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I Love Your Stories is a soulful conversation series hosted by artist and creative guide Hava Gurevich, where art meets authenticity. Each episode invites you into an intimate dialogue with artists, makers, and visionaries who are courageously crafting lives rooted in creativity, purpose, and self-expression.
From painters and poets to healers and community builders, these are the stories behind the work—the moments of doubt, discovery, grief, joy, and transformation. Through honest, heart-centred conversations, Hava explores how creativity can be both a healing force and a path to personal truth.
If you’re an artist, a dreamer, or someone drawn to a more intuitive and intentional way of living, this podcast will remind you that your story matters—and that the act of creating is a sacred, revolutionary act.
[MUSIC]
What does it mean to chase rare moments
and keep showing up,
even when conditions
don't line up perfectly?
Welcome back to All of Your Stories.
I'm your host, Ava Gervich, and today I'm
joined by photographer Jeff Feller,
whose work centers on rare dark sky
phenomena like northern lights,
eclipses, comets, and
other fleeting natural events.
Our conversation explores
expectation and uncertainty,
how much can go wrong when you're
photographing rare events, and
how to handle those moments
creatively and practically.
Jeff shares his journey from a coherent
advertising to photographing
the hidden world revealed through lung
exposures and patience.
We talk about what first drew him in, the
early imperfect images that changed
everything, and why he's less interested
in technical perfection than in
capturing the feeling of being there.
Jeff, welcome to the podcast.
Now, quick word from our sponsor, and
then we'll get right back to the show.
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professional business.
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tell them how I sent you.
Welcome back to I Love Your Stories.
My guest today is Jeff
Fowler, who is a photographer.
And I actually don't know
a whole lot about you, so
I'm gonna let you tell us a
little bit about yourself,
and kind of what got you into
photography, what kind
of photography you do.
Yeah, sure, sounds great.
Thank you for having me.
So yeah, I'm Jeff.
The past four or five years, I've been
focusing specifically on dark sky
photography or astrophotography.
So taking pictures of the stars, the
moon, aurora, northern lights,
those kinds of things.
While I've been doing that, I also got
attracted to rare dark sky phenomena.
So a lot of it happens at night, so thank
comets, meteors, those kinds of things.
But there's also even rarer events,
like a waterfall that looks like it's
catching fire in Yosemite,
rainbows caused by
moonlight, red sprites.
There's all this insane stuff that
happens in the dark.
So- So let me ask a question before you
get too far into it.
Yeah, sure.
Can you, I only heard about the term dark
sky as a term very recently.
And I'm just wondering if you could kind
of talk a little bit
about what that is and
what it is that, how it
applies to what you do.
Sure.
Yeah, I think the official designation
for dark skies is stuff that happens at
night, basically.
So there's an organization called Dark
Sky International, they certify things so
that it is an official thing that exists
out in the world, the term for
how dark a place gets.
For me, it's basically anything that
happens when there's not sunlight.
So that could be weather, storms, things
that happen after sunset and sunrise.
I guess the nighttime for sure, but I've
broadened it a little bit.
So, would it be fair to say, like I'm
thinking about the
actual term photography,
which is photo light, drawing with light,
and traditionally sunlight or artificial
light. In your case, you are drawing with
lights that are night sky lights.
Is that like the moon,
the stars, things like that?
Yeah, exactly.
It's still using
light, same kind of concept.
In some cases, it's sunlight because the
sun reflects off the moon.
And when you're doing nighttime
photography, that can
actually light up quite a bit of
the landscape.
But other than that,
it's very fragile light.
If you live in a city and you look up,
you can't see the stars.
If anybody's spent time chasing the
northern lights, it can
get ruined by a lot of
different things.
And I think the interesting thing about
photography, for me anyway, for dark sky
photography, is the human eye, one of the
first things to leave us as we age.
We're not great at seeing at night.
We're not great at seeing color at night.
But all that stuff still exists.
And because the camera can stay open for
longer and see more
light, it reveals this
hidden world that almost
exists beyond our perception.
And yeah, it's wonderful.
When you take a picture and you see it
show up on your
viewfinder, because you can
see it immediately, it's really exciting.
