What would you say if someone asked who your hero was? Who’s that person you’ve looked up to, strived to be like, and never wanted to let down?

Would you know the answer? If so, let’s continue. 

Think about why that person means so much to you. Could it be the way they make you feel or the way they live their life? Are they the type of person who consistently shows up? Or perhaps, they constantly model leadership, even when times are difficult?

Six months ago, a friend asked me the question, “Kyle, who’s your hero?”

Without hesitation, I answered, “my dad.”

As a kid, it was difficult to understand the complete scope of my dad’s work as a doctor. 

What I did know was, he constantly sacrificed to help my brother and I live a great life. I knew he woke up at the crack of dawn. I knew he drove into the hospital to treat sick people. I knew he ran his own practice helping patients. I knew he started his days early so he could pick me up from basketball practice, watch my games, or shoot baskets in the driveway.

What I didn’t know was that he’s the person in charge of many life and death decisions. He’s the person that tells a family that their 20-year-old son had died of an overdose. He’s the person that communicates the awful news to a patient that they have cancer. He’s the person others look to in times of crisis, the one casting a vision in times of uncertainty, and the one people lean on in times of despair. 

As I’ve gotten older, my perspective has grown wider. Particularly, during this time of coronavirus.

My dad’s on the front lines treating coronavirus patients and putting himself at risk. He’s  doing all that in addition to all the other work he does with critically ill patients. He puts in long hours and loses sleep but he stays positive for his co-workers, patients and our family. 

A few days ago, my dad called me. He shared stories of what he was seeing in the hospital and how the virus has affected so many. I’ve always been impressed by my dad’s demeanor in times of crisis. 

When situations get crazy, he remains calm. When many are fearful, he remains hopeful. Where cynicism is apparent, his optimism rises above. 

As our conversation ensued, I felt moved to tell him something on my heart. Something that has been true for a long time, yet I’d never said before. Something that I hope one day, my son or daughter will say to me. Six words:

“Hey Dad, I’m proud of you!

I followed up with, “I’m proud of the work you do, the man you are, and the father you’ve been.”

After hearing that, he thanked me for those words, then told me this was the work he was meant to do. After hanging up, tears streamed down my face. A tsunami of gratitude came over me. I felt fulfilled. 

Throughout my life, my dad was the one telling me he was proud of me but now, the tables had turned.

After we hung up, I reflected on all the things my dad has taught me through the years.

• Perseverance — I know he has it because he applied for medical school six times before finally being admitted at age 30.
• Reliability — He never missed one of my basketball games. It was that important to him.
• Family — He made sure family came first so he was home for dinner nearly every night. 
• Service —  He saves lives for a living, nothing more to add there.
• Preparation — He wakes up early, makes sure he’s ready and executes with precision.
• Mastery — He’s been a physician for more than twenty years, yet he continually studies medical journals and videos to stay current amid constant changes in his field.  
• Humor — Well, some say he’s funny, but I’m still trying to get on board with this one. (see dad, now that was funny, take note.)

We all have heroes in our life. They are those who help mold us to be the right kind of person. They are those who lend their support when others might turn away. Our heroes serve as guides for who we want to become. 

After reading this, my encouragement to you is to reach out to your hero and say thank you. Tell them you care about them. Tell them the world is a better place because they exist. 

For me, it’s my dad. I hope one day, I grow up to be just like him. 

 

Kyle

 

We’ve all been there. You overhear a conversation about a topic you’re interested in, but don’t feel equipped to enter intelligently. It’s foreign territory, which causes you to feel uncertain and even overwhelmed.

But, your curiosity is piqued and you want to learn so, next time, you’re prepared to be a part of the conversation.

If this sounds like you when it comes to basketball, I’m here to help!

If you’re a parent of a basketball player, a player getting into the sport for the first time, a coach who wants to connect better with their players, or a straight-up hooper — who wants to see the most common phrases in the today’s game written down with definitions and examples — this is for you. 

