September 30, 2025 • 17 mins
Contracts can launch your career — or leave you burned out. In this episode, I’ll share the three questions every performer should ask before hitting “submit,” plus stories and strategies to help you choose wisely, protect your body, and set yourself up for a long, thriving career.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker (00:02):
Welcome to the Artist Behind the Art, the podcast that
lifts the curtain on what ittakes to thrive as a
professional performer.
I'm your host, Jennifer Pierce,artist coach, creative
strategist and lifelong advocatefor performers or ready to go
from unsure to unforgettable,whether you're a circus artist,
dancer, or singer, navigatingauditions, building your brand
(00:23):
or crafting acts that actuallyget the Yes.
This show is your insider pass.
I'll be bringing you candidconversations, industry
insights, and real world toolsto help you get castable
confident and creativelyaligned.
This is where the gatekeepingends and your journey to
thriving in the industry begins.
Let's dive in.
Hey guys, welcome to theArtists Behind the Art, and
(00:50):
today we are talking long-termcontracts.
And over the next threeepisodes, I'm gonna be breaking
down strategies that's gonnahelp you, assess whether a
contract.
Is right for you at thismoment, whether you need to
build capacity or whether it'sjust a hard pass after you
evaluate everything that's goingto be going into it.
(01:12):
And this episode is for anyonethat is just starting out, but
there are gonna be some awesomelittle tips in there that if
you've been doing contracts foryears, I think you're gonna
still find some value.
All right guys.
Have you ever felt like you'vegiven everything to your act?
Only to realize that if youwere expected to perform it
(01:33):
multiple times, you could notsustain it?
That's what we're here toprevent today, and making sure
that.
Not only are you going to havea great time that it's a
sustainable contract because Iwant for everyone to be able to
play the long game, to have afull career and to enjoy it.
(01:54):
And what you put in thatsubmission, that's so important
because that's potentially whatcasting is going to expect you
to deliver on stage every singlenight.
And I've been there so I knowhow that feels.
for me.
Contract work was one of thebest parts of my career.
Some things that I reallyvalued was having a consistent
(02:17):
place to live.
I didn't enjoy moving around.
Being on a bus was not my jam.
I loved being able to savemoney and for me, the biggest
was to be able to do what I loveand travel.
But here's the flip side.
Every contract comes withunspoken realities, and I want
you to be able to plan ahead soyou don't risk burnout or
(02:40):
injury.
So I'm breaking this down intoactionable strategies.
Let's dive in to the first ofthree right now.
how we are gonna evaluate if acontract is the right fit for
us.
And I think there's threedifferent components that go
into whether a contract is agood fit.
(03:01):
I think you have to considerthe lifestyle that the contract
brings.
The act, what you're actuallyperforming, what you're doing,
what your role is, and then alsoyour capacity and how well your
body is going to handle theload and are you prepared for
it.
So those are three differentlenses we're gonna be looking
(03:24):
through today that.
you can go back to this episodewhen you're evaluating whether
a contract is a good fit for youor not, and I think it's gonna
be able to help you make greatdecisions.
So let's chat all things lifeduring the contract.
I really think that it'simportant that we look at the
(03:45):
travel aspects, Where are yougonna be getting your food from?
What does rehearsals look like?
do you have the option oftravel?
How are you getting places?
So when we look at all of thesedifferent components, we can
ask ourselves honestly, if thisfits into how we see ourselves.
Living life long term.
Now, I always want you tochallenge yourself and if that
(04:08):
is, something that maybe is nota preference right now because
your exposure to it has notreally, given you an honest,
Portrayal of if you're gonnalike it or not.
I think taking every contractas it is and saying, I'm gonna
go into it for its experienceand learn from it and let that
life kind of lesson teach mewhether it's a good fit or not
(04:29):
is, is something that everyoneshould really challenge themself
to do.
But know thyself.
I think it's so important.
