Lights, Camera, Action: A Philosophy of Intentional Living

Book Synopsis

Introduction: The Audience and the Spark

Lights, Camera, Action offers a concise yet powerful framework for achieving intentional living.  The foundational premise is that life should be approached as a constant performance, with the individual serving as the central figure observed by an ever-present, discerning Audience, a star in their own livestream.   Through a series of humorous allegories, the text encourages the reader to initiate this journey by envisioning the  powerful applicability of this philosophy across all aspects of life, from managing a significant personal challenge to threading a needle..

The core thesis asserts that acknowledging this continuous scrutiny—that the "cameras are running 24/7"—is instrumental in maintaining accountability, motivation, and an unwavering commitment to personal ideals. The central ethical question is: "What kind of person am I putting out there in the world?" The theological allegory utilized suggests the Audience represents a "higher power."

Whimsically, the author exemplifies her personal vision  by the desire to "be like a pharmaceutical commercial." These advertisements feature a subject, often represented by a character like "Bob," who, despite a medical challenge, maintains a visibly full, active life, including high-stakes work meetings, rigorous exercise, and consistent community and family engagement. The objective is to achieve a life that mirrors this impressive, awe-inspiring display of daily dedication. The authors inspiration is the 1960’s role of Donna Reed, who personified the perfect, impeccably dressed homemaker navigating a busy life "seamlessly."  (Google her, she was very cool.)

LIGHTS: Setting the Stage and Vision

The "Lights" section focuses on establishing the desired persona and the captivating quality one wants to project. The author shares personal observations about people who intentionally command attention.

• Hanna: A friend whose "full animation" and loud volume made her "the entertainment portion of the meal." Whether covered in Dead Sea mud on the beach or holding court at breakfast, Hanna demanded to be seen and heard.

• The Bravo Housewife: These reality TV figures are always "dressed," even when performing mundane tasks like cleaning toilets, embodying a state of "full glam all the time" that one believes is their genuine, unannounced reality.

• The Beach Performance: The author describes consciously and "seductively" releasing and styling her hair, drying her legs, and raising her arms in a deliberate manner when she noticed a young man watching, enjoying the feeling of her own "performance" and feeling beautiful.

The book portrays a plethora of examples for intentional self-presentation (akin to the authors desire to be like Donna Reed):

• Princess Di was captivating because she continued to have as "normal a life as possible," filling every minute with activities (gym, coffee, family) that photographers could document, demonstrating grace and fortitude.

• Jane, the Saleswoman, exemplifies mastery in networking and building relationships, remembering names, spouses, dogs, and even neighbors' career interests. She acts as a "professional matchmaker," connecting people to fulfill their needs, making her "a wonder" and a "networking queen."

• The Drop Dead Diva character, Jane, was believable not just for her story but for the actor's embodiment of a beauty queen’s meticulous walk, poised hands, tiny steps, and gentile voice, suggesting a complete, intoxicating persona that even "smelled like Prada."

CAMERA: Absolute Commitment and Honesty

The "Camera" represents the philosophical commitment that the Audience is running 24/7, serving as a motivator and a mirror for honesty.  Continuing with a series of witty vignettes the author places the mirror on the table asking ‘who do you want to be?”.

Since the Audience is always watching, there is no longer a justification of "no one will know, no one is watching." The Audience witnesses everything; the way one treats a customer service representative, how one speaks to family, if one lies, cheats, or steals, including "lies to themselves."

The strategy is to pick three things to work on at a time. These three picks don't have to be major—they can be as simple as always wearing a seat belt (a commitment personally inspired by Princess Di's death), packing a "to go" bag, or stopping pimple popping. The goal is to be "true to who you want to be."

ACTION: The Rule of Three

The author shares her initial three, along with her ensuing journey.  Laughingly describing turning the cumbersome chore list, long car rides, carpooling into a funfilled entertainment center.  Errands and driving are transformed into a stage for performance, the driver "the ringmaster of entertainment, a one man variety show." Chores no more, her antics include:

• Singing along to the radio with different voices (high, low, opera, meow).

• Playing the "William Shatner" game, which involves acting out the words of a song as a Shakespearean soliloquy.

• Imagining one is a famous star on a late night talk show.

• Conducting imaginary interviews with historical or famous figures like Harry Houdini and Harriet Tubman.

• Playing spy games, watching surroundings, and inventing missions.

The ever replenishing three, as one becomes habit, and another rolls in, the author describes changes big and small that satisfy the audiences insatiable need to be entertained.  At the end of the day the Author’s desire is when she sits on the couch with a book and a dog, the Audience breathes ‘well deserved’.

Epilogue: The Gift That Keeps Giving

The author concludes that a  life with an Audience is preferred, as it makes her accountable and motivates her to take chances. This imaginary external pressure can even promote true change, as exemplified by the final vignette.  The theological relevance is evident at its conclusion.