Here are 18 basketball slang terms to give you confidence when entering a conversation with real hoopers.

(1) Hooper – hoop·er | ˈho͞opər |

One who thinks, lives and breathes all things basketball.

•Example: That girl’s a hooper.

(2) Make it Rain – rain | rān |

A player who makes multiple shots in a row, typically from behind the three-point line.

•Example: At the game last night, Jerry made it rain.

(3) Brick – Brick – | brik |

When a player misses a shot badly. (like Shaquille O’Neal at the free-throw line)

•Example: You could build a house with all the Bricks Karl shot last night

(4) Airball – | Air-ball |

A shot that is missed so badly it doesn’t hit the rim or backboard.

•Example: With very little time on the clock, the guard rushed his shot and shot an airball.

(5) Bunnies – bun·nies | ˈbənēz |

The ability to jump incredibly high.

•Example: Michael Jordan used to have major bunnies which allowed him to do cool slam dunks.

(6) Dimes – dimes | dīmz |

The ability to consistently make on-target passes to your teammates so they can score easy points. Also known as an “assist”

•Example: Sheryl was dropping dimes all game long.

(7) And One |aNd·one|

When a player shoots the ball and makes it while getting fouled, a player is rewarded with one free throw attempt to score an additional point. This typically results in a player, coach, or fan yelling, “annnndddd one.”

•Example: Billy yelled out “and one” after making a three-pointer while being fouled.

(8) Cookies – cook·ies | ˈko͝okēz |

When a player swipes the ball away from their opponent, it resembles a person stealing cookies from a jar, warranting a player to yell “cookies.”

•Example: The entire crowd yelled “Cookies” after Katie stole the ball from her Jill at half-court.

(9) She/He’s a Bucket – She’s a buck·et | ˈbəkət |

A player who, anytime and anywhere, can score the ball with great ease and consistency.

•Example: Casey’s a guy who can flat out score the basketball. He’s a bucket!

(10) Dagger – Dag·ger | ˈdaɡər |

A made shot, typically in a crucial moment of the game, that is heartbreaking for the opposing team to experience because it means they’re about to lose.

•Example: With two seconds remaining on the clock and the game tied, Jennifer hit a three-point dagger for the win.

(11) Put em’ on skates – Put em’ on skates | skātz |

A dribble move made, which results in the defender losing their balance, resembling someone ice skating for the first time.

•Example: Caleb put the defender on skates by making a deceptive left to right crossover.

(12) Clamps – | klampz |

A player, tightly defending an offensive player, who doesn’t allow points to be scored on them.

•Example: In the last game, Lebron put clamps on Steph Curry, forcing four turnovers and only allowing 10 points scored.

(13) Shifty – shift·y | ˈSHiftē |

A player, with the ball in their hands, who has the ability to change directions quickly and move past defenders easily.

•Example: Kemba Walker might be the most shifty player in the NBA.

(14) Sauce – sauce | sôs |

A player with confidence, skills, and a noticeable swagger.

•Example: Diana Taurasi, one of the greatest players of all time, plays the game with so much sauce.

(15)  Butter – but·ter |ˈbuTēr |

A term commonly used to describe a player’s shot — pure, smooth, beautiful, and, at times, one you can’t believe. 

•Example: I continually pass the ball to Dustin because I know his shot is butter. 

(16) Hand down, man down – | Hand doun, man doun |

When an offensive player, who identifies a defender’s hands down by their side, rises up to shoot the ball with no defensive interference, giving way for players & spectators to yell, “hand down man down.” This phrase was originally coined by former NBA player and longtime NBA analyst, Mark Jackson.

•Example: Backpedaling back on defense, Klay Thompson yelled “hand down, man down” letting the defender know they need to put their hand up on defense next time.

(17) Jelly – jel·ly | ˈjelē |

A shot, taken close to the rim, with an abundance of spin, fanciness, and style.

•Example: Carrie put so much jelly on that last finish at the rim.