If you know that you, like tobe anchored to having a
consistent place to live, then Ithink maybe that's a good
starting place to seek work.
because every contract it comeswith its lifestyle.
And the question I want you toask yourself is, what is this
(04:53):
really going to feel like foryou?
Day to day, is it a bus ride?
Followed by, wherever you are,dropped off, finding food,
getting back in, setting up,doing a rehearsal and doing
shows.
maybe you're in that town for afew nights.
if that is the case, does yourbody bounce back quickly from
the travel or does that take alot out of you?
(05:15):
So if you can picture yourselfliving that routine.
You feel energized, then Ithink that's amazing.
Then definitely go for thatopportunity.
But if you feel that thatconsistent schedule is going to
be draining, then that'ssomething that you're gonna want
to really take a look into andsay, is this a really good
(05:36):
decision?
For me, or you know, I reallydon't know, but I'm gonna do all
of my prep to make sure thatthat experience is successful.
Like, how am I gonna rest onthe bus?
Do I need a neck pillow?
These are all like, it soundssilly, but that neck pillow may
be the difference between havingan amazing experiencing getting
rest on the bus between showsand really feeling like it is
(05:59):
something that is anuncomfortable experience.
So I think it's important tolook at the realities, but also
the perks.
are you in new cities?
Are you gonna have a day offsomewhere that you know you have
never been to?
Is there like a place that ison your bucket list that you
cannot wait?
To go to, and that is going tobe a stop on the contract.
(06:22):
Those are all, amazingopportunities.
but there's also the thingsthat if you're rehearsing and
you're going to these places,sometimes the reality is you're
not going to have the time to beable to see those places.
But remember, we're there forthe performing.
So always keep that at thecenter of your mind that you
(06:44):
are.
Yes, we want to evaluate thelife, style that we're gonna be
living, but we're also going togo there for the amazing stages
and audiences and the cast andthat we're gonna have these
amazing experiences.
I.
So the perks definitely aresomething to keep in mind and I
can remember that.
one contract, we were about tohave a really intensive
(07:06):
rehearsal schedule and it waslike 10 days of it was gonna be
a lot.
And we were about to do anAtlantic crossing and we were
stopping in Bermuda.
And we, as a cast, we cametogether and said.
Hey, can we have two hours justto be able to get off the ship,
step into town, grab a coffee,see something new?
And they came back and theywere like, no, sorry guys.
(07:28):
Full dress rehearsal.
And you know, we all understoodthat the, the demands of the
production came first, and thatwas the reality.
So here's what I want you tothink about.
The research is your first lineof defense of knowing what life
and reality is really gonnalook like.
So the things that I want youto think of resources are, can
(07:51):
you talk to artists who havedone it before?
Can you find out information?
About the schedule and aboutthe show load.
how does the company treat itsperformers?
Is one of the most valuablequestions that you can ask
someone.
Do they provide food?
If you have a tight window inbetween shows?
Or are you going to need toplan ahead and figure that out
(08:13):
for yourself?
All of these things go intoknowing, how to set yourself up
for success in a contract and ifit is something for you.
But also keep in mind, evenafter all the research, there's
gonna be surprises.
And that's why flexibilityisn't optional.
It's essential, and it's justgoing to help you have an
(08:34):
amazing contract.
moving on to number two, youract.
And this is so importantbecause this is where the drain
on your body consistently isgoing to be.
So let me ask you this.
Think of an act that you areeither presently performing,
(08:54):
creating, or something that youhave had on stage for the long
term, and you can really run itthrough This filter is that act
not just impressive, butsustainable.
And here's something I'velearned, if you promise casting
something in your submiss.
They're going to expect you todeliver it night after night,
(09:15):
month after month withconsistent performance quality.
So when you are thinking ofchoreographing an act for a show
for a submission, instead ofasking what's the highest level
skills and combos that I can putin to ensure that I get the
contract, I want you to pauseand think, because what I see is
(09:36):
a lot of artists build theirsubmissions around skills that
are impressive.
