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An Improv Workout: 6 Exercises to Build Your "Failure Muscle"
Episode 32 • Bonus Episode • 11th August 2025 • Your Improv Brain • Jen deHaan
00:00:00 00:21:48

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We know that failure is the engine of learning, but how do you actually practice it in a safe and productive way?

In this episode, I provide a full workout plan with SIX specific exercises designed to put you in challenging situations.

Learn practical drills for your practice groups or classes that train you to handle wild scenes, distracting environments, and even challenging scene partners. This is your guide to getting your reps in, building a tolerance for chaos, and developing the confidence that you can handle anything on stage.

And you can get these exercises as a handy written PDF. Link for that right below this sentence. Hi!

References in this episode:

Downloadable content

Download the Free Post-Show Reflection Guide: Sent to your inbox when you subscribe to either newsletter (and added to the footer to each message if you're already subscribed).

NEW! Comprehensive guides all about getting notes as a student, or giving them as a teacher. Two guides, big discount if you get both! https://yourimprovbrain.com/notes

Get a booklet with six exercises to help you get reps in challenging scenes called "Exercises to Ruin You"

Get more downloadable booklets here: https://yourimprovbrain.com/shop

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About

This podcast was created, written, and is hosted by Jen deHaan. Jen has certifications related to healthy communities (Tufts University Friedman School of Nutrition Science and Policy), nervous system regulation and soon teacher training certification on community resilience. She has a BFA in teaching creative arts to adults. You can find her full bio here.

This podcast was written, recorded and edited in British Columbia, Canada by Jen.



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Transcripts

WEBVTT

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[MUSIC PLAYING]

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In a previous episode, we talked about this idea.

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Getting good at improv is to rack up 10,000 failures

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instead of trying to actively avoid them.

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We talked about why failure is the engine of learning

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and how to reframe it in our brains.

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I also gave you different hacks for what

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to do in the moment when you feel like you're

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failing inside a scene.

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I'll link to that episode in the show notes and the

description.

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So if these kind of challenges are the key to growth,

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how do we get our reps in?

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How do we practice these kind of challenges in a way that

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actually makes us stronger and more adaptable and maybe

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a little bit less nervous?

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Today, we're going to get practical with full exercises

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that you can practice for in-scene recovery, ones

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that you can do safely in a practice session or a class,

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or even on your own.

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I'm going to walk you through six specific exercises

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and include those modifications as well for solo practice

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for some of them.

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This is so you can do sessions with or without others

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to deliberately train your failure muscle, I guess.

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By the end of this episode, you'll

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have that full workout, a full plan

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to put you in those tough spots and teach you

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how to get out of them so you can train yourself

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for these kind of moments when you come across them.

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Hi, I'm Jen deHaan, and this is your improv brain.

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I really like improv.

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I've taught it, I've coached it, and I make improvised

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audio dramas now at my production studio called

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StereoForest.

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So we'll get to today's exercises,

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but if you also want to download a booklet of these exercises

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that I'm about to describe, head to

improvupdate.com/downloads

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to grab it.

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I'm adding some additional examples of setups, coaching

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notes, and more in that booklet.

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So the goal of these exercises is

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to help you safely experience feeling things going wrong

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while you're in that controlled environment.

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You will build up a tolerance, hopefully, for chaos

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and learning that you always have a move to get out of it.

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This is that deliberate practice we talked about

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in the episode on failure, creating real challenges

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so you can work on error correction.

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So the first exercise is all about being thrown

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into a situation that is designed to be difficult

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from the very beginning.

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So exercise one is called wild setup, wild pivot.

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So this is an exercise that a teacher or coach can run for you

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and it comes in two parts.

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The idea is to create a scene that adds the failure,

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like hot injects it into the scene

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and has the improvisers, you, figure it out on the spot.

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So level one of this exercise is to create that wild setup

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that's a failure in itself, like at the top of the scene.