(18) Mouse in the house – | mous in the hous |

When a shorter player gets caught guarding a much taller player in the painted area near the basket, the taller player will yell, “mouse in the house” to his teammate, signifying, they want the ball now!

•Example: Shaquille O’Neal yelled, “mouse in the house” when he saw 5’9 Nate Robinson Guarding him.

Next time you get into a basketball conversation, use these words and phrases and become the most knowledgeable (and hip) person in the room.

Lyndsey Fennelly had it all. 

Full-ride scholarship to play college basketball. College All-American. National assist leader. Second-round draft pick by the WNBA’s Indiana Fever. PGC Course Director at 22.

But deep down, something wasn’t right.

After being hospitalized for fifteen days in 2013, Lyndsey came face-to-face with the reality she had a mental health condition.         

“I didn’t want to accept it,” she said,  “I was embarrassed by it, I ignored it, and I moved on. In the five years that followed, I had two children, built two businesses, and trained thousands of athletes. Little did I know, the perfect storm was waiting to strike again as I had a second significant breakdown and ended up in the hospital for 21 days in April 2018.”

Lyndsey felt the second breakdown was different than the first, maybe because she was older now and also a mother. It was eye-opening. This time, she finally accepted her condition, changed her approach, and faced it head-on. 

Lyndsey has since made it her mission to share her story, create safe spaces for conversations, and inspire people to take action. “I felt I had to talk about mental health, “ she said. “It’s a genetic condition, first and foremost, and I wanted my kids to have as much information as possible about their mom or someone else who has it.”

 She wants people to know that mental health problems don’t have to carry a stigma. “The whole reason I didn’t accept my condition the first time was because it was taboo to have a mental health condition.” 

It’s why Lyndsey is committed to sharing her story with as many people as possible — to breed hope, inspire action, and let people know, “it’s okay not to be okay… just not forever.”

Lyndsey, who was a PGC Basketball director for four years, and credits PGC with having some of the greatest influence on her life, never forgot what longtime PGC owner Dena Evans taught her: “The more you talk about something, the more accountable you become to that thing. You can’t be the loudest in the locker room and the last one crossing the sprint line.” 

Taking that advice, she immediately realized that, if she was going to be the loudest in the room in her community or nationwide, she had to practice what she preached — no skipping medication or being a no-show at therapy appointments.

Lyndsey maintained you must understand what good mental health is and then be aware of signs, symptoms, and problems that might emerge. Mental health issues can be anything from severe anxiety, stress in a sport, mounting pressure by coaches, parents, and others to excel. Left untreated, symptoms don’t go away and can lead to major, even tragic, results.

Lyndsey’s mission extends to talking about social media and its impact on mental health. Further, the instant feedback from social media apps and the constant attachment to technology, like cell phones, only seems to magnify the problem.

“We can tell a young person to get off their phone,” Lyndsey noted, “or show them by getting off the phones ourselves, demonstrating how powerful a connection to humans, not wifi, can be.

Recently, while shooting baskets with her five-year-old son Will, Lyndsey was reminded of this power. It was a game-changing moment. 

“I had this incredibly pure and fun feeling inside, which was the best feeling I’ve had in years,” Lyndsey said. “My phone was on the sideline, there were no strings attached, and I wasn’t telling the world about it on social media. It was just me, my son, the ball, and an empty gym. That was special, and we all need more moments like this in our lives. True connection, no devices.”

PGC President and Owner, Mano Watsa, celebrated Lyndsey’s courage when she first publicly shared her challenges.

“I’m sad for her struggle, as no one should have to struggle alone,” he said, “yet I’m proud she went and got help, and proud of her willingness to share her story so others can benefit.”

Lyndsey no longer spends time hiding her mental health struggles because she knows who she is, understands the impact she can have, and feels compelled to create a platform for others to stand on. 

She’s trained over 40,000 athletes, who’ve all benefited from her authenticity and ability to empower others to be better versions of themselves. 

