart attack or anything because back then I didn't understand how important sleep was. I would crash at some point across the weekend and just limp on. Where we are now is I now know that if I'm going to get up early, I need to go to bed early. Sleep is a non negotiable because if I don't get enough, it ruins everything else.
Marie-Pier Tremblay [00:17:15]:
Why do you choose to make time for your creativity? Because you could just choose to focus on your day job and spend your free time sleeping or hanging out. So why is it important for you?
Nye Wright [00:17:28]:
My existential alarm clock. And by that I mean I got a gig as a teacher in Australia working in a kind of children's private school in an all boys private school, 7th to twelveTH grade or 13 to 18. And I was hired to teach English and also teach art. When I arrived, the woman who's the head of the art department, she's like, I don't understand why this guy's here. So I ended up not doing any art. And a year into my time there, as I arrived, I would have this thought probably a couple of times a day. So I'm 22 years old, this thought a couple of times a day that would just stop me in my tracks. It was like, Holy shit, one day I'm going to die. And I don't know how it came up or why, but it was intense. And it wasn't like, I might have a health issue. I mean, I could have a health issue. No one knows when we're going to go. It wasn't anything about depression or anything like that. And thinking that, it was just like the recognition of the fact that at one point, at some point, this rodeo is going to end and I won't be here anymore. And that would freak me out. And I'd have this kind of, like, existential earthquake. And then I can't remember what it was, but I think it was a friend had mentioned things, so I signed up for a couple of community center that offered some art classes. So I went in for life drawing classes, and the existential earthquakes went away. As soon as I picked up stuff, I started drawing. It didn't matter what I was drawing, it just it went away. And I was like, okay, there's something there.
Marie-Pier Tremblay [00:19:21]:
Something really important there.
Nye Wright [00:19:23]:
Yeah, I forget this from time to time, and then I remember it and it's like, okay, cool. The most important thing was like and this isn't a pre Internet pre. Like, everyone peacocking on the Internet and going, look at me, look at me, look at me. And by the way, all this shit is not happening on camera or on Instagram or anything. You always share the good stuff, pre any of that. I think it was the recognition that making stuff is important for me. It's a form of I'm not going to say therapy, because it's not like I was working my inner demons out. It's just as an activity. It's a thing that my brain and my heart wants to do. And when I do it, I'm happy. Then I think in this day and age, if you're on any form of social media, there's a thing of people out there sharing stuff. Like, as an illustrator, you have people going, look at my morning sketch and they've done the equivalent of the Sistine ceiling. And you're like, you son of a bitch. That is not a morning warm up sketch for anyone. How dare you call it that? But it's that old thing of compare and despair. And so I've forgotten it from time to time of like, oh, well, if I don't have time to do the big if, if I don't have time to put in, like a huge chunk of work on this next big project, I shouldn't do anything at all, which is always the wrong thing. The flip side of that is incremental gains. Just spending time doing a drawing, any drawing, is better than the drawing you don't do. And sometimes that'll unlock other things you weren't even aware of. You're focusing this direction on a project. You choose to take a slight turn to focus on something else, and then it unlocks something down the road. But yeah, existential alarm clock is what I get.
Marie-Pier Tremblay [00:21:09]:
I noticed on your Instagram you share a lot of work in progress. Just sketches, like pictures of your notebook. Because I know many of my listeners are perfectionists. Like, I used to be this way as well. Only share stuff that's finished. That's a plus, that's polished. So what helps you just share your work in progress?
Nye Wright [00:21:32]:
Two things. One, I think I'm absolutely subject to the same kind of whims of fear of perfectionism. I mean, so what I'm working on now, there's two talked, I think, before we hit the record button. So the stuff behind my head is outlined stuff of a book that my mother's working on. It's a memoir of her mother and a really good friend of her mother's. Well, that really good friend was Mary Hemingway, ernest Hemingway's fourth and final wife, hemingway's widow. And the reason my mother's mother and Mary Hemingway were really good friends. And this woman, Mary Hemingway, was my mother's godmother. And I came from the town in Idaho where Hemingway lived. Unfortunately, it's also where he killed himself. But she's been working on this book for many years. And in discussing it with her and discussing with other people and also kind of seeing trends that are happening in graphic novel publishing, it actually would be a fantastic I think it would be a fantastic book as a graphic novel or graphic biography. So kind of working on that with her separately. I've got a book that I've been working on for a while that's fictional. I've never shared any finished artwork pages from that book. I say that with full disclosure of like with that particular project, I've shared lots of thumbnails thumbnail process stuff. My thumbnails look pretty chaotic, so it's not like I'm disclosing the story or anything. I am subject a little bit to the perfectionism thing. But on the flip side of things, I so love. So when you and I met, I was doing these drawings at do. One of the things I decided to do, and it was inspired by actual digital stuff, if your listeners are familiar with an app on the iPad called Procreate. So it's a drawing app, but one of the built in features is it can do playback of all of your lectures and everything. And it's a fascinating thing to watch things speed it up. Because you see your thought process in super. Speed it up. I enjoyed that. So when I went to the do lectures, I brought this articulated arm, put an old phone in it, and shot videos the whole time while I was drawing and then have been speeding those things up and cutting them together and putting them on Instagram. And what's fascinating is if you watch it in real time, it's like, this is so boring. It's just a guy drawing very slowly, drawing faces that people are talking. But you speed it up and you see these decisions. And although it's still very rough, I guess what I love about rough work is you see people's thought process. Like, you see the thing coming into existence. Sketchbooks. I love flipping through sketchbooks. My biggest challenge with my daughter is to get her to stop tearing pages out. She's like, I don't want it. It's like, no, leave it in there.