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So you might set up the scene with a base reality

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and a game that totally doesn't work

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or some sort of really challenging character dynamic

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that you want to work on that has always failed.

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You might want to start sort of mid-scene

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within the problem scenario.

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So pick out the kinds of scenarios

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that you've experienced that are tough.

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Part two is a bit more of a real world feel.

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You and your scene partners start a regular scene

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or if you want extra credit, use one of those setups

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that I just described

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that were already really hard and problematic.

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Then the teacher or coach will at some point

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at their discretion pause the scene and throw in that

wrench.

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So this is the problem or failure that you want to work on.

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It might be something that the coach has noticed

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or it's something that they think that will be helpful.

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They'll throw in that change.

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So say they'll say, "Now your characters are completely

different

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in this way that's really hard."

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Or you just learned that player one crashed your car

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because that would be really hard to do in the scene

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for whatever reason.

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And the improvisers have to take on that change

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and roll with it.

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And that's what you're figuring out.

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That's what you're practicing.

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I did this exercise or some variation of it

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with a great teacher who just goes by Berg

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and is really useful in a practical way.

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Plus those like mid-scene plot twists

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were just gold in that class.

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So I know you can do it.

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I know you can do really interesting pivots

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and comment about them.

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Let us know what they are.

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All right, so that exercise puts the failure on you

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from outside, from that external source.

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Our next exercise is about creating

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that failure feeling on the inside

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by forcing you to act before you think.

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So exercise two is jump without looking.

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So in that last episode, I mentioned this as a hack,

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the last episode on failure.

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As an exercise, it's about intentionally creating

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the condition of acting first and justifying after you act.

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So a coach or a teacher could set this up

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or you can even practice this on your own.

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So I'll describe that too.

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So in a practice group with multiple people,

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the idea here is to be responding

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to something unexpected.

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So a basic justification exercise

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that many of us have done

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is when your seam partner gives you an actual gift,

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they say what it is.

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John says, "Hey, Dan, here, I brought you this party

wrench."

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And then you have to reply to John

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and say what you're gonna use it for or something.

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So like a surprise.

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Or why is Dan giving it to you?

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Just justifies this gift choice.

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Now in a scene, this can be quite similar.

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The key now is to practice a very wild pivot

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kind of move.

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This can be done in different ways,

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different ways to set this up,

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depending on what you wanna work on.

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So here are a couple ideas.

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The coach could give one improviser

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something to do in the scene before it starts.

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So like as a secret,

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the improviser at some point

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has to spontaneously do this action

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or make a statement, whatever it is in the scene.

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Now the seam partner or the other person who is surprised

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has to justify that action for the scene,

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work it into the scene.

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This somewhat mimics you surprising yourself

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with saying something that just popped into your head.

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So that's what you wanna do for real,

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but we're kind of mimicking it in this exercise.

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You could also practice scenes

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where everyone knows the person practicing

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will say something unexpected,

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but you'll have to be very honest with yourself

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to make this work in a controlled space

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to say like actually do something unexpected,

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don't pre-plan it.

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You'll have to honestly do that

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and then everyone else can make it work in the scene after.

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Though forced to be spontaneously knowing

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that you will be doing something kind of scary,

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that on its own might make this kind of an extra challenge.

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All right, if you're on your own,

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write a bunch of monologue or character descriptions

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as the prompt.

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Have an alarm set with the description on your phone

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or a bunch of things in your pocket

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you gotta pull out or whatever

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for a time that you just stop and do it.

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So you don't need, you know, try to forget

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when the alarm's gonna go off,

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don't look at what you cut and paste into your phone

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or what you have in your pocket.

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When the alarm goes off, do that monologue

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or do that character, jump it in

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for like five minutes or something.

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Just verbally describe whatever you're doing in the

moment,

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but be in character, just say it and go.

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What does your character think about what you're doing?

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Whatever it is.

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So that's the challenge.

