Herefollows a story intended to demonstrate how asking for what you don’t want can bring you exactly that.
My mother, Katherine Faulconer (1916-2000) was an actress in Southern California, performing in local live theater well into her eighties. She was gracious, talented and absolutely indefatigable. The directors, casts and crews with whom she performed adored her. When she departed this plane, thousands mourned her passing.
One of the challenges in Katherine’s career on stage was that she wore dentures. She did all she could to ensure that this situation never interferred with the clarity of her lines nor with her ability to project her voice to the back of the theatre. It was very important, therefore, that her teeth stay tightly in place.
In 1980, I had the good fortune to work as Assistant Stage Manager for San Diego’s Old Globe Theatre during a production in which Katherine played a significant role. The play was Night Must Fall, a 1930′s melodrama by the British playwright Emlyn Williams. In the play, Katherine played Mrs Bramson, a bitter, self-pitying elderly woman who is murdered by a psychotic schemer. Mrs. Bramson has a penchant for chocolates, and the role required Katherine to nibble from a box of chocolates throughout her scenes.
And that meant, before and after those scenes, the backstage crew was forever also nibbling from the box of chocolates. Sometimes the crew’s greediness left the box in definite need of replenishment by the next night’s performance.
One evening during the run, as we were preparing for the show, the prop girl noticed that the box was nearly empty. She told one of the stagehands to find out what kind of chocolates Katherine preferred, then go to the nearby Long’s Drug Store and buy the cheapest Whitman’s Sampler box of that sort.
The stagehand dashed into the darkened theater and called toward the stage where the cast was doing a run-through. “What kind of chocolates would you like, Katherine?”
The rehearsal stopped as Katherine called back, “Anything but chews.”
In the echoey empty hall, the stagehand only heard the last word as he hurried out the door. He got back from Long’s just in time to dump the new candies into the prop chocolate box before Katherine went on stage and the curtain rose.
Through the next two hours’ performance that night, Katherine’s words were spoken with a distinctly careful delivery, as she did all she could to keep the tenaciously chewy chocolate-covered caramels and toffee candies from dislodging her teeth.
When you tell others what you envision for yourself and your future, use words and images that speak only to what you desire to see and experience. Whatever words you use paint pictures into the minds of your listeners. And, as with the stagehand, when your words include images of what you don’t want, those may well be the images on which these listeners act.
Even when we aren’t aware that others are “helping” us, what we tell them, at the very least, becomes a story about us that they pass along to others. When we speak, therefore, of the goodness we desire, of the achievements we are working toward, of the outcomes we expect to enjoy, these are seeds that will grow in the other person’s fertile imagination. And, it is often from this garden within others that we harvest the results of our words.