Marie-Pier Tremblay [00:24:29]:
What do you tell her when you oh, my God. I remember my mom telling me I would get so angry that I had messed up a drawing. And my mom told me, there's always a solution. There's always a way around this. You haven't ruined it. Just keep going. So what do you tell your daughter when she wants to rip out pages?
Nye Wright [00:24:47]:
Well, interestingly. I saw a bunch of sketchbooks. So like two years ago, I'd ordered a couple of sketchbooks to have in my stash for when I needed a new one. They arrived. My daughter saw the package first, and she was like, can I have this one? I'm like, how am I going to say no? And it's a beautiful hardbound so it looks like a hardbound kind of novel size, like pocketbook novel size sketchbook, beautiful paper. And it's got a beautiful kind of tan cover that's good for drawing on itself. So she takes that fast forward a year and a half later. I recently bought some more since she'd also taken another one and give it to a friend for a birthday party. So I had some more. My daughter finds the package, opens it up. She's like, oh, can I have another one? I went and grabbed her previous one, and I was like, you can have another one when this one is full. You currently have one third of this sketchbook full, and you have a whole bunch of blank pages. You cannot have another sketchbook until this one is full. And she's like, okay. And this was about a month ago. And I was like, and if you tear any pages out, you don't get the new one. And she's like, okay, fine. And so she initially started just whipping through things, drawing big letters, words. But what's weird is she got so invested in trying to finish the thing that it pivoted. And now she's actually just really enjoying drawing. And I'll finish something and I'll show it to her in my sketchbook. Oh, that's cool. And then I kind of pointedly flip through things because seeing the rest of the drawings, seeing other things that are in there in context, tells a story in and of itself. And I think she started to realize that she enjoys flipping through my sketchbook and seeing the story that it tells and recognizing, like, I was drawing a thing when we were on a holiday. She was sitting next to me, and then she sees the finished drawing and everything. So I think it's just pointing out the power of the process and that nothing's ever perfect. And even if she thinks the drawing is rubbish, that drawing can tell her something about what she wants to do next time when she works on the next project or next drawing or something.
Marie-Pier Tremblay [00:26:55]:
Okay, yeah. Valuing the process, not just a finished product completely. I love that. Okay, you talked about systems earlier, getting things ready in advance. Tell me more about what you mean by that.
Nye Wright [00:27:12]:
So when I first got this new gig, I was like, great, I'm going to have an hour and ten minutes on the train. It's going to be amazing. Awesome. And when I first started doing it, I would spend the first, like, 30 minutes kind of for a while. I was really into productivity systems. I was like, New to do app, and I'd spend time going through my app and organizing my things and then find like, okay, cool. So you've done that for a half an hour. You now have 40 minutes left to draw. What are you going to draw? And I was like, oh, God. And then I'd spend 20 minutes trying to figure out what I was going to do. And then by the time I'd done that, I had 20 minutes left before the train arrived, and then I'm like, five minutes before I'm getting there, so then I have 15 minutes. So what I've realized for myself is if I have to make a decision in the moment when I get to the opportunity to do a thing, I won't get as much out of it. If I can take a little bit of time in advance to kind of plot, like, what might I do at that time? Where am I in this current project? What needs to get done? What of this could I get done at that time? If I plot that out and kind of set myself a little reminder, like, I've got everything in my calendar application. So I've got my train and I'll write, and I've got a color for cartoonist stuff. So for my green stuff says train, and then I'll do what is the thing I'm working on? So by the time I sit down on a train, it's like, OK, cool. I don't need to make any decisions. The decisions have already been made by past nye who's made a rational decision about, this is the best use of your time. If present Nye needs to make a decision, he's screwed.
Marie-Pier Tremblay [00:28:56]:
That is so important. And I often talk about that with my clients. It's kind of like you have a manager and you have an employee inside your brain. So ahead of time, the manager has to decide what you're going to be doing. And then when the time arrives, the employee just shows up and does the tasks because it's two completely different ways of thinking. So you can't expect yourself to be those two people in the moment, and you're thinking with a different part of your brain when you're planning.
