Note: conflict shock criteria
Sorry, when talking about the criteria for a conflict shock, I forgot to mention one. It is that the event has to be highly acute. Meaning, it strikes with intensity. So to sum up, the three criteria that need to be met for something to be a conflict shock (and the body to start an adaptation) are: it must be unexpected, highly acute, and isolating or experienced in isolation.

Disclaimer: Please note I am not a medical professional or a GNM practitioner, I am merely a woman talking about her own experience and sharing her perspective on the internet.

TIMESTAMPS
00:00 intro to the topic
02:33 GNM and culty vibes
06:21 no belief required
10:50 biological vs emotional conflict
13:16 the conflict shock criteria
17:41 practical advice
20:53 find what makes sense to and for you

In the episode, we also touch on why we love to cling to some problems so much, how travel can affect our identity, and other intersting stuff.

Find me on substack:
https://katjacerne.substack.com

I also have a website and a newsletter in the works, so those links are coming soon! Check out future episodes for them :)

Like, that’s it.

Important: without expectations, without yearning or searching for recognition or validation or anything like that.

Because when projectors do that, aligned invitations naturally come.

Strategy shouldn’t be about not doing something. It should be about what to do.

So if the idea is to “wait”, that’s like saying “don’t do anything”.

To me, it’s much more useful to ask: What might I do? What would be good for me to do?

Because yeah, projectors aren’t big “doers” in the conventional sense of constantly being productive and hustling. But that doesn’t mean we don’t do anything.

So what to do?

Find joy. Find what you love. Dive into it. Express yourself. Express yourself!! Especially if you’re self-projected like me. Follow your sense of wonder and curiosity. Rest. Luxuriate in your life. This is how you stop “waiting for invitations” and start allowing invitations to flow to you.

Let’s explore why people you know in real life might react awkwardly or even mockingly when you start posting content online or pursue some other fame-adjacent career (singer, comedian, actor…).
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a few points worth mentioning

• Your (new) online persona might clash with the version of you that people around you are familiar with. Their shock and suprise is normal and you just need to give them time to adjust to it.
• Their comments may reflect their own bitterness or jealousy, especially if they want to “put themselves out there” but are being held back by fear and your actions expose their excuses.
• There is another angle: People are tribal creatures. We often derive a sense of safety from relying on a social strucutre. That is why people instinctively trust established authorities and social hierarchies, so they more readily support someone with a big following than a friend. You “putting yourself out there” challenges their perception of your role in the tribe and indicates a coming change in its structure.
• All of these are understandable and my intention is not to judge these reactions, but to understand that they ultimately have much more to do with the person who is reacting than with the person who is posting online.

The energy of this question is what we are taking into today’s episode.

This episode is not about me convincing you about how germ theory is correct or incorrect. It’s not about me having the answers or any of us knowing better than the other.

It’s about exploring, questioning, challenging our beliefs, and looking at things from different perspectives.

Please know this is not medical advice, I am not a medical practitioner, I am merely a woman interested in exploring various topics and seeing the truth.

With that in mind, let’s dive into the topics of germ theory, contagion, and, more importantly, our willingness to challenge what we deem obvious.

Enjoy!

Let’s chat about the difference between taking a creative risk versus understanding your audience.

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a few points worth mentioning:

• There is a difference between writing “safe” comedy or making “safe” art and having professional awareness of audience reaction.
• Safe writing is when you aim for your jokes or art to be liked most people in general.
• Good craft, on the other hand is about knowing who the work is for - aka people who would “get it”, be it specific people, fans, friends, or a past verson of you -and being able to refine your work for this audience.
• Over time, honing your craft and observing reactions from people helps you clarify your voice and true audience.

• In comedy and writing in general, something being easy to write doesn’t mean it’s bad. In fact, often, ease can indicate you’re in the flow, which is great.
• There is a difference between a joke being easy and a joke being safe. Relying on predictable stereotypes or common approaches can produce jokes that most people will reliably like but that feel unoriginal and express no real perspective.
• Trying to be provocative is just another side of the same coin - once again, you can pretty much predict how the audience will react.
• The best jokes (and art!) come from taking risks, being vbulnerable, and betting on what you personally find funny and intriguing.

Welcome to today’s episode.

It’s a continuation of yesterday’s, so if you missed it, be sure to check it out.

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a few points worth mentioning

• Quality and popularity of something are two separate aspects of this thing that are not really related to each other.
• There is magic in not everything being for everyone.
• Informal exclusivity can arise through shared taste in niche interests. It can also create a specific connection and more intimate, precous engagement for the people who resonate with them.

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a few points worth mentioning

• Frustration over a quality piece of writing or art not being well known and other “worse” pieces of content being popular and praised is the same vibe as obsessing over how many likes and followers someone gets.
• Do we really want to measure success by virality, likes, and popularity?
• Wanting your work to be known is understandable, but there are more elements to “being known” than just the mere number of people who interact with your work.
• Is it more important how many people know about something or how this affects people who do know it?
• Last but not least: The quality of your own interaction with something is more important than focusing on how many other people engage with it.