But it's not sustainable.
And ultimately casting wantsyou to be able to show up night
after night, be able to give ahigh quality performance, stay
healthy, and they want you to behappy too.
So make sure that when you arebuilding that act that you ask
(09:57):
if this is something that youare gonna be asking a lot of for
your body.
Or is it something that's inyour wheelhouse that you feel
really great about expressing tothe audience?
It really fits in with themusic, with the character.
The real question is what canyou perform at a high level with
impact and keep deliveringwithout risk of injury?
(10:18):
Because remember, we're playingthe long game.
You're not building an act forone contract.
That act is something that isgoing to make lasting impact on
you, and you are buildingsomething for a career.
All right.
Our last one is your capacity.
How many shows will you performin a day?
(10:40):
Two, three.
Now let's multiply that acrossweeks.
And then months and it couldadd up to be a lot.
So I want you to pause andreally think about this.
If I had to start that scheduletomorrow, would my body be
ready?
Because it might be somethingthat you need to start looking
at that, okay, I have an actthat I really love.
(11:02):
I think it's sustainable, buttwo or three times a day may not
be where I am yet.
So that's something that wewant to build and be able to
train because there's a bigdifference between performing
occasionally and training andthen suddenly being full-time,
high demand schedule.
And here's the key.
When your contract starts, youwant your body to be able to be
(11:24):
ready to adapt, not feel likeyou're starting at a deficit.
So if you're going in andyou're learning choreography to
be able to tie the actstogether, and then you're
running your act, and thenyou're taking a break and coming
in and doing a full.
Show run.
You wanna make sure that you'reable to show up and show that
you are gonna be the artist.
That over time is gonnaconsistently deliver a show that
(11:47):
connects and go, wow, thisperson is solid and we want them
to work for us.
Time after time.
So if you are saying, yikes, Ihave a fantastic act.
I have high level skills, but Idon't know if my capacity is at
a place where over the longhaul I'm gonna be able to do
this and for it to besustainable.
(12:07):
If we were training together,this is what I would propose
that you would do.
So I would definitely dedicate.
A time because we wanna makesure that, again, we have our
season of performing.
And then we do have our resttime.
And if you are going to try toraise your capacity, try to find
a few weeks that you can reallybuild this up.
(12:30):
And if you can go into thestudio and have a two or three
hour window where you can runyour act, take a break, and
maybe do some otherconditioning, and then from
there, run your act two moretimes.
You're gonna then see howfatigued your body gets.
What is the recovery time inbetween running the ax And
(12:52):
something else that you can dois you can then add that extra
pressure on yourself after yougo, okay, this is sustainable
two or three times in a row overa longer period of time with
obviously adequate breaks andsome rest and water and
hydration and protein, andeverything that needs to go into
that success.
But then I want you to startpushing yourself, and I want you
(13:14):
to do a run of your act whenyou're already a little fatigued
so your body learns.
Is this really truly gonna besomething that's sustainable and
is gonna show up for me when itreally counts?
And then also in this timeperiod, look at the other
factors that you have in yourlife, but take recovery
(13:34):
seriously.
Your water, your sleep, yourfood.
What you do or what you don'tdo in your downtime is as Im
part of, important part of yourtraining and it's something that
you wanna have as a resourcethat is kind of your automatic
go-to when you are in.
Times where you have heavyrehearsals or a heavy show load,
(13:56):
and something to keep in mindthat when you go into rehearsals
that are demanding, you aregonna always have a building
phase.
There's always going to bethose times where you're going
to ask yourself Yikes.
This is really hard.
But the goal is for thatprocess to feel like a challenge
that you can rise to not likeyou're drowning and it's not
attainable.
(14:16):
So by raising your capacitywhen you are at home, if you're
an up and coming artist, issomething that I would say, talk
to your instructors and buildthis into your training.