Lyndsey is a courageous woman, whose words and actions pierce the souls of the young and old, whose vulnerability is a gift to us all, whose advice helps us make better choices, whose very existence elevates those around her, and whose story will continue to impact the lives of thousands for years to come. 

 

 

Keep an eye out for Lyndsey’s book coming sometime between 2020-2021 and check out her website by clicking here

Book Summary in 3 Sentences: 

If you want to live a better life, become a better storyteller. Storytelling changes lives, moves people to action and makes people like you more. We all have stories to tell — so  learn how to recognize, craft, and deliver them.

Big Thoughts:

• • Your story must reflect change over time. A story cannot simply be a series of remarkable events. You must start out as one version of yourself and end as something new. In the end, it must be about realization or transformation
  • Make it my mission to find, see, remember, and identify stories, and you will begin to see your life in a new and more compelling light. 
  • Understanding that stories are about tiny moments is the bedrock upon which all storytelling is built, and yet this is what people fail to understand most when thinking about a story. Instead, they believe that if something interesting or incredible or unbelievable has happened to them, they have a great story to tell. Not true. Everything being said boils down to a singular moment. Everything else is used to serve and bring out that moment for the greatest possible clarity for the audience to hear. 
  • Let’s strive to fundamentally change people with our stories. 
  • Humor is optional, heart is non-negotiable.
  • Feeling alone, forgotten, and lost is a feeling we all know. Use this knowledge when telling crafting stories. 
  • We may be fooled by whips and snakes and car chases, but if it’s a good story, our protagonist is going to experience something deep and meaningful that resonates with the audience, even if the audience doesn’t fully realize it. 
  • A great storyteller creates a movie in the minds of the audience
  • If you think you have a story, ask yourself: does it contain a five-second moment? A moment of true transformation? Your five-second moment may be difficult to find and one you must dig for. The five-second moment is the reason you opened your mouth. It must come as close to the end of your story as possible. Sometimes it will be the very last thing you say. 
  • Brevity is the soul of wit. 
  • Storytelling is not about a roller coaster ride of excitement. It’s about bridging the gap between you and another person by creating a space of authenticity, vulnerability, and universal truth. 
  • It’s an odd thing: the audience wants characters (or storytellers) to succeed, but they don’t really want characters to succeed. It’s struggle and strife that make stories great. They want to see their characters ultimately triumph, but they want suffering first. They don’t want anything to be easy. Perfect plans executed perfectly never make good stories. 

All Stories Must have a Transformation, Revelation or Realization

• • Stories must reflect a change of some kind. It need not always be a positive change, and the change need not be monumental. In fact, stories about failure, embarrassment, and shame are fantastic. Even when progress is made, the best stories often reflect incremental change. Audiences would much rather hear about incremental, tenuous growth than about overnight success. Change is key.
  • I was once this, but now I am this.
  • I once thought this, but now I think this. 
  • I once felt this, but now I feel this. 
  • I was once hopeful, but now I am not.
  • I was once lost, but now I am found .
  • I was once happy, but now I am sad.
  • I was once uncertain, but now I know. 
  • I was once angry, but now I am grateful.
  • I was once afraid, but now I am fearless. 
  • I once believed, but now I don’t.

The Beginning of a Story

• • The right beginning creates a satisfying narrative arc that will cause people to connect to and remember your story. It will provide a clear, coherent path to the end. It will serve as an enormous arrow that will point both you and the audience in the right direction. Try to start your story as close to the end as possible. Strive for simplicity. Avoid unnecessary setup. Eliminate superfluous details. 
    • Start your story with forward movement whenever possible.
      • Establish yourself as a person who is physically moving through space. Opening with forward movement creates instant momentum in a story. It makes the audience feel like we are already on the way.
  • The beginning of the story should be the opposite of the end. Find the opposite of my transformation, revelation, or realization, and this is where your story should start. This is what creates an arc in your story. 