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Just jump, think after.

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So we've practiced dealing with a wild premise

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and our own unplanned moves.

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The next exercise will train you

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to handle a different kind of challenge,

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external distractions.

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So exercise number three is called F these distractions.

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This exercise is all about learning to focus

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when the environment itself is trying to pull you out

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of the scene, pull your brain out of things.

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So this is a lot about executive function

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and neural pruning and all this kind of stuff.

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So the setup for this will depend heavily

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on you or your team's context, where and what you perform.

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But the goal here is to create a setup

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where there are things happening

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that are very distracting to the performers

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who are actually there practicing this.

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So they should be tailored

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to what the people practicing actually find distracting

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and then practice it in a realistic way.

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What would actually be experienced?

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So don't try to heighten things here, just make it real.

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And just a side note, unless this is something being done

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with a group that has discussed what's going on

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and all agrees, you might wanna work out

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how and what these distractions are in advance

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with the people.

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And if you aren't comfortable sharing

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or this isn't the environment for you,

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you can set up the same kind of scenario on your own.

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So you need to monologue instead,

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but it's all certainly possible

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if you want to practice this alone.

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But whichever one you do know

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that you never need to force yourself

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into something you don't need or don't want to work on.

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This one is really one where you need to feel

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like it's something you want to opt into working on

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and that it's worth it to you.

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So before you start, think of some ideas

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of what you want to try to use to focus during the scene.

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So this could be anything.

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I'll make sure that I can't see the audience

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or I'll focus on the ticking of the clock instead

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if that's the thing that really distracts

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or will take away the distraction for you.

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So I might visualize things in a certain way

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or I'll focus on staying in character in a very certain way

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or I'll use a fidget toy in my pocket

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or clench my fist when this particular thing happens.

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So you have to find what works for you.

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It'll take a little bit of work to do the setup

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and figure this stuff out in advance.

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It could be like people talking on the back line

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or in the audience or maybe people eating in the audience

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or piano music in the background, a smell, a sticky stage,

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stopping a scene and resuming.

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That might be rough for you.

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Certain types of movements that you see peripherally

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or whatever.

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So then the coach can set up a scene

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that is maybe on the cognitively more difficult side

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for you to work on or progressively so

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and the players will test out their hypothesized

techniques

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at that point, discuss what works,

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discuss what doesn't work for you and what to try next.

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And I imagine that repeating and refining

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as you learn might help your brain.

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So how we deal with distractions

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and executive function is vastly different person to

person.

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So this is a very unique thing,

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but something you can practice as a group or on your own.

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All right, so the next exercise tackles

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some of the most common and frustrating types

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of scene failure when your partner

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isn't giving you anything to work with at all.

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Exercise number four, I'm gonna call the mannequin

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'cause I've improvised with a mannequin.

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It's fun.

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This exercise one improviser or ideally the coach

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is tasked with giving absolutely nothing in the scene.

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So this player can respond,

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but they don't offer any new information,

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any emotion or any ideas.

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They might just give one word answers

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or ask simple questions that make the other improviser

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add to the scene or they just,

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they add absolutely nothing in these questions.

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They might stand there with a blank expression

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or maybe even block some of the things you add into the scene.

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The point here is for forcing the other person

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to just carry the entire scene on their own

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to add all of that information

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and make it make sense from one side.

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So what does that feel like?

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What did you do?

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This is a simulation of a flat or a failed scene

00:12:42.340 --> 00:12:45.480

and lets you practice injecting into the scene

00:12:45.480 --> 00:12:47.500

or making bigger swings

00:12:47.500 --> 00:12:51.100

whenever you might need to think for two perhaps, right?

00:12:51.100 --> 00:12:51.940

That happens.

00:12:51.940 --> 00:12:55.420

Or if you want to ever get into solo improv,

00:12:55.420 --> 00:12:57.180

which I love, it's a lot of fun.

