Inspired Writer Collective Podcast

Episode 96: [Julie Sedler] The Recurring Emotionality of Writing Memoir

• Inspired Writer Collective

Share episode

Send us a text

Elizabeth Wilson chats with Julie Sedler about whether or not it's normal to have so many emotions when you're writing and editing your memoir. Julie Sedler was our guest, about a year ago, for  Episode 59, when she talked about the importance of knowing why you're writing your memoir.  
Elizabeth Wilson has been editing her memoir and experiencing big emotions. Julie Sedler confirms it's normal and walks through her journey to publishing her own memoir emphasizing that you've written your memoir because it is meant to be impactful.

 Welcome to the Inspired Writer Collective podcast. If you've ever felt the pull to write your truth, to shape the chaos of real life into something meaningful and to share your journey with the world, you're in the right place. We're your hosts, Elizabeth and Stephanie, writers, coaches, and entrepreneurs who believe in you and know how important it is to find a writing community to guide you on your path to self-publishing.

You’re invited to connect with us by joining our Embodied Writing Experience where you’ll get a writer’s retreat directly to your inbox on Mondays, Tuesdays, and Thursdays each week. Whether you’re working on a memoir, a novel, or journaling for yourself, this is an invitation to slow down, tune in, and write with embodied intention.   


Join our Embodied Writing Experience where you’ll get a writer’s retreat directly to your inbox on Mondays, Tuesdays, and Thursdays each week. This is an invitation to slow down, tune in, and write with embodied intention.

Get on the waitlist for the Memoir Master Plan cohort here.

If you prefer to watch our conversations, you can find all of them on our YouTube channel.

You can find us on Instagram and Threads

Elizabeth Wilson:

Oh my goodness. I'm so excited to have this conversation today. So the way this went down is I was having a really emotional memoir inspired moment, and I believe so strongly in community for these reasons because I was like, I need someone who can tell me if this is normal or not. And I sent you a message on Instagram. So I'm gonna start by reading that and then we'll jump into the conversation.

Julie Sedler:

play through the whole thing. Let's do it.

Elizabeth Wilson:

Okay, so I said, okay, so be real with me. Did you find your memoir emotionally impacting you all the way through the writing and editing process? I just did a big stint of edits this week on mine, and I'm feeling all caps emotional and thinking it might be related to the work I've been doing on my memoir, to be honest, at every stage of drafting or editing, so far I've had different portions or aspects of my memoir hit me. Sometimes it's just the overwhelming realization of everything I went through and survived. Thoughts, advice, and then we jumped into a whole string of conversation where you gave such beautiful wisdom that I at some point said, we need to hop on a recording this weekend and capture this conversation because I know if I'm feeling this, and you then validated that for me that you experienced this. Then this is something we need to talk about more publicly, so people who write memoir are aware that this is a very normal part of the process, both in memoir writing and maybe just trauma and grief and stuff in general.

Julie Sedler:

Absolutely. And in, I mean, in light of like all the stuff that's going down this week too about having author, friends and author community from like, the things that are happening on threads, um, which is like not knowing like. Being an author is like a singular experience. It can feel really isolating when you're writing. It can feel really isolating when you put, like, to me, it felt like I was birthing another baby. Like I, this is like so overwhelming at times, but like, I wanna do this. I know I'm gonna do this. Um, that it, like that community aspect is really underrated. So I love that we're here. I love that we're talking about it. It feels very timely. I believe the first thing I responded back to you was. You know, this is gonna be good when you just out the gate, you're like, be so real with me.

Elizabeth Wilson:

Yes. Yes.

Julie Sedler:

Okay. So, yeah, that it's, that's real. It happens. So, um. How do we wanna jump into

Elizabeth Wilson:

What was your experience with it like?

Julie Sedler:

I, I'm okay, I'm gonna start there. So, first of all, I did my major edits while I was pregnant.'cause I actually, my book was po I published my book just like a couple of weeks before I had my third baby. So like, I was already feeling all the things and then I'm feeling, so I. Sent my manuscript off to my editor after I had already done two rounds of

Elizabeth Wilson:

Oh sure. Yeah.