So then that way when you aresubmitting, you are submitting
with.
The confidence that you aregonna be able to show up and,
(14:36):
get hired again.
'cause that's, that's the nameof the game guys.
And, this ties directly intoinjury prevention.
And I want to push you guyshere and don't skip this step
because if you don't have aphysical therapist in your
corner, now is the time.
And I get it.
It is a.
Huge investment, but it isinvestment in you.
(15:00):
They are the people that aregonna be on your team, that are
going to investigate into whereyour weaknesses are, where any
muscular imbalances are, and anyrisks that you'd miss on your
own that maybe will have yousecond guess whether, a
consistent ask of your body anda skill is a smart plan.
So protecting your career isworth the investment, and this
(15:25):
is gonna be what's gonna keepyou in the game long term and
the bonuses.
All of these exercises andeverything that you are going to
learn, they're gonna double upas your warmups and things that
are gonna keep you safe andhealthy during your contract,
and they're gonna help youactivate the right muscles when
you are.
They're under load and demand,and you're gonna be able to show
(15:47):
up as your best when it.
Counts.
So you guys, I want you to havea long, healthy career.
So that step is non-negotiable.
So find a PT that you trust andyou, feel like that they are
part of your team that is gonnahelp you have a long and
successful career.
(16:08):
So let's recap.
Before you hit submit, I wouldlove for you to sit and ask
yourself.
These three questions, whatwill life really look like
during this contract?
And am I ready to adapt?
Is my act sustainable?
And can I deliver itconsistently, not once.
(16:30):
And number three, do I have thecapacity and the injury
prevention plan to handle what'sahead?
And if you can say yes to thosethree, you are not set up to
survive a contract, you aregonna kill it, and it's gonna be
amazing experience.
All right guys, so in the nextepisode, we are diving into how
(16:53):
to fill your time in ways thatare gonna keep you sane, and we
are gonna talk about some thingsthat you probably haven't even
thought about yet.
So thank you so much forlistening.
And remember, you already havewhat it takes.
The question is, are you goingto prove it to yourself?
Until next time, show up bigand own the stage.
Welcome to the Artist Behind the Art, the podcast that
lifts the curtain on what ittakes to thrive as a
professional performer.
I'm your host, Jennifer Pierce,artist coach, creative
strategist and lifelong advocatefor performers or ready to go
from unsure to unforgettable,whether you're a circus artist,
dancer, or singer, navigatingauditions, building your brand
(00:23):
or crafting acts that actuallyget the Yes.
This show is your insider pass.
I'll be bringing you candidconversations, industry
insights, and real world toolsto help you get castable
confident and creativelyaligned.
This is where the gatekeepingends and your journey to
thriving in the industry begins.
Let's dive in.
Hey guys, welcome to theArtists Behind the Art, and
(00:50):
today we are talking long-termcontracts.
And over the next threeepisodes, I'm gonna be breaking
down strategies that's gonnahelp you, assess whether a
contract.
Is right for you at thismoment, whether you need to
build capacity or whether it'sjust a hard pass after you
evaluate everything that's goingto be going into it.
(01:12):
And this episode is for anyonethat is just starting out, but
there are gonna be some awesomelittle tips in there that if
you've been doing contracts foryears, I think you're gonna
still find some value.
All right guys.
Have you ever felt like you'vegiven everything to your act?
Only to realize that if youwere expected to perform it
(01:33):
multiple times, you could notsustain it?
That's what we're here toprevent today, and making sure
that.
Not only are you going to havea great time that it's a
sustainable contract because Iwant for everyone to be able to
play the long game, to have afull career and to enjoy it.
(01:54):
And what you put in thatsubmission, that's so important
because that's potentially whatcasting is going to expect you
to deliver on stage every singlenight.
And I've been there so I knowhow that feels.
for me.
Contract work was one of thebest parts of my career.
Some things that I reallyvalued was having a consistent
(02:17):
place to live.