00:12:57.180 --> 00:13:00.020

It's a great simulation and preparation for that.

00:13:00.020 --> 00:13:02.660

So this is a really fun exercise

00:13:02.660 --> 00:13:04.620

that I learned from the improviser Jake Regal

00:13:04.620 --> 00:13:06.400

who ran it in a class I took.

00:13:06.400 --> 00:13:08.940

So you have to generate all the interest,

00:13:08.940 --> 00:13:10.740

all the emotion, all the game,

00:13:10.740 --> 00:13:13.580

all the storytelling from your own character

00:13:13.580 --> 00:13:15.380

and your own point of view.

00:13:15.380 --> 00:13:17.380

It's a really intense workout,

00:13:17.380 --> 00:13:19.260

but it teaches you that you have the power

00:13:19.260 --> 00:13:23.180

to make the scene interesting, any scene interesting.

00:13:23.180 --> 00:13:24.980

And if you feel like you're all alone

00:13:24.980 --> 00:13:27.860

or you are all alone or the scene is flat,

00:13:27.860 --> 00:13:29.300

it really helps you out

00:13:29.300 --> 00:13:33.380

and it helps you build that trust in yourself

00:13:33.380 --> 00:13:35.420

which is really important in improv.

00:13:35.420 --> 00:13:37.740

So if you're practicing this solo on your own

00:13:37.740 --> 00:13:39.580

it's totally designed for that.

00:13:39.580 --> 00:13:41.340

Write down a bunch of initiations

00:13:41.340 --> 00:13:44.620

and try doing both sides of the scene on your own.

00:13:44.620 --> 00:13:47.860

You don't need to do two voices if you don't want.

00:13:47.860 --> 00:13:50.780

You can use one voice or even one character

00:13:50.780 --> 00:13:52.980

like they're good and they're dark side.

00:13:52.980 --> 00:13:55.540

If you need help keeping it straight,

00:13:55.540 --> 00:13:58.880

what helps me is to either shift your body

00:13:58.880 --> 00:14:01.980

from side to side for each character

00:14:01.980 --> 00:14:03.340

or use a physical prop.

00:14:03.340 --> 00:14:07.540

You might have a hat, you take your glasses on and off,

00:14:07.540 --> 00:14:08.980

whatever it is.

00:14:08.980 --> 00:14:12.620

So what if your partner is instead giving you way too much?

00:14:12.620 --> 00:14:14.880

That's our next exercise.

00:14:14.880 --> 00:14:17.200

So exercise number five,

00:14:17.200 --> 00:14:19.900

I'm gonna call it "They're the worst."

00:14:19.900 --> 00:14:21.260

So this one's the opposite.

00:14:21.260 --> 00:14:23.820

This exercise is inspired by the one

00:14:23.820 --> 00:14:25.180

and only Sebastian Cannelly.

00:14:25.180 --> 00:14:27.380

It's paraphrasing his exercise

00:14:27.380 --> 00:14:29.140

and I can't recall if he had a name for it

00:14:29.140 --> 00:14:30.980

so this is just one that I made up.

00:14:30.980 --> 00:14:34.800

Anyways, here one player is explicitly instructed

00:14:34.800 --> 00:14:37.480

to try and ruin the scene.

00:14:37.480 --> 00:14:39.620

By being completely over the top

00:14:39.620 --> 00:14:43.980

or doing really whatever they want to do to ruin the scene.

00:14:43.980 --> 00:14:47.760

They are absurd, chaotic, nonsensical.

00:14:47.760 --> 00:14:51.800

They're the wildest character they can possibly imagine.

00:14:51.800 --> 00:14:53.920

They might break the reality of the scene,

00:14:53.920 --> 00:14:57.920

they might introduce wild new ideas every second.

00:14:57.920 --> 00:15:00.520

They just wanna create complete chaos.

00:15:00.520 --> 00:15:04.800

So the other player's job is to fix the scene.