What got you into
that type of photography?
Or actually, let's go back a little bit.
Do you want to just a little bit about
maybe what you studied?
How do you got into photography?
Yeah, sure.
So I started off completely non-visual.
I grew up wanting to be a writer, novels,
screenplays, that kind of thing.
And pretty early on, I kind of saw it
like that's really
competitive and it's hard to
do, or to have financial success anyway.
So I kind of pivoted a little bit to be
an advertising copywriter.
So still using stories and words, but to
help people sell products, build brands,
that kind of thing.
But was always working
with a visual person.
So not that I didn't have an appreciation
for it, but getting to
see their process and
how they looked at the world and how they
thought through things.
It made the writing that much more
impactful, I felt like,
and gave me a lot of insight
into the other side of the process and
got the part of my brain
that I wasn't using going.
But it was always, I
guess, story-based, right?
Like you're trying to sell stories about
products and stories about brands.
And then from a photo perspective, I
always loved travel and
photography was a way to
try and capture the memories, capture
what it felt like to be there.
And for the longest time, whenever I
would come back from a
trip, I'm sure a lot of people
have experienced this.
The photos didn't feel
like how it felt to be there.
It's like, "Oh, this is
not doing it justice at all.
This isn't what it was
like," that kind of thing.
So when I got serious about photography,
to me, that was the
shift, is trying to focus
on how can I capture what it feels like
to be there as opposed
to taking a technically
good photo or just taking, standing in a
place, taking a picture,
not thinking about it, and
then trusting afterwards
that I'm going to like it.
That makes sense.
Do you have a story that's kind of like a
pivotal story, like
the moment that you took
your first nighttime night sky, dark sky,
where you're like,
"Wow, this is what I want
to pursue"?
Yeah, I mean, there's
kind of two moments maybe.
So the first moment is when I took my
first picture of the
Milky Way and it was blurry.
It wasn't technically
not a good picture, right?
The photo focus, the composition wasn't
great, but like I kind
of alluded to before, the
galactic center of the Milky Way, you
can't really see it with
your eyes unless it's super,
super dark.
And even then, you can't get a sense of
the depth and the contrast.
Even on the VFinder and the raw camera
file, it just jumped out
and I was shocked at this
thing existed outside my perception.
So after that, I was definitely hooked.
But probably the moment where I really
like doubled down on it
and started going after
the dark sky photography specifically was
when I went to Yosemite.
I'd done like 14 trips or
sorry, 14 parks in 14 days.
It was a road trip during the pandemic.
I was laid off and I was like, "I'm going
to make the most of it."
For that, I thought dark sky photography
was just the stars and the moon.
In this park, at this time, or second
half of February, so
particular time of the year,
at sunset, there's a specific waterfall
where the angle of the
sun lines up just right.
It shines only
through the water at sunset.
It literally looks like lava is pouring
off the mountain in a waterfall.
The first time I saw it probably ruined
every other time I saw it
because clouds were covering
the sun for 15 minutes and then the
clouds went away and it
went from nothing to everything
in an instant.
It was like somebody threw a match into
the waterfall and it was
made of gas and everybody
in the park started cheering like they're
at a Beatles concert or something.
That's core memory type territory.
So I've been back to
Yosemite 18 times since.
Can't get enough.
Oh, that's amazing.
I think something that you said earlier
that really resonated
with me, this idea of the
reality that exists just beyond our
perception, but it's here
because we see such a small
fragment of it.
Here, such a small fragment of it.
Feel such a small fragment of it.
Would it be fair to say that to some
extent, when you say that
what you want to capture,
not just what you see, but how it feels
and this idea of like ...
I mean, it almost sounds
like this search for a
greater meaning of what's here.
Yeah, go ahead.
Sorry, I interrupted.
Perfect thoughts.
Yeah, no, I think it's feeling ... I
mean, especially with
things like the universe and
other planet, it's a way to tap into
feeling like you're part
of something bigger than
yourself.
It's also kind of primal
to who we are as humans.
There's not a culture on the face of the
planet that doesn't have a
legend about the constellations
and the moon is like a god-like status.