I didn't enjoy moving around.
Being on a bus was not my jam.
I loved being able to savemoney and for me, the biggest
was to be able to do what I loveand travel.
But here's the flip side.
Every contract comes withunspoken realities, and I want
you to be able to plan ahead soyou don't risk burnout or
(02:40):
injury.
So I'm breaking this down intoactionable strategies.
Let's dive in to the first ofthree right now.
how we are gonna evaluate if acontract is the right fit for
us.
And I think there's threedifferent components that go
into whether a contract is agood fit.
(03:01):
I think you have to considerthe lifestyle that the contract
brings.
The act, what you're actuallyperforming, what you're doing,
what your role is, and then alsoyour capacity and how well your
body is going to handle theload and are you prepared for
it.
So those are three differentlenses we're gonna be looking
(03:24):
through today that.
you can go back to this episodewhen you're evaluating whether
a contract is a good fit for youor not, and I think it's gonna
be able to help you make greatdecisions.
So let's chat all things lifeduring the contract.
I really think that it'simportant that we look at the
(03:45):
travel aspects, Where are yougonna be getting your food from?
What does rehearsals look like?
do you have the option oftravel?
How are you getting places?
So when we look at all of thesedifferent components, we can
ask ourselves honestly, if thisfits into how we see ourselves.
Living life long term.
Now, I always want you tochallenge yourself and if that
(04:08):
is, something that maybe is nota preference right now because
your exposure to it has notreally, given you an honest,
Portrayal of if you're gonnalike it or not.
I think taking every contractas it is and saying, I'm gonna
go into it for its experienceand learn from it and let that
life kind of lesson teach mewhether it's a good fit or not
(04:29):
is, is something that everyoneshould really challenge themself
to do.
But know thyself.
I think it's so important.
If you know that you, like tobe anchored to having a
consistent place to live, then Ithink maybe that's a good
starting place to seek work.
because every contract it comeswith its lifestyle.
And the question I want you toask yourself is, what is this
(04:53):
really going to feel like foryou?
Day to day, is it a bus ride?
Followed by, wherever you are,dropped off, finding food,
getting back in, setting up,doing a rehearsal and doing
shows.
maybe you're in that town for afew nights.
if that is the case, does yourbody bounce back quickly from
the travel or does that take alot out of you?
(05:15):
So if you can picture yourselfliving that routine.
You feel energized, then Ithink that's amazing.
Then definitely go for thatopportunity.
But if you feel that thatconsistent schedule is going to
be draining, then that'ssomething that you're gonna want
to really take a look into andsay, is this a really good
(05:36):
decision?
For me, or you know, I reallydon't know, but I'm gonna do all
of my prep to make sure thatthat experience is successful.
Like, how am I gonna rest onthe bus?
Do I need a neck pillow?
These are all like, it soundssilly, but that neck pillow may
be the difference between havingan amazing experiencing getting
rest on the bus between showsand really feeling like it is
(05:59):
something that is anuncomfortable experience.
So I think it's important tolook at the realities, but also
the perks.
are you in new cities?
Are you gonna have a day offsomewhere that you know you have
never been to?
Is there like a place that ison your bucket list that you
cannot wait?
To go to, and that is going tobe a stop on the contract.
(06:22):
Those are all, amazingopportunities.
but there's also the thingsthat if you're rehearsing and
you're going to these places,sometimes the reality is you're
not going to have the time to beable to see those places.
But remember, we're there forthe performing.
So always keep that at thecenter of your mind that you
(06:44):
are.
Yes, we want to evaluate thelife, style that we're gonna be
living, but we're also going togo there for the amazing stages
and audiences and the cast andthat we're gonna have these
amazing experiences.
I.
So the perks definitely aresomething to keep in mind and I
can remember that.
one contract, we were about tohave a really intensive
(07:06):
rehearsal schedule and it waslike 10 days of it was gonna be
a lot.