Nye Wright [00:29:27]:
Yeah, 100% agree. Because there's parts. Where have you come across Jessica Abel? She's an American cartoonist, and she does actually some stuff around. She's got some interesting stuff. So if your readers Google her, there's some interesting stuff out there as an illustrator. But she talks about, like, motion versus action. Motion is organizing things on my desk. I'm sharpening my pencil. Action is moving forward on a given thing. There are times when motion is important. Like, you need to get your thoughts in order. You need to might need to collate notes. You might need to bring some research together. You might need to go out and get some reference material or something. You might need to have a conversation with people, get resources. And that's important. But you can't mistake motion for action because motion isn't getting if your creative project is a walk, the motion is like getting all your gear together. Action is actually putting your backpack on and heading toward your destination. And you just need to be clear the fact that all projects have both stages, but if you rely too much on one, you're not going to get the other. If you head out on your walk and you don't have the right clothing and food and stuff, you're screwed. But if all you do is stay at base camp packing and unpacking and repacking, you're never going to get out on your walk.
Marie-Pier Tremblay [00:30:52]:
Yeah. And the key there is being honest with yourself about which one you're doing in the moment. And if you've been putting all of your time on motion versus action and why, maybe because you're scared of the action and motion feels more comfortable. Right. Okay, well, Nye, we're already running out of time. So I'm going to ask you one last quick question, and it's what are you nerding out on right now? What have you been nerding out on?
Nye Wright [00:31:26]:
So a couple of different things. One, not arty, but have you come across a book by Oliver Berkman called 4000 Weeks?
Marie-Pier Tremblay [00:31:36]:
Oh, my God, I heard about this so much good things. It's a time management book, right?
Nye Wright [00:31:41]:
It's time management, but the subtitle is time management. For mortals, 4000 weeks is how long the average human has to live. And most time management things come from the point of view of with the right system, you can achieve everything he comes from the point of view of time is finite. And in a digital world, more is being flung at us, more opportunities are being flung at us. So it's not that you can do everything, it's that you can do anything, but you need to freaking choose and you need to be okay with all of the things that you're choosing not to do. And virtually all modern productivity stuff is you can have it all, which is just all it does is create anxiety and a sense of failure in everyone for not having achieved the things that the tools so geeking out on that in terms of comics, oh, my God, my brain is totally broken. There's some Belgian graphic novelists who do their stuff 100% painted in, like, paint layers of transparent gouache. You look at this stuff, one, it just looks like beautiful painted art. But two, he does a fantastic job of using the medium in order to push a narrative. Like bad comics, people won't read them because they're confusing. And that's not because comics are confusing. It's because whoever made it made a shitty comic. Good comics. The reason smartphones are so popular is because the device is transparent to the task that you want to achieve. Right. You fall into the world of Instagram, you fall into the world of your email, and the device becomes a transparent window. Really good narrative art, I feel like, also becomes a transparent window through which you fall into their narrative and you just fully inhabit the world they're creating. And so yeah. What the hell is his name? I don't a his most recent book is called The City of Brussels, and it's about a couple of friends going on all night, kind of bender, but not and it's freaking beautiful.
Marie-Pier Tremblay [00:34:00]:
City of Brussels. We'll find it, we'll find the name and we'll put all of this in the show notes.
Nye Wright [00:34:06]:
And then the last one have you watched the TV show the? So it's it's a guy who's a five know, a Michelin star chef who's something's happened to his family. He's moved back home to Chicago to take over his family's sandwich shop. Each episode is about a half an hour long. There's eight episodes in the first season. My wife and I heard about it last week and binge watched the first seven episodes. We're savoring to get ready to do episode eight. So good.
Marie-Pier Tremblay [00:34:36]:
Oh, amazing. The Bear. OK, where can we find that?
Nye Wright [00:34:39]:
Well, over here in the UK, we're streaming it via now, which is, I think it was FX.
Marie-Pier Tremblay [00:34:46]:
We've got all different streaming platforms depending on the country. Thank you so much for sharing what you're geeking out on and also for being here and talking about art and how to make time for creativity in your day. Nye, can you tell my listeners where they can find you and see all of your doodles and graphic novels?
Nye Wright [00:35:06]:
That's very kind. The simple thing. So here's the story. Nye is short for Anirin. Anirin is a Welsh name, which means golden one. I was traveling through Spain with my dad when I graduated from high school, and he was describing to people in Spain, he was trying to explain my name. He said, El Dorado. El Dorado. Welsh. El Dorado. So my website is Welsheldorado.com. My Instagram and various other things are Welsh Eldorado. So that's where people can find things.
Marie-Pier Tremblay [00:35:35]:
Awesome. Thank you so much for coming.
Nye Wright [00:35:39]:
Thank you so much for asking me to ask me along.
Marie-Pier Tremblay [00:35:41]:
Wright and have a beautiful week, everyone.
Marie-Pier Tremblay [00:35:49]:
If you love what you're hearing on the Self Growth Nerds podcast and you want individual help finding a new direction for your life and developing the courage to make your dreams a reality, you have to check out how we can work together on Selfgrowthnerds.com or message me on Instagram at selfgrowths. My clients say they would have needed that support years ago. So if you're tired of feel like you're wasting your life, don't wait. Get in touch now, and I cannot wait to meet you. Hey.