00:15:04.800 --> 00:15:07.880

And by fix, I don't mean like shut down

00:15:07.880 --> 00:15:10.280

and stop the partner doing these things.

00:15:10.280 --> 00:15:12.960

They have to deal with this complete chaos

00:15:12.960 --> 00:15:16.120

the best they can for the audience

00:15:16.120 --> 00:15:18.420

as the scene partner is being

00:15:18.420 --> 00:15:21.660

completely chaotic, uncontrolled the whole time.

00:15:21.660 --> 00:15:24.780

The coach might prompt the wild character

00:15:24.780 --> 00:15:26.900

to make even wilder moves

00:15:26.900 --> 00:15:30.120

or add more chaos in particular ways.

00:15:30.120 --> 00:15:32.500

And so the scene partner doing the work here

00:15:32.500 --> 00:15:35.300

has to find a way to ground the scene,

00:15:35.300 --> 00:15:36.860

to make sense of the wild

00:15:36.860 --> 00:15:40.660

and to create some kind of playable reality,

00:15:40.660 --> 00:15:43.820

whatever they can out of this wild energy

00:15:43.820 --> 00:15:46.900

that the partner is throwing into the scene.

00:15:46.900 --> 00:15:49.340

So this exercise is so good

00:15:49.340 --> 00:15:53.020

for learning how to be the anchor in a storm.

00:15:53.020 --> 00:15:56.820

And it's a great test of spontaneous creativity.

00:15:56.820 --> 00:15:58.520

Really, you have to really kind of try

00:15:58.520 --> 00:16:00.260

to figure it out on the spot.

00:16:00.260 --> 00:16:03.720

So this is really good creative problem solving.

00:16:03.720 --> 00:16:07.520

So this one is really tough to practice solo,

00:16:07.520 --> 00:16:10.140

but one exercise that could help

00:16:10.140 --> 00:16:13.220

is to search, do like do an internet search

00:16:13.220 --> 00:16:15.340

or a Reddit search for strange,

00:16:15.340 --> 00:16:18.740

unexplainable, bizarre stories online.

00:16:18.740 --> 00:16:20.380

So it's like, you're looking for those kind of

00:16:20.380 --> 00:16:22.260

BuzzFeed style lists.

00:16:22.260 --> 00:16:25.100

And again, Reddit is somewhere you can often

00:16:25.100 --> 00:16:27.080

search for these kinds of things.

00:16:27.080 --> 00:16:30.340

So find a source of many of these kind of brief

00:16:30.340 --> 00:16:33.420

overviews for these kinds of stories, read them

00:16:33.420 --> 00:16:36.140

and then improvise a monologue

00:16:36.140 --> 00:16:38.860

to explain what really happened here.

00:16:38.860 --> 00:16:41.220

Make sense of that chaotic story.

00:16:41.220 --> 00:16:45.020

Maybe as a character from the story that you read,

00:16:45.020 --> 00:16:47.620

you could give yourself that extra challenge.

00:16:47.620 --> 00:16:50.860

You could also like pause a show or a movie

00:16:50.860 --> 00:16:53.860

that just is wild and doesn't make sense to you

00:16:53.860 --> 00:16:56.620

at the moment, pause it and do that same kind

00:16:56.620 --> 00:17:00.380

of improv exercise, ways to explain what's going on.

00:17:00.380 --> 00:17:03.780

I think many of us probably already do that

00:17:03.780 --> 00:17:05.100

when a show goes that way.

00:17:05.100 --> 00:17:07.900

Anyways, for our last exercise,

00:17:07.900 --> 00:17:09.900

we're going to get personal.

00:17:09.900 --> 00:17:13.140

This one is about identifying your biggest fear

00:17:13.140 --> 00:17:17.400

or weakness and running directly at it.

00:17:17.400 --> 00:17:21.780

So exercise number six is what I'm calling poop,

00:17:21.780 --> 00:17:26.180

hits the fan for insert your name here.