Breadcrumbs 

• • Storytellers use breadcrumbs to hint at a future event but only reveal enough to keep the audience guessing. 
  • The trick is to choose the breadcrumbs that create the most wonder in the minds of your audience without giving them enough to guess correctly. Breadcrumbs are particularly effective when the truly unexpected is coming. 
    • You can see an example of this during this story at 2:32. 

Use Present Tense 

• • The present tense acts like a temporal magnet, sucking you into whatever time the storyteller wants you to occupy. The present tense will bring you a little closer to these moments in time. It may even trick you into believing that you have time-traveled back in time to these moments. Use the past test in your story when you are talking about the past tense in your story, or you are telling the backstory.  

Physical Location 

• • Make sure that every moment in your story has a location attached. Every moment should be a scene, and every scene needs a setting. It’s the simplest, most bang for your buck strategy.
    • BAD EXAMPLE — “my grandmother’s name is odelie dicks which probably explains why she is who she is. She’s a crooked old lady in both body and mind….”This version of the story has nothing for the audience to see. If it was a movie, it would open in black with voiceover. No image is formed.

• • • GOOD EXAMPLE – i’m standing at the edge of my grandmother’s garden, watching her relentlessly pull weeds from the unforgiving soil. In this one, an image instantly forms in your mind.  

The Word “and”

• • A majority of human beings tend to connect their sentences, paragraphs, and scenes together with the word, and. This is a mistake. The ideal connective tissue in any story is the words but & therefore. 
  • “And” stories have no movement or momentum. But & therefore are words that signal change. The story was heading in one direction, but now it’s heading in another. We started out zigging, but now we are zagging. We did this, and therefore this new thing happened. 

How to Enhance Suprise 

• • Heighten the contrast between the surprise and the moment just before the surprise.
  • Raise the stakes to increase the surprise.
  • Avoid giving away the surprise in your story by hiding important information that will pay off later (planting bombs). This is done by:
    • 1. Obscuring them in a list of other details or examples. 
      2. Placing them as far away from the surprise as possible.
      3. When possible, build a laugh around them to further camouflage their importance.

Button the Scene 

• • A short, positive statement at the end of a paragraph of description can often serve as an amusing button to a scene. Here is the difference — In the bad example, the storyteller strips the moment of its potential surprise. It alerts the audience to the horror that is coming.  In the good example, the thesis statement comes at the end of the paragraph, allowing for the grandmother’s method of pulling teeth to be as surprising as possible. In storytelling, our job is to describe action & dialogue. 
    • BAD EXAMPLE — “My grandmother was a sadist. She tied a length of string around my loose tooth. She leaned in close so our two faces were just inches apart. She told me to look her…”

• • • GOOD EXAMPLE — “My grandmother tied a length of string around my loose tough. She leaned in close so our two faces were just inches apart. She told me to look her straight in the eyes. “Don’t blink,” she warned. Then she wrapped the other end of the string around her fist raised it between our noses, smiled, and pulled down. Hard. My grandmother was a sadist.”  — That short, positive statement at the end of the paragraph serves to summarize all that came before. Inflection and timing can make that simple sentence amusing. It might even get a laugh.

Hourglasses 

• • This is all about the sentence you have been waiting to say. The sentence your audience has been waiting to hear. It’s time to slow things down. Grind them to a halt when possible. When you know the audience is hanging on your every word, let them hang.
  • This can be seen in this story at 2:32. Watch how he summarizes what has just happened. It is unnecessary and redundant. He has the audience dying for the next sentence, and he knows it. This unneccessary bit of summary slows things down and raises the tension even further. It’s the final delay before the sentence that everyone is waiting for. The sentence that will cause people to either laugh or groan. “Hi, I’m Matt, and I’m collecting money for Ronald Mcdonald Children’s Charities.
  • The audiences desire to hear the next sentence, only made greater by the slowing down his speaking pace, is brilliant.