Even how we spread throughout the world,
we would not be as
successful as a species without
the stars because we use them to
literally find our way in
the dark when we're crossing
the ocean.
It's how people bonded with each other
when they came back to
the village after hunting
and foraging all day.
It's kind of a core part
of who we are as a species.
See it as a way to tap into that.
I think your point about trying to
capture a feeling ... I
mean, with your work, I don't
want to speak for you, but it seems like
your work ... You
wouldn't call it photo-realistic.
As far away from that as possible, yeah.
Exactly, yeah.
Speaking about that, there's the travel
part and I'm pretty sure
that you have professional
equipment so it's not just
an iPhone in your pocket.
What would you say are the biggest
challenges in pursuing the kind of
photography that you
do, the kind of images that you take?
Yeah, sure.
I'm pretty anti-gear actually.
iPhones take great dark sky pictures.
If anybody's listening and they're like,
"I can't go take
pictures of the stars and the
moonlights," an iPhone is
actually a really great tool.
That said, if you want to get star trails
or images of the
moon, there is specialized
stuff that you need to get.
But honestly, I think the biggest
challenge is because the
subject matter that I've chosen
is rare, right?
Comets come through
once every 60,000 years.
It's like, if you miss it, that's it.
Eclipse is the same thing.
You're pointing your camera at the
brightest object possible in
the sky and then in a second
it switches to nighttime photography and
you've got to take off
all your filters and change
everything.
And then you've got like a minute, two
minutes maybe, and then
you've got to put it all back
on.
So those aspects of it are challenging
for me anyway because
these are infrequent events.
They're not usual.
It's not like you can practice on
something without doing the actual thing.
But then also, because it's nature,
there's so many things
that can get in the way.
The waterfall that I mentioned, if it's
too windy, sorry,
there's no water there so you
don't get the same effect.
If it's cloudy, like oops, you need
sunlight to make this happen.
So that gets in the way a lot.
And over the years, I feel like I've
really tried to learn how
to...the perfect conditions
are never going to exist, right?
And probably the most interesting picture
is the one that I
didn't plan on and the one
with the challenging conditions where
it's like foggy and moody
and cloudy and all those
kinds of things.
And just being more open to
those kinds of experiences.
And if the shot I came to get isn't
there, taking what the
world gives me and finding
either beauty or small moments or
whatever you want to call it in the
things that I didn't
expect, if that makes sense.
It makes perfect sense.
It sounds like basically a formula for
having a happy life in general.
Yeah, right.
Absolutely.
And you were saying, you're talking about
a comet that comes every
what, 60,000 or something?
Yeah.
Or an eclipse and some other phenomenon
that are very rare and
you have one chance to get
them and 10 things that can go wrong.
It made me think of
storm chasers in a way.
Was that this sense of
trying to catch a fairy?
And that sense of maybe exhilaration of
when it happens, do you?
I'm assuming these are
fairly long exposures.
But do you, in the moment,
do you know this is the one?
Yeah, that's a good question.
A lot of it is long exposure.
Things like firefall and the other things
that happen at sunrise
and sunset, those are
not because there's enough light.
But everything else is long exposure.
I think you can kind of tell when you
look at the viewfinder,
I guess, are you able to
see what you're even shooting?
Because a lot of times you
can't see it with your eyes.
So there's a check there.
But I think it's also go to these places
when there's light out
so you can see where the
leading line's at, where's the
interesting foreground.
There's a play of apps that you can use
where you can say, OK, if
I came back here at 1.30
a.m., where's the multiway going to be?
And it's like, oh, there's a road that's
going straight that way.
And if I come back here at 3.30 a.m., the
Milky Way will be going
straight up from that.
So you can help yourself out for sure by
doing a little bit of
planning ahead of time.
So usually I feel like, as I kind of
split into two moments,
I feel like there's the
potential during the day when I'm looking
and seeing like, oh,
this can be really special
because the moon is going to come up
behind this chapel or
something like that.
And if I can capture
that, it'll be really good.
And then the nighttime, it's really more
about the technical execution of it.
Like, am I able to
properly expose the shot?
A lot of times you're dealing with
extreme differences in
brightness and darkness.
