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The Partially Examined Life

PEL Presents PvI#109: Choose Your Own Failure w/ Rich Baker

48 min episode · 2 min read
·

Episode

48 min

Read time

2 min

Topics

Career Growth, Leadership, Software Development

AI-Generated Summary

Key Takeaways

  • Retroactive Alchemy Framework: Treat any mistake or awkward moment as valuable material by building on it afterward, transforming failed choices into scene foundations. This mindset shift removes judgment during creative work and enables continuous forward momentum.
  • Success Metrics Redefinition: Define good improv scenes by two criteria only: does everyone on stage feel supported, and is the audience entertained. Reject external metrics imposed by coaches or critics. Apply this principle to career and life goals.
  • Failure Volume Requirement: Learning improv requires hundreds or thousands of failed scenes before competence develops. First attempt in learning is misleading—expect dozens of failures per skill. Apply same patience to novel writing, public speaking, or any creative pursuit.
  • Boundary Setting in Yes-And: Accept what happened in a scene without continuing harmful content. Say yes to acknowledging the moment occurred, then redirect forward. Distinguish between acceptance of reality and agreement to continue problematic directions in collaboration.

What It Covers

Rich Baker from Dare to Fail Improv joins Philosophy versus Improv to explore failure as essential learning tool in improvisation, philosophy, and life, examining how redefining success metrics and embracing mistakes enables growth.

Key Questions Answered

  • Retroactive Alchemy Framework: Treat any mistake or awkward moment as valuable material by building on it afterward, transforming failed choices into scene foundations. This mindset shift removes judgment during creative work and enables continuous forward momentum.
  • Success Metrics Redefinition: Define good improv scenes by two criteria only: does everyone on stage feel supported, and is the audience entertained. Reject external metrics imposed by coaches or critics. Apply this principle to career and life goals.
  • Failure Volume Requirement: Learning improv requires hundreds or thousands of failed scenes before competence develops. First attempt in learning is misleading—expect dozens of failures per skill. Apply same patience to novel writing, public speaking, or any creative pursuit.
  • Boundary Setting in Yes-And: Accept what happened in a scene without continuing harmful content. Say yes to acknowledging the moment occurred, then redirect forward. Distinguish between acceptance of reality and agreement to continue problematic directions in collaboration.

Notable Moment

Baker recounts performing on a cruise ship where using the word pedophile in a joke—despite no actual pedophilia content—generated complaints. The cruise director explained audience experience trumps artistic intent, teaching him consequences matter regardless of creative justification.

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Episode Transcript

This is philosophy versus improv where two sages try to teach each other a thing or two, and maybe you, the audience, get something out of it as well. This is Mark Linsenmeyer bringing the philosophy to you today. And this is Mary Hynes bringing the improvisation, and we are joined today by Hey. This is Rich Baker. Nice to be here. Thanks for having me. Has Mary explained to you anything about the show? Do you know what the format is? Well, I listened to your episode with Vicky. Seems like I'll talk and then improvise and then talk and then improvise. That's the way it works. And we post talk then decide why the thing that we are talking about and the thing that we improvise into are really saying exactly the same thing and to completely support each other and and are a coherent educational entertainment project. Like, for example, I just watched the movie Weapons. I knew it was gonna be amazing, but I was waiting to have be at a client's home that had a really nice flat screen and a really nice sound system. And so I had that with my last client. And the layers of storytelling and weapons, oh my gosh. If you haven't seen it, you need to. And I'm not gonna say anything else. No spoilers. But that's Kind of like how we do philosophy versus improv. It's layers of storytelling without creepy children or sometimes with creepy children. Yeah. Are you right? Shut up, Pines. Shut your mouth. And what's your dealio in the improv scene? Rich, tell us about yourself a little bit. Dealio. Back to 1994. Good times. I run a improv school called Dare to Fail Improv. It's an online school. I've been teaching and coaching improv, I don't know, over twenty years, and I started improvising in 1999. And I kind of figured out a way to make a, little career out of it, even a a space where it's not all that easy to kind of find paying gigs. Failure so in most people's presentations in philosophy, they don't wanna fail Mhmm. Because they wanna they wanna show that they understand. They wanna give accurate information. The, philosophy that I've generally had on my podcast, I read it. I made something out of it. I'm gonna try to articulate it. But it's probably not gonna be what your professor who has read all the secondary literature and actually knows in detail about this. They've specialized. I have not specialized. I'm, you know, like the kindergarten teacher. I'm like, I'm I'm just a little I I guess the kindergarten teacher is not only one night ahead of his students. I guess it's more the the the high school Spanish substitute teacher who's just like, I'll just learn the lesson night before and teach it to you. But I find that articulating things wrongly, well, you get feedback, you figure out, you improve. It's not that …

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