Julie Sedler:

And in those rounds of edits where I like kind of was going through things and like, you know, make, the way I write is I pull from my notebooks, I transcribe my notebooks, and then I kind of condense that into like a story. So like, if it feels like you're reading my journal, it's. Because you are my journal. Um, and so like that in and of itself a very vulnerable thing. Just like to start from there. And so every time I was going through, I was like, okay, exactly am I going to share and going to share with, with the reader? And in my mind, like I already know all the things that have happened. I'm like, oh, like of course this would make sense. Or, oh, this, this is like really relevant to me, but maybe not necessarily to the reader, to the story. So, you know, I'm going through, I'm making cuts, which is already hard enough for me, and you know, I'm feeling all the feelings and then I send it off to my editor. And I just kind of like a break. I was like, not gonna think about this for a hot minute because it's in someone else's hands right now. Um, and I love my editor. I feel like having an editor that's someone that like you have a relationship with that like you trust is so. in this process, especially if you're writing something as vulnerable as memoir, right? This really happened to you. This is the story of, or a story of your life, right? Maybe not the whole story of your life, like a biography, but a portion of your life. And it's gonna be impactful because why else would you be writing this, right? You, something has happened and you wanna share that story with the world, like, that's big. That's, it's already big. I get the, I get the edits back from my editor. And, and like overwhelmed. Like she did not hold back, which is great. I didn't want her to hold back. But I'm like, okay. And I mean, we've talked about this before. When I've been on, I am not a trained writer. This is not what I thought that I was going to do with my wife. This is like the side hustle of all side hustles

Elizabeth Wilson:

I love that

Julie Sedler:

of,

Elizabeth Wilson:

we need to make shirts with that memoir. Writing the side hustle of all side hustles.

Julie Sedler:

But like backed with that, like spiritual like push of like, this is like you are meant to write this story, like you can't keep it inside of you. Right? Like that was my experience. Like I have to do this. Like my body and soul will not be at rest until I get this out there. And then after that. a whole nother can of worms where it's like, oh, now I have to convince people to read this too. It's not enough just to put it out there, but like now you need people to like, you gotta like be in community with these people and share the story. So that's, that's another topic for another show. You'll get there and you'll be like, you'll be in my dms and you'll be like, oh my God, we gotta talk about this. We'll be like, yeah, we do gotta talk about this. So I get it back. I'm going through it all. I'm I, and I'm like focusing on each note. As it comes, like, how can I just resolve this comment? And I kind of take like a blinders on approach. Like, okay, I'm just like, let's answer each thing. And at that point, like the editing sort of became like collaborative. Like she would come in and she would like check on my comment and she would like, you know, give me the feedback. And we got through that stage and it was a little bit less intense for me emotionally because I was focusing on one thing at a time. And every once in a while something would come up and it would be like super triggering. Or she would ask me like a really blunt question, like, is this something you wanna put out there? Is this thing. The thing. Right. You know, that kind of a thing. And then so I mean there was a like more self-reflection. Every stage you're going through this more and more self-reflection. So it makes complete sense when you step back and look at it from like an aerial bird's eye view of like, well, yeah. Okay. Self-reflection. Self-reflection, yeah. You're gonna get emotional, like it's gonna trigger you. Things are gonna hit a little bit differently, but the thing that really got me. As I moved through all that, and I think I was near as at, was at the stage that you are nearly at now, which is to say I had done my rounds of editing. She had done her rounds of editing. I actually handed off my manuscript at that point to my husband who did another second round of editing, and I specifically asked him to. sure that every storyline that opened up, right?'cause there's just, there happened to be a bunch of foreshadowing Easter eggs, whatever you wanna call it. The technical term is foreshadowing. But I just love that in this day and age, we call it an Easter egg. a ton of foreshadowing. So I was like, I really want to make sure, because in real life all of these things were resolved and that was part of the magic of my story. I really wanna make sure that everything gets tied up and that you someone who wasn't present for all of the story. Can like be like my quality control and he, he went above and beyond. Not only did he do that, he had this massive note document on his phone where like ev he, every time something would open up, he would put in, then he would come back in and like, check off that, like it got resolved. And he would come back and tell me, he'd be like, I don't think this got resolved in the way that you wanted to, like maybe come back to this. So like he is like sharing this with me. And I'm like, okay. And I'm like in, in talks with my editor, like, Hey, did you feel that way too? Like, we're like wrapping everything up and he, he is in Oxford comma. So like, and I mean, again, I'm not a trained writer, so like, I'm just like getting, I'm just like getting the words on the page. We'll, you know, make it grammatically correct later. We'll, like, make it, you know, professional and presentable. Yeah. That was his job. And so, you know, we're still together, which says a lot that I could like take that. Um, so we get through all of that. My editor takes another crack at it, sends me, she has just a, a handful of notes and she says. I think you to read it through from start to finish one more time before we like say, yeah, this is good. then I, and, and then after that I hand it off to my husband. Um. And he formatted it.