Crystal Balls 

• • A false prediction made by a storyteller to cause the audience to wonder if the prediction will prove to be true.
  • Example — ” The man points his finger at me and says, “you stay right there.” Then he walks back into his house, and I know what he’s doing. He’s calling the police, and they will come and arrest me.” (This is the false prediction) This does not happen of course, but when he presents this very real possibility, the audience wants to know if it will happen. By predicting the future arrest, he’s established wonder in the audience minds about a future event.

Tell Your Side of the Story 

• • Don’t tell other people’s stories. Tell your own. But feel free to tell your side of other people’s stories, as long as you are the protagonist in these tales.
  • A story is like a diamond with many facets. Everyone has a different relationship with it. If you can find a way of making your particular facet of the story compelling, you can tell that story as your own. Otherwise, leave the telling to someone else.

Stakes 

• • Stakes are the reason audiences want to hear your next sentence. They are the difference between a story that grabs the audience by the throat and holds on tight and one that an audience can take or leave. 
  • We listen to stories because we want to know what happens next. 
  • Boring stories lack stakes, or their stakes are not high enough. Stories that fail to hold your attention lack stakes. Stories that allow your mind to wander lack stakes. Don’t tell stories without stakes!

The Elephant 

• • This is the thing that everyone in the room can see. It is large and obvious. It is a clear statement of the need, the want, the problem, the peril, or the mystery. It signifies where the story is headed, and it makes it clear to your audience that this is, in fact, a story and not a simple musing on a subject. 
  • The audience doesn’t know why they are listening to the story or what is to come, so it’s easy to stop listening. If you don’t present a reason to listen very early on, you risk losing their attention altogether. 
  • Give audiences something to wander about.
• • BAD EXAMPLE —”My mother was the kind of woman whom everyone adored. The model of decorum and civility. She served as PTO president and treasurer of the ladies auxiliary. She was the only female umpire in our town’s little league. She baked and knit and grew vegetables by the pound.”
• • GOOD EXAMPLE – I don’t care how perfect my mother was. When I was nine years old, I wanted to disown her. Leave home and never return. Forget she ever existed. My mother was the kind of woman whom everyone adored. The model of decorum and civility. She served as PTO president and…”  Now, the audience will want to know how this ends and you have created wonder in the mind of the audience. .They are wondering
    • Why did this woman want to disown her mother at an early age?
    • Will things turn out okay in the end?
    • Was her mother to blame for these feelings of ill will, or will we discover that the storyteller was the real problem? 

Backpack

• A strategy that increases the stakes of the story by increasing the audience’s anticipation about a coming event. It’s when a storyteller loads up the audience with all the storyteller’s hopes and fears at that moment before moving the story forward. It’s an attempt to do two things:
  1. Make the audience wonder what will happen next. 
  2. Make your audience experience the same emotion, or something like the same emotion, that the storyteller experienced at the moment about to be described.
• As seen in this story at 2:10,
  • “So I make a plan. I’m going to beg for gas because it’s 1991. Gas is eighty five cents a gallon, so eight dollars is all I need to get me home. I’ll offer my license, my wallet, everything in my car as collateral in exchange for eight dollars’ worth of gas and the promise that I will return and repay the money and more. Whatever it takes. So I rehearse my pitch, take a deep breath, and walk in.” — At this point, the audience is loaded with hopes and dreams. They know the plan, so when the kid behind the counter refuses to give gas for the car, the audience experiences the same kind of disappointment that the storyteller told. They knew the plan. They wanted it to succeed.

 

Resources for you: 

1. The podcast that introduced me to this book — click here
2. A Ted Talk by author Matthew Dicks – click here 
3. Matthew Dicks Youtube page where he shares his stories – click here
4. Storyworthy on Amazon (I’m not receiving money by promoting this) — click here
5. Speak Up Storytelling Podcast – click here 

Few things in the world are better than an inspiring story. From sitting around the campfire to watching on the big screen— stories captivate, inspire, and challenge us to be better people. 