And we were about to do anAtlantic crossing and we were
stopping in Bermuda.
And we, as a cast, we cametogether and said.
Hey, can we have two hours justto be able to get off the ship,
step into town, grab a coffee,see something new?
And they came back and theywere like, no, sorry guys.
(07:28):
Full dress rehearsal.
And you know, we all understoodthat the, the demands of the
production came first, and thatwas the reality.
So here's what I want you tothink about.
The research is your first lineof defense of knowing what life
and reality is really gonnalook like.
So the things that I want youto think of resources are, can
(07:51):
you talk to artists who havedone it before?
Can you find out information?
About the schedule and aboutthe show load.
how does the company treat itsperformers?
Is one of the most valuablequestions that you can ask
someone.
Do they provide food?
If you have a tight window inbetween shows?
Or are you going to need toplan ahead and figure that out
(08:13):
for yourself?
All of these things go intoknowing, how to set yourself up
for success in a contract and ifit is something for you.
But also keep in mind, evenafter all the research, there's
gonna be surprises.
And that's why flexibilityisn't optional.
It's essential, and it's justgoing to help you have an
(08:34):
amazing contract.
moving on to number two, youract.
And this is so importantbecause this is where the drain
on your body consistently isgoing to be.
So let me ask you this.
Think of an act that you areeither presently performing,
(08:54):
creating, or something that youhave had on stage for the long
term, and you can really run itthrough This filter is that act
not just impressive, butsustainable.
And here's something I'velearned, if you promise casting
something in your submiss.
They're going to expect you todeliver it night after night,
(09:15):
month after month withconsistent performance quality.
So when you are thinking ofchoreographing an act for a show
for a submission, instead ofasking what's the highest level
skills and combos that I can putin to ensure that I get the
contract, I want you to pauseand think, because what I see is
(09:36):
a lot of artists build theirsubmissions around skills that
are impressive.
But it's not sustainable.
And ultimately casting wantsyou to be able to show up night
after night, be able to give ahigh quality performance, stay
healthy, and they want you to behappy too.
So make sure that when you arebuilding that act that you ask
(09:57):
if this is something that youare gonna be asking a lot of for
your body.
Or is it something that's inyour wheelhouse that you feel
really great about expressing tothe audience?
It really fits in with themusic, with the character.
The real question is what canyou perform at a high level with
impact and keep deliveringwithout risk of injury?
(10:18):
Because remember, we're playingthe long game.
You're not building an act forone contract.
That act is something that isgoing to make lasting impact on
you, and you are buildingsomething for a career.
All right.
Our last one is your capacity.
How many shows will you performin a day?
(10:40):
Two, three.
Now let's multiply that acrossweeks.
And then months and it couldadd up to be a lot.
So I want you to pause andreally think about this.
If I had to start that scheduletomorrow, would my body be
ready?
Because it might be somethingthat you need to start looking
at that, okay, I have an actthat I really love.
(11:02):
I think it's sustainable, buttwo or three times a day may not
be where I am yet.
So that's something that wewant to build and be able to
train because there's a bigdifference between performing
occasionally and training andthen suddenly being full-time,
high demand schedule.
And here's the key.
When your contract starts, youwant your body to be able to be
(11:24):
ready to adapt, not feel likeyou're starting at a deficit.
So if you're going in andyou're learning choreography to
be able to tie the actstogether, and then you're
running your act, and thenyou're taking a break and coming
in and doing a full.
Show run.
You wanna make sure that you'reable to show up and show that
you are gonna be the artist.
That over time is gonnaconsistently deliver a show that
(11:47):
connects and go, wow, thisperson is solid and we want them
to work for us.
Time after time.
So if you are saying, yikes, Ihave a fantastic act.
I have high level skills, but Idon't know if my capacity is at
a place where over the longhaul I'm gonna be able to do
this and for it to besustainable.
(12:07):
If we were training together,this is what I would propose
that you would do.