00:17:26.180 --> 00:17:27.660

This isn't really an exercise.

00:17:27.660 --> 00:17:29.960

It's more of a suggestion of what to work on,

00:17:29.960 --> 00:17:31.940

but I'm giving it a name anyways.

00:17:31.940 --> 00:17:35.600

I want you to think about that one exercise

00:17:35.600 --> 00:17:39.060

or skill and improv that always gives you trouble.

00:17:39.060 --> 00:17:41.100

For me, for a long time,

00:17:41.100 --> 00:17:43.960

it was any variation of the alphabet game,

00:17:43.960 --> 00:17:48.880

which is already designed to kind of have people mess up,

00:17:48.880 --> 00:17:53.880

but pick whichever exercise feels like that to you,

00:17:53.880 --> 00:17:56.000

the exercise of dread.

00:17:56.000 --> 00:17:59.120

The key here is to take that thing that you fear

00:17:59.120 --> 00:18:00.400

and instead of avoiding it,

00:18:00.400 --> 00:18:02.480

you create an exercise where the goal

00:18:02.480 --> 00:18:05.720

is to make the mistake.

00:18:05.720 --> 00:18:09.680

So maybe your issue is blocking offers.

00:18:09.680 --> 00:18:13.120

You could create an exercise where one person's only job

00:18:13.120 --> 00:18:15.220

is to make strong offers

00:18:15.220 --> 00:18:18.200

and your only job is to block them

00:18:18.200 --> 00:18:20.840

and the most absurd way possible perhaps.

00:18:20.840 --> 00:18:24.680

And then the whole group has to justify your block

00:18:24.680 --> 00:18:29.480

by leaning into your failure, you get stronger, right?

00:18:29.480 --> 00:18:31.960

Or you get more trust in your ability.

00:18:31.960 --> 00:18:33.720

Okay, so if you're doing like the alphabet game,

00:18:33.720 --> 00:18:35.720

that was mine.

00:18:35.720 --> 00:18:37.160

My brain just dislikes it

00:18:37.160 --> 00:18:40.000

for whatever autism reasons I think,

00:18:40.000 --> 00:18:42.160

but say in this kind of situation,

00:18:42.160 --> 00:18:44.000

the whole group would then have the goal

00:18:44.000 --> 00:18:45.720

of trying to mess me up.

00:18:45.720 --> 00:18:46.960

They might switch the letters

00:18:46.960 --> 00:18:49.800

or make me work with a number instead

00:18:49.800 --> 00:18:52.120

or give me the word to start with

00:18:52.120 --> 00:18:55.560

or maybe it's the last letter of the final word

00:18:55.560 --> 00:18:57.120

that your SEAM partner says

00:18:57.120 --> 00:19:00.560

and they could play at me with adding new final words

00:19:00.560 --> 00:19:03.880

and I never know when they're gonna end,

00:19:03.880 --> 00:19:05.480

but you're free to fail

00:19:05.480 --> 00:19:08.540

and you could just see what happens in your brain

00:19:08.540 --> 00:19:12.680

when whatever pressures you is gone, right?

00:19:12.680 --> 00:19:14.840

And that's what letting go

00:19:14.840 --> 00:19:18.120

or getting out of your head might feel like.

00:19:18.120 --> 00:19:19.880

So that's the workout plan,

00:19:19.880 --> 00:19:24.880

six exercise designed to get your reps in on failing

00:19:24.880 --> 00:19:28.720

so you can build strength, you can be adaptable,

00:19:28.720 --> 00:19:30.320

you can be confident

00:19:30.320 --> 00:19:32.880

that you can handle anything on stage,

00:19:32.880 --> 00:19:34.680

that's the trust in yourself.

00:19:34.680 --> 00:19:35.720

If you found this useful,

00:19:35.720 --> 00:19:38.160

I'd love for you to help me get the word out

00:19:38.160 --> 00:19:39.120

that I'm making these things.