Elizabeth Wilson:

Mm.

Julie Sedler:

the formatting of the formatting of this book is actually top notch. And we used Vellum and it was great. So can't, can't sing those praise enough. Um, so I read through this. at home by myself, eight and a half months pregnant, and I sit down on my couch and I'm like, I'm committing to the cause. I'm gonna read this start to finish. And. I kid you not, I'm crying, I'm laughing. I am. Like I, I am like, I keep thinking like, oh, I need to get up and go to the bathroom because I'm pregnant. Oh, I need to get up and fill my brain. I can't. I'm like, captivated by what's on this page, and I'm very aware of what's happening in the side of my brain where I'm like, you know what's going to happen? Not only

Elizabeth Wilson:

I know, I know.

Julie Sedler:

live this, but you wrote it and you've been rereading it for months and weeks and days, and like eating and sleeping and breathing This. And I just, uh, the energy of what was on the page, I was, I, I, and so I was thinking about this before we were gonna stop on this call. I was like, what am I gonna tell her? We actually stopped being the producer and we start being the consumer. And so I was like consuming my own art. And I was like, okay, if I'm having this much of a reaction in consuming the art that I created, there's something here. So I feel like that's really validating. If you are in this place and you, you switch your hats, right? And you put on, I'm gonna consume this and I'm going to, you know, see how this makes me feel. And you have that reaction if that's the reaction that you were going for, and it, and it was, I didn't realize that my book was going to be. Quote, unquote captivating. That is the word that has come back for me for feedback from the people who have read it and like reached out and let me know. Hands down, multiple people using the same word. Captivating. I can't put this down. It's such a quick read. It's so easy to read. We love, I love the formatting. I love how, you know, you broke this down. I like the style of how you wrote. It just like keeps me engaged. Like I keep, well, like every time I finish a chapter, I can't wait to start the next year. That that singular feedback was like, yeah, okay. I felt that I read it through. You know, and it was ready for editing and I was, I was like telling myself like, oh, I'm doing like a final punctuation check. Like, did we, you know, did we get, because my book is like, it's like a hundred thousand words. Like that's a lot. Like, that's a, that's long. For, you know, commercial standards today? I think most novels are somewhere in the realm of 60,000 to 90,000. Um, my first draft was 130,000, so like I did edit like quite a bit. but still, like, I was like, I can't take anything else out. Like you need, you need, and I'm, I'm just a wordy, I'm just a wordy

Elizabeth Wilson:

Well, and that's the perk of self-publishing, is we can make it as long as we want, as long as it's a fast read.

Julie Sedler:

can do whatever as long as people like it and read it, it's fine. Um, but yeah, so I was, I'm kind of like on the edge of my seat now, waiting for you get to that point and waiting to see how you will describe your experience of being a consumer of your final product, so that then when you get your feedback, you can be like. Does that match up? my experience of my own art

Elizabeth Wilson:

Yeah.

Julie Sedler:

up with other people's

Elizabeth Wilson:

Mm-hmm.

Julie Sedler:

of my own art? And art is deeply subjective. So, you know, in the discourse of this week or whatever, we as the artist then. You know, put this out there for consumption by the public and they get to have their own subjective, uh, opinions about it. And, and I'm not coming for that in any way, shape or form. What I'm saying is it's really interesting to take off your producer hat and put on your consumer hat and then see if your. Experience of your own artwork sort of falls in line with other people's experiences of your artwork. And was that what you were going

Elizabeth Wilson:

Yeah.

Julie Sedler:

you, did you hit your mark?

Elizabeth Wilson:

Mm-hmm.

Julie Sedler:

Um, because I think, at least for me. I felt so compelled to put this out into the world, right? I couldn't not do it. I, I tried not to. I had, I have

Elizabeth Wilson:

Right.