So I would definitely dedicate.
A time because we wanna makesure that, again, we have our
season of performing.
And then we do have our resttime.
And if you are going to try toraise your capacity, try to find
a few weeks that you can reallybuild this up.
(12:30):
And if you can go into thestudio and have a two or three
hour window where you can runyour act, take a break, and
maybe do some otherconditioning, and then from
there, run your act two moretimes.
You're gonna then see howfatigued your body gets.
What is the recovery time inbetween running the ax And
(12:52):
something else that you can dois you can then add that extra
pressure on yourself after yougo, okay, this is sustainable
two or three times in a row overa longer period of time with
obviously adequate breaks andsome rest and water and
hydration and protein, andeverything that needs to go into
that success.
But then I want you to startpushing yourself, and I want you
(13:14):
to do a run of your act whenyou're already a little fatigued
so your body learns.
Is this really truly gonna besomething that's sustainable and
is gonna show up for me when itreally counts?
And then also in this timeperiod, look at the other
factors that you have in yourlife, but take recovery
(13:34):
seriously.
Your water, your sleep, yourfood.
What you do or what you don'tdo in your downtime is as Im
part of, important part of yourtraining and it's something that
you wanna have as a resourcethat is kind of your automatic
go-to when you are in.
Times where you have heavyrehearsals or a heavy show load,
(13:56):
and something to keep in mindthat when you go into rehearsals
that are demanding, you aregonna always have a building
phase.
There's always going to bethose times where you're going
to ask yourself Yikes.
This is really hard.
But the goal is for thatprocess to feel like a challenge
that you can rise to not likeyou're drowning and it's not
attainable.
(14:16):
So by raising your capacitywhen you are at home, if you're
an up and coming artist, issomething that I would say, talk
to your instructors and buildthis into your training.
So then that way when you aresubmitting, you are submitting
with.
The confidence that you aregonna be able to show up and,
(14:36):
get hired again.
'cause that's, that's the nameof the game guys.
And, this ties directly intoinjury prevention.
And I want to push you guyshere and don't skip this step
because if you don't have aphysical therapist in your
corner, now is the time.
And I get it.
It is a.
Huge investment, but it isinvestment in you.
(15:00):
They are the people that aregonna be on your team, that are
going to investigate into whereyour weaknesses are, where any
muscular imbalances are, and anyrisks that you'd miss on your
own that maybe will have yousecond guess whether, a
consistent ask of your body anda skill is a smart plan.
So protecting your career isworth the investment, and this
(15:25):
is gonna be what's gonna keepyou in the game long term and
the bonuses.
All of these exercises andeverything that you are going to
learn, they're gonna double upas your warmups and things that
are gonna keep you safe andhealthy during your contract,
and they're gonna help youactivate the right muscles when
you are.
They're under load and demand,and you're gonna be able to show
(15:47):
up as your best when it.
Counts.
So you guys, I want you to havea long, healthy career.
So that step is non-negotiable.
So find a PT that you trust andyou, feel like that they are
part of your team that is gonnahelp you have a long and
successful career.
(16:08):
So let's recap.
Before you hit submit, I wouldlove for you to sit and ask
yourself.
These three questions, whatwill life really look like
during this contract?
And am I ready to adapt?
Is my act sustainable?
And can I deliver itconsistently, not once.
(16:30):
And number three, do I have thecapacity and the injury
prevention plan to handle what'sahead?
And if you can say yes to thosethree, you are not set up to
survive a contract, you aregonna kill it, and it's gonna be
amazing experience.
All right guys, so in the nextepisode, we are diving into how
(16:53):
to fill your time in ways thatare gonna keep you sane, and we
are gonna talk about some thingsthat you probably haven't even
thought about yet.
So thank you so much forlistening.
And remember, you already havewhat it takes.
The question is, are you goingto prove it to yourself?
Until next time, show up bigand own the stage.
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