00:19:39.120 --> 00:19:42.720

So other improvisers who might have a use for this,

00:19:42.720 --> 00:19:45.960

these videos and podcasts, 'cause that's why I'm here

00:19:45.960 --> 00:19:48.760

and check out my site improvupdate.com

00:19:48.760 --> 00:19:50.680

for a couple different newsletters

00:19:50.680 --> 00:19:53.040

and a bunch of resources that you can download,

00:19:53.040 --> 00:19:56.540

including the PDF of these exercises in this video

00:19:56.540 --> 00:19:59.720

and more, subscribe wherever you're watching this

00:19:59.720 --> 00:20:01.120

or listening to the show.

00:20:01.120 --> 00:20:03.400

I would love that, it would mean a lot to me.

00:20:03.400 --> 00:20:06.080

And again, if you wanna download these exercises

00:20:06.080 --> 00:20:09.300

in a useful format for running them,

00:20:09.300 --> 00:20:10.660

this video probably isn't,

00:20:10.660 --> 00:20:15.660

but the booklet might be at improvupdate.com/downloads.

00:20:15.660 --> 00:20:18.920

So we're back to our big question for today.

00:20:18.920 --> 00:20:21.020

How do you build a practice routine

00:20:21.020 --> 00:20:23.520

that takes on the things that bother you,

00:20:23.520 --> 00:20:27.720

these mistakes and turns them into improv that is stronger?

00:20:27.720 --> 00:20:30.820

So deliberate practice and error-based learning,

00:20:30.820 --> 00:20:35.460

mostly the ones that you make in a regular scene,

00:20:35.460 --> 00:20:37.220

the fails, the mistakes, whatever.

00:20:37.220 --> 00:20:39.380

You can also try mimicking them in practice

00:20:39.380 --> 00:20:42.900

in these exercises, which helps you trust your instincts

00:20:42.900 --> 00:20:45.380

for when these things happen for real.

00:20:45.380 --> 00:20:48.240

So sure, you can just do some improv,

00:20:48.240 --> 00:20:52.460

but I love identifying specific situations and scenarios

00:20:52.460 --> 00:20:54.020

that challenge me the most.

00:20:54.020 --> 00:20:56.440

I love thinking about them, creating exercises

00:20:56.440 --> 00:20:59.360

that simulate those challenges so I can work on them

00:20:59.360 --> 00:21:02.480

and get those reps in because it's fun.

00:21:02.480 --> 00:21:05.980

And you can look at these threats as gifts

00:21:05.980 --> 00:21:07.640

that they're fun to work with.

00:21:07.640 --> 00:21:09.580

And because it's make 'em ups,

00:21:09.580 --> 00:21:12.180

the stakes are usually pretty low.

00:21:12.180 --> 00:21:15.920

So I'll be back on next Monday for the next episode.

00:21:15.920 --> 00:21:16.760

Bye for now.

00:21:16.760 --> 00:21:18.560

(upbeat music)

00:21:18.560 --> 00:21:21.240

You have been listening to Your Improv Brain,

00:21:21.240 --> 00:21:23.260

a StereoForest production.

00:21:23.260 --> 00:21:25.980

This show is created and is written, edited,

00:21:25.980 --> 00:21:30.140

and produced by Jen deHaan of StereoForest.com

00:21:30.140 --> 00:21:33.540

You can find show information, show notes, transcripts,

00:21:33.540 --> 00:21:36.820

and contact information at the show's page

00:21:36.820 --> 00:21:40.580

at stereoforest.com/improvbrain.

00:21:40.580 --> 00:21:41.800

Thanks for listening.

00:21:41.800 --> 00:21:44.380

(upbeat music)

00:21:44.380 --> 00:21:46.380

[MUSIC]

00:21:46.380 --> 00:21:56.380

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