And if you can get that, then that's also
a moment where you kind of know like, oh,
I got the moon properly exposed.
I can see the craters.
But I also use the light or light painted
or whatever the technique was.
And I can see the foreground too.
I know if I put those two things
together, it'll be really nice.
Is doing photography your full time job?
Do you have another job or is photography
the only thing that you're doing?
And if so, how are you doing that?
Yeah, right.
Yeah, no, I've got a full time job.
I work at a company called Mozilla.
It's remote. They
make the browser Firefox.
I'm not secretive about that at all.
No, because it's right there next to you.
Yeah, right. It's right behind me.
Yeah, I'm a UX writer for them.
So it's still tapping into that
storytelling aspect I
talked about earlier, like
continuing to write for them.
And that's nice because they were fully
remote pre-pandemic.
So a lot of the infrastructure and ways
of working that come
with remote work, like
it's native to them.
It's something that they're very used to.
So it's very easy to and specifically
because I've picked
nighttime photography,
you know, work the nine to five during
the day when there's light out.
Then I've got a few hours to like go
around and see things while they're still
light out. And then if I'm willing to go
without sleep, I can stay out as late as
as late as I want.
But yeah, that that flexibility has kind
of made this possible.
You know, some of the infrastructure in
the parks is also made it possible.
Like I've taken calls from some of the
places I've been shooting and made
everybody on the call call jealous.
I bet.
Yeah, but it's a balancing act, right?
Like I still need the full
time job and the photography.
It's definitely more
than a hobby, but it's not.
So you do sell your
your photography, right?
Yeah, it's all a lot of it's online in
terms of like wall art and prints.
And then there's a few other calendars,
books, that kind of thing.
And then also do guided trips.
So that's actually my favorite part about
the photography is getting to help people
see these things.
Oh, you take them to
like the park and at night.
Yeah. Yeah.
And sometimes it's photographers who like
they're coming to try and learn about
shooting at night and getting the shot.
Sometimes it's people that, you know,
know probably more
about photography than I do.
And they're just looking for access to
these interesting locations and an
understanding of the conditions.
And then there's some people who just
come with their iPhone
and they're they're just
there for the
in-person experience, which.
That would be me.
Yeah. Yeah. Right.
Like I like that because even the
photographers, you know,
I tell them, like, see it
with your eyes first, like experience it
and take a moment and don't get stuck
behind the lens or worried about the shot
that you're going to get.
Do you have any any stories about like
interactions or
conversations that you've had
with other people who come that you bring
to these places that may be changed or
enhanced how you approach it?
Yeah, that's a good, good question.
I mean, I think like for my own, you
know, eating my own dog food, right?
Like be in the moment, be in the
experience, not worry about the photo.
Like I say that, but I
forget it all the time.
I get stressed out about,
oh, this is the photo I want.
It's not turning out.
The conditions are wrong.
Like it's not like I don't feel those
emotions or experience that.
So that's continually a good reminder
because, you know, I
have people come on the
trip and, you know, like I do this trip
to see the synchronous
fireflies and you're in
the woods with tens of thousands of
fireflies all around you.
It's literal magic.
And, you know, I'm thinking about like,
I'm out of focus and
now I need to fix that.
And how do I do this
and all these things?
And then, you know, there's just this,
like one of the trips,
I had this like 70 year
old good old Southern boy from Tennessee
and he's giggling like a little kid
because all the fireflies are like
dancing around his feet
and like blinking back and
forth and it's like, yeah, even if I come
up with no photos, like this is like a
miracle is happening around us right now.
That's pretty incredible.
So that's the most valuable part.
It's like big.
When you, when you were telling the story
about that first time seeing that lava
waterfall and how it felt and, and like
the skies parted and suddenly it's there
and everyone's cheering and it was your
first time and you
even said it like ruined
it for all the other times.
I mean, if you're bringing people to a
location and maybe you've been to that
location before and, um, but there's
always going to be somebody that's
experiencing that magic for the very
first time, I think that's like one of
the best things about
teaching in general.
Yeah, I would agree with that one.
Yeah.
So what are you most
passionate about right now?
Oh boy.
Right now getting more sleep.