There’s one movie I’ve repeatedly watched over the years that has significantly impacted me— Dead Poets Society featuring Robin Williams. It’s a movie that tackles life, love, education, conformity, and death. (see an extensive summary here) It’s a movie, released in 1989, that has stood the test of time. It’s a movie that demonstrates Robin Williams’ mastery as a teacher, actor, and storyteller.

In the movie, Robin Williams, who plays English Professor Mr. John Keating, teaches students to think for themselves, step outside their comfort zones, and stand up for what they believe, all to live an extraordinary life. In one of my favorite lines of the movie, Williams says, “no matter what anyone tells you, words and ideas can change the world.” He challenges his students to contribute their ideas to the world. He encourages them to add their voice and action in whatever it is they seek to change. 

One scene, while short, stood out among the rest. It’s a scene that shows the transformation of a shy boy, afraid to read a poem in front of the class, into a confident young man who speaks poetically from his heart. The result is not just a moment of growth for the boy, but for the entire class. 

(watch the scene here)

(read the movie script of the scene at the bottom of this blog)

This scene impacted me for a few reasons. 

• It’s Challenging – I teach life, leadership, and basketball skills to middle and high school students around the country at PGC basketball camps. This scene challenged me to understand—every kid can do more than they think, if guided and encouraged with care. 

 

• It’s Inspiring – Transformations happen within moments. In this scene, the class initially laughed at the student, Todd, until he courageously recited a poem with confidence and grace. The courage Todd showed was a moment none of those students would ever forget, and frankly, neither will I. 

 

 

• It’s Captivating – Robin Williams was a confident, captivating speaker and teacher.  It’s something I strive to do every time I step in front of a group to speak. The interesting thing is I have seen this movie many times, and yet, I always learn something new when I watch it again. 

 

I hope my words and ideas eventually do change the world, whether it’s on a stage in front of 500 people, in a tiny classroom teaching basketball, or meeting a stranger in the grocery store. 

My hope for you is that you ”strive to find your own voice,” just like Robin Williams emphasized in the movie.  My hope is you do the work now to find your voice. Don’t wait— because the longer you wait to begin— the less likely you are to find it at all. Thoreau once said, “most men lead lives of quiet desperation. Don’t be resigned to that. Break out.” 

 

Movie Scene Script 

Keating approaches Todd’s desk.

KEATING

Mr. Anderson, I see you sitting there in 

agony. Come on, Todd, step up. Let’s put 

you out of your misery. 

 

TODD

I, I didn’t do it. I didn’t write a 

poem. 

 

KEATING

Mr. Anderson thinks that everything 

inside of him is worthless and 

embarrassing. Isn’t that right, Todd? 

Isn’t that your worst fear? Well, I 

think you’re wrong. I think you have 

something inside of you that is worth a 

great deal.

 

Keating walks up to the blackboard and begins to write.

 

KEATING

“I sound my barbaric yawp over the 

rooftops of the world.” W. W. Uncle Walt 

again. Now, for those of you who don’t 

know, a yawp is a loud cry or yell. Now, 

Todd, I would like you to give us a 

demonstration of a barbaric “yawp.” Come 

1. You can’t yawp sitting down. Let’s 
2. Come on. Up.

 

Todd reluctantly stands and follows Keating to the front.

 

KEATING

You gotta get in “yawping” stance. 

 

TODD

A yawp?

 

KEATING

No, not just a yawp. A barbaric yawp. 

 

TODD

(quietly)

Yawp. 

 

KEATING

Come on, louder. 

 

TODD

(quietly)

Yawp. 

 

KEATING

No, that’s a mouse. Come on. Louder. 

 

TODD

Yawp. 

 

KEATING

Oh, good God, boy. Yell like a man! 

 

TODD

(shouting)

Yawp! 

 

KEATING

There it is. You see, you have a 

barbarian in you, after all.