Julie Sedler:

story of my spirit guide screaming at me one night while I was streaming, like. Get it together, start doing it. You're not doing it. She used so much stronger language and I woke up like in a cold sweat, like I had been scolded by my grandma for like doing something naughty, like, you're not doing the things you should be doing. I couldn't let it go, so I didn't. Really have an understanding. When I started the process of what I wanted people to feel, how, like, why I wanted to put this story, I just knew it was important for me to put this story out into the world. and now I, now I have a much better idea of that I was meant to be a connector of people. I was meant to build a community because. Ha getting divorced, being a co-parent, being a single person dating again, figuring out how to put your life on the track that you want it to be on, and how

Elizabeth Wilson:

Mm-hmm.

Julie Sedler:

live that fulfilling life and like how to dream again, turns out.

Elizabeth Wilson:

Universal.

Julie Sedler:

a pretty big

Elizabeth Wilson:

Yeah.

Julie Sedler:

people. And um, so, you know, a lot of times when, you know, when I felt alone going through all that, yeah. A lot of people also feel alone while they're going through all that. So I didn't necessarily set out to write a captivating book. I wrote, set out to write something that was. Connecting to people, and it just happened to be a really captivating story. Uh, I couldn't really put that into words. I couldn't really that to you at the beginning, but now I can understand. That it's happened. Okay. Yeah, that was actually what I was going for. I just didn't really quite understand it. So,

Elizabeth Wilson:

For sure.

Julie Sedler:

you know, you could use that as a checkpoint as well, like what you could actually sit and think about that at the beginning or before you press publish. Like, what is it that I want my audience to leave with feeling or I want them to know, um, you know, presumably people are already doing that. I didn't, didn't do that.

Elizabeth Wilson:

I, yeah, I relate so much to like your experience with your memoir. While yet, I'm not yet at that place where I'm getting ready to hit publish. I'm still a few. Editing steps ahead of that. I also did a full manuscript read before I gave this version of the memoir to my editor and had some of those same experiences that you described when you were sitting there on the couch. I mean, I consumed it as if it wasn't my, even my own words, like I was just riveted, even though. Some level knew what was gonna come next. I couldn't stop like just turning the page and, and riding that rollercoaster of emotion. And so then it was really beautiful where when I got to start to share a full version of the manuscript with a few choice people, um, I shared that early version. That I also gave to my editor with my mom, and she mirrored back to me the same impact that it had had on her. That even though she was aware of most of the plot points that were going on there, it, she also described how she, I think she read it in one or two sittings and stayed up till. I think she messaged me at four in the morning to say that she had just put it down so it had that same impact on her. Now, my editor, of course, took a little bit more like scheduled approach to her editing, but it was, it's been amazing going through these developmental edits and seeing her comments where she's riding that rollercoaster. It's a beautiful checkpoint for me as the writer. To know that like, oh, here she's feeling hopeful for me, a, a k the character, you know, here, she's feeling discouraged here, she's really frustrated at this other character. That's great. Like I, that's where I want my reader to be. And so, you know, 75% of her feedback was, was these beautiful little snippets of where she was emotionally in the story. That served as a great checkpoint for me as the writer. To know that I'm taking this reader on this journey. You don't ever get that kind of feedback. At the end of someone's reading process, you get like an overview. So that was so valuable, but I also found that it's a little bit different than like when I read the full manuscript and why I didn't think I was gonna get. Have an impact doing the edits because I was going through and just doing the quick edits, like not any kind of big things I have to sit and wrestle with. Um, not things I want to sit and move stories and shift any, in any major way. But the simple, like add some clarifying about where we are right here or the timeframe or. You know, I think this word choice might be a little bit better or clearer, or what do you mean by this phrase? Like, I just, just doing the quick stuff. So I wasn't even reading my whole memoir this time. I was just reading the highlighted portions that had the comment, or maybe a little bit before or after for context to remember where I was in the story. And I think for me, as I've sat with this feeling for a couple of days, I, I messaged you the next day that I had to watch ps I Love you the next morning just to have a. Platform to like release my tears. I think that in revisiting this whole saga of like a three or four year time period, that was really difficult in my life. That it was just another layer of grief for me because so often when we're in the moment, there is not time to grieve and process. I mean, we're trying to rebuild our lives. Our, you know, suddenly we were divorced and we're co-parenting and we're trying to get jobs and you know, I was doing all this other stuff that I really had to just keep my head down and keep moving through that. Yes, there was some level of grieving at the time, and I certainly talk about that in the book, but I think there's another level of grief that I am experiencing now writing the story and starting to, you know, switch my viewpoint as I start to reflect on and think about what the reader might take away from it and what their perspective might be. It, it just, it's hitting me differently and I, I just really wanted to have this conversation because. You know, as you've experienced and as I've experienced and what I am starting to think is a little bit more of a universality to the memoir writing process, our words are gonna continue to hit us in different ways. And so even though I was oblivious to the fact that I was going to be emotional post this round of editing, like I think it's a important thing to put out there and give people a heads up so they can give themselves some self care, some grace around those moments when. It moves us and that's beautiful. Like you highlighted. That's the whole point.