 

Todd goes to return to his seat but Keating stops him.

 

KEATING

Now, you don’t get away that easy.

 

Keating turns Todd around and points out a picture on the wall.

 

KEATING

The picture of Uncle Walt up there. What 

does he remind you of? Don’t think. 

Answer. Go on.

 

Keating begins to circle around Todd.

 

TODD

A m-m-madman. 

 

KEATING

What kind of madman? Don’t think about 

1. Just answer again. 

 

TODD

A c-crazy madman. 

 

KEATING

No, you can do better than that. Free up 

your mind. Use your imagination. Say the 

first thing that pops into your head, 

even if it’s total gibberish. Go on, go 

 

TODD

Uh, uh, a sweaty-toothed madman. 

 

KEATING

Good God, boy, there’s a poet in you, 

after all. There, close your eyes. Close 

your eyes. Close ’em. Now, describe what 

you see. 

 

Keating puts his hands over Todd’s eyes and they begin to slowly

spin around.

 

TODD

Uh, I-I close my eyes. 

 

KEATING

Yes? 

 

TODD

Uh, and this image floats beside me. 

 

KEATING

A sweaty-toothed madman? 

 

TODD

A sweaty-toothed madman with a stare 

that pounds my brain. 

 

KEATING

Oh, that’s excellent. Now, give him 

action. Make him do something. 

 

TODD

H-His hands reach out and choke me. 

 

KEATING

That’s it. Wonderful. Wonderful.

 

Keating removes his hands from Todd but Todd keeps his eyes

closed.

 

TODD

And, and all the time he’s mumbling. 

 

KEATING

What’s he mumbling? 

 

TODD

M-Mumbling, “Truth. Truth is like, like 

a blanket that always leaves your feet 

cold.” 

 

The students begin to laugh and Todd opens his eyes. Keating

quickly gestures for him to close them again.

 

KEATING

Forget them, forget them. Stay with the 

blanket. Tell me about that blanket. 

 

TODD

Y-Y-Y-You push it, stretch it, it’ll 

never be enough. You kick at it, beat 

it, it’ll never cover any of us. From 

the moment we enter crying to the moment 

we leave dying, it will just cover your 

face as you wail and cry and scream. 

 

Todd opens his eyes. The class is silent. Then they begin to clap

and cheer.

 

KEATING

   (whispering to Todd)

Don’t you forget this.

 

Source:

https://www.dailyscript.com/scripts/dead_poets_final.html

 

When asked, “what do you do,” most people give a boring answer. One bad enough to shut down the conversation, make your eyes roll back, and make you want to put your headphones back in.

For example:

• “what do you do?” — banking
• “what do you do?” –  consulting
• “what do you do?” – teach basketball

The last one is what I’ve told people for a long time, and I’ll admit, it’s boring. I’m bored of saying it. Instead, I now share a story to spark intrigue, sound more interesting, and spark a conversation worth having.

Here’s what I do—thanks for asking.

In 2010, I was a high school kid who wanted to get a scholarship to play college basketball. The problem was, I didn’t know how to do that.

I signed up for PGC basketball Camp. I flew to the University of West Georgia, where my camp session was being held. I met Coach Chad Songy, who was leading the camp, and had a life-changing week. Chad transformed the way I thought about basketball and life. He taught with passion, shared stories from the heart, led by example, and built relationships with care. I left that camp thinking, “one day, I want to be just like Chad, and impact others how he impacted me.” 

The camp changed me as a basketball player but even more so as a person. Chad helped me realize I could play college basketball and do great things beyond the sport. Soon after that experience, I signed a scholarship to play Division One college basketball— a dream come true.

And now, years later, I work full time with PGC Basketball. Now, I’m the one leading these basketball camps helping young people develop basketball skills, become influential leaders and, as Chad did for me, understand they can do more and be more than they ever believed possible. 

So when people ask me what I do, I share this story because I’m committed to avoiding boring and igniting intrigue.