Julie Sedler:

I, think I, I'm seeing this like really beautiful analogy, so like. If you're at the beach and you're looking at the ocean during a storm and those waves come really fast and hard and they're really powerful, the ocean, the waves still come even when it's like a really calm day. Like we're never not processing what's happening around us, like the world and nature and everything around us is still moving. However, slowly, however quickly, no matter what's going on with us inside or outside, so it's never not going to be happening, right? We're never not going to have some sort of response. And that's thing about great stories, like great storytelling or reading a really good book is that. Each time you experience it, it has the ability to hit you just a little bit differently and change you in just a little way or remind you of something that you thought that you had forgotten or you thought you had made it through. and that's like the lasting, enduring quality of this part of our, um, of like sharing our stories and like not feeling alone is that it's. It's, it's impactful no matter what. Right? And so I think just highlighting that we are people, even when we are writers, even when we are the experiencers of this story and we are writing and telling something that is true and something that has happened. We are still human. And even when we go back and we reread our own words or we listen to our own story, it still has the ability to impact us. And sometimes it is grief. Sometimes it is grief. And I will tell you, was gonna do a book reading about a year ago, and so I went back through. My author copy and was like highlighting some passages that I thought might be really good for me to speak of when I was doing this reading and doing this book signing, and I felt really proud of myself. I was like, look at where

Elizabeth Wilson:

Mm-hmm.

Julie Sedler:

and look at where you were then, because my, so, know, you guys have been talking a lot in your. In your podcast right now about the structures, the different structures that you can use to write memoir and the different ways, practically speaking, that we can spell this story out. We can do it chronologically, we can do it with short stories. We have a lot of options, but that doesn't mean that, um, because I think you're like the short story route. Mine is chronological.

Elizabeth Wilson:

Chronological. Mm-hmm.

Julie Sedler:

Okay. Okay. But so, but I'm not in any kind of like short story

Elizabeth Wilson:

Mm-hmm.

Julie Sedler:

straight

Elizabeth Wilson:

Yep.

Julie Sedler:

like you were reading my journal, so I was looking at passages from like years before and was like, look at how much can change the five years from where you were there and where you are now and like, would you have ever guessed that you would have experienced all of this? Written a book, published it, and now be in a place where you're gonna share that with other people on a stage with your own words live in real time. Like I never would have guessed that I, it was kind of like a latent dream, but I never would've thought that that would've been possible. So I guess what I'm saying here is. Yes, you can feel grief when you go back and reread this, and you can feel sadness, you can feel anger, you can feel frustration, but also there's this whole plethora of maybe more, uh. Ha, happier emotions.

Elizabeth Wilson:

emboldened, proud, all of that. Mm-hmm.

Julie Sedler:

So the, the feelings, the feelings aren't exclusively like, uh, there are also some like hope core things that can come out of this. So, uh, yeah, those, these lasting stories, these stories that are, you know. So good that we feel like we must share them. We must tell them, because that's really what it takes to be a writer of memoir. You have had an experience that you feel so deeply that you must share it. Those stories are the ones that do exactly this. They elicit some sort of response from us. Future on a second read, on a third read, even if it's us who has lived it, even if it's us who has experienced it. Um, grief is one of those tricky ones where, yeah, you certainly can be grieving, you can be grieving and hopeful at the same time. Like you can have a lot of, two things can be true here at once. but I think that's exactly why. We're doing what we're doing. That's why we're bravely stepping into this particular genre of storytelling because it's so important, because it's so emotional, because it's so unifying, because it's so community driven, right? We're wanting to make connections with people. We're wanting to, at least I wanted to. people feel less alone when they're going through a big, impactful in their lives,

Elizabeth Wilson:

Right, and there's that, there's that healing aspect too. Like I don't want anyone to listen to this conversation and misconstrue what I'm saying as like. I'm still very triggered by anything that I've written about.'cause that's not the case. Like the, the process of writing and putting it into a narrative and processing a lot of these stories means that I actually don't get triggered at all by the things that would be labeled as traumatic. It's, it's more so what you're bringing up, where it's like, I feel just such deep. I don't know, grief, sadness, whatever, for that woman that had to go through all of that. And I'm so proud of her for making it to the other side. And, and I feel all of that when I, when I read,

Julie Sedler:

is me.

Elizabeth Wilson:

right?

Julie Sedler:

I am that woman who did that. And then it's like a, oh, I'm

Elizabeth Wilson:

Yes.

Julie Sedler:

I'm so proud of you.

Elizabeth Wilson:

Yes.

Julie Sedler:

proud of what you did. And you know, then I hope that someone else who reads this, if they've gone through that, that they feel proud of themselves or if they're going through it, that they feel like, oh, there's hope at the end of this journey of whatever path that I'm on right now, that I too can feel, know, hopeful or proud or any of the other things after I got through what I'm going through. Um, but. One thing I wanted to touch on,'cause you talked about the healing aspect of it, and I definitely think that, know, people who write memoir healers, right? Like we are taking our experiences and shaping them in a way that other people can digest them and consume them for their own healing, right? Like, we have healed, we are healing, we are healing others, we're never done healing, we're always healing. Um, but healing. and of itself is actually. Really well described, I can't remember who described this so hat tip to whoever it is, but as a spiral staircase. like even if you're in the same spot, you're never in the same spots, like you're ascending as you're healing. and so I think that's kind of a perfect metaphor for what you're talking about. You started at the bottom. When you were going through whatever it was that you were going through, that you were writing about now, and as you're writing, you're moving upward in this spiral. So every time you come up against that trigger that was on that side, responding to it in a slightly different way because you have elevated yourself through these levels of healing. So like of course it's going to come up when you. When you read about it or when you think about it again, but in a different way and with a different response, and that's something to really be proud of. If you are responding to something differently today than you did yesterday or last week or a year ago, that's something to be proud of because that is healing. And I just think that that's really beautiful thing to be able to share with people. And if you leave with nothing else today, it's that, you know, when you read back your own work, if you're having this, having this reaction like we have, um, if this truly is a universal experience that you can recognize that little twinge of, Hmm, but it doesn't, doesn't get me. Quite as hard as it did before.'cause that means that you are ascending that healing staircase. And that's something you'd be really proud of because that's work.

Elizabeth Wilson:

Absolutely. Absolutely. Well thank you Julie for joining me for this conversation today. Um, I hope people will leave some comments if this is something that resonated with them as well. And, um, I'm just so appreciative to you for being a part of my writing community because I have found how essential it is to surround myself with fellow writers, those who are further on the publication road than me, and also those who are coming along behind me. I think it's just so important. Um, to immerse ourselves in that. So thank you for that.

Julie Sedler:

both of those things at once because not only have I done one, but I'm working on two. And now I know all of before I just did whatever.'cause I didn't know. And now I'm like, oh shoot, there is actually a way to do this.

Elizabeth Wilson:

We live and learn. We live and learn.

Julie Sedler:

maybe I should pay attention to that, right. So, um, yeah. I thank you so much for being a part of my writing community, uh, and allowing me to be present in this space, which I do not take lightly, and I'm very. Grateful to share here with other people who are listening and on this journey. It, this is like not for the faint of heart. Like if you are gonna do this like you are my people

Elizabeth Wilson:

Right.

Julie Sedler:

am I this, it was, it's a lot.

Elizabeth Wilson:

It is a lot. It's a lot. And we're here to support and we're here to normalize some of these, you know, aspects of it, of the process and yeah. Happy writing everyone.

Julie Sedler:

So yes, let us normalize for you that when you read back your own work, it's totally appropriate to be moved by your story that in which you know exactly what happens.

Elizabeth Wilson:

Absolutely.

Julie Sedler:

Because real.

Elizabeth Wilson:

It's real. Thank God for that.

Julie Sedler:

real. That's right. We lived it. We moved through it. We're in better places now. Now we get to tell the story. I love that.

Elizabeth Wilson:

Love it. All right. Thank you.

Julie Sedler:

a little piece of magic. Thank you so

Elizabeth Wilson:

All right.

Head Shot

Elizabeth Wilson

Host
Head Shot

Stephanie Oswald, Ph.D.

Host