Uh, I think a lot of photographers
already, like they know the struggle with
sleep because you're, you're chasing like
the good light is that sunset and
sunrise, so you're always chasing that.
Right.
And then, um, now I've somehow managed to
choose or choose a thing in between that
that, uh, gives me even less sleep.
So, um, no, but, uh, I think in terms of
like where interest lies, um,
you know, right now, like right now is
the time of year where I'm usually like
pausing a little bit and reflecting and
thinking about what's next.
Um, so, you know, I've got three kids, so
that's obviously like a big focus right
now cause they're all in different stages
of life and figuring
out how to, you know,
best support them.
We've got some family trips planned.
Um, yeah, cause they've
seen some of this stuff.
Like that's how also I justify it is like
it, it becomes our family vacations
to, uh, go see an eclipse, um, which
thankfully they're, they're into and
don't complain too much about.
Um, so next year they're all coming to
see the, uh, the fire fall, like the
lawful waterfall and none of them seen
it, uh, before, so
I'm, I'm really excited
about, um, you know, all the things that
we're talking about with like teaching
and experiencing things for the first
time, like being able to share that with,
um, my family.
It's like passing, yeah,
something generationally.
Yeah. Um, you, you, you do art fairs.
Is that correct?
Um, so is that, how
did you start doing that?
How did you learn about
them and how many do you do?
And so, you know, there's an art fair in
the town I grew up in, um, that I was
always going to as a kid, um, but, um, so
I was aware of them.
Um, and then, uh, you know, before the photography was done, I was
like, oh, I'm going to do that.
And then, um, before the photography, um,
my most previous side of the
household was a publishing company
focused on Midwestern poets, writers.
You're not publishing my own things, but
publishing other people's work.
So I was trying to make a decision about
where I wanted to focus and, um, art
fairs cropped up because that was the
part of the publishing company
all the publishers go,
they set up tables and booths.
People come up, you talk to them, talk
about your work or the books.
They talk about what
they're interested in.
And you kind of have this
like in-person conversation.
And I really liked that.
Like I've over the course of that
journey, you know,
some of my best friends,
uh, I met as a result of that.
Like I've got, I've got several lifelong
friends that I met at these book fairs.
Um, I was doing it with my best friend or
one of my best friends, um, from college.
Like he and I were partnering together.
Um, so I just had a lot of positive
memories about that process and
the aspect of talking to people.
Um, and some of the other routes like
social media and an online, like I'm
showing my age, like I
don't really love social media.
I don't think I'm good at it.
So I didn't want to go that route.
The gallery thing felt
like really competitive.
Um, so yeah, I just picked art fairs
because it was like,
I know I like talking
to people and being in person and it
feels like there's, you know, I'm in
control of setting up my own thing and
creating my own spirit experience.
So that was the route I was going to go.
Um, and yeah, I really enjoy the process.
You know, there's parts of it that I
don't like, obviously, but, um,
I do about 10 a year usually.
Um, so you, you enjoy being like in a
booth with your art and having people
come and like, they
probably ask a lot of questions.
Yeah.
A lot of, a lot of people ask, um,
surprisingly, like this is a question
I wasn't really expecting to get a lot.
They were like, Oh,
are you the photographer?
And you know, which
that's a fair question.
Um, I think because, you know, at other
places it's, you know, you go into a
coffee shop or somewhere else, you might
be talking to the owner, you might not.
Yeah.
I always read it as they
just don't know what to say.
They want to engage.
Yeah.
But, um, you know, I take it for granted,
like being an artist, you know, all
those years in grad school and then
teaching and then working in galleries
and museums, like I talk art, like I see
art, I understand art, I talk to artists.
So, um, there's always like, sometimes
you have to ask for a point of entry,
like, you know, where's the door here?
How do I enter?
Um, but I'm never in a place where I
just, I don't even know
how to react around art.
But I think for a lot
of people, it's a way in.
Um, yeah, I think you're
a hundred percent, right?
Like it's a, it's a conversation starter.
It's a way to open it.
Um, it is like kind of funny cause like,
there's kind of really
nowhere to go after that.
Like, yeah, yeah, that was there.
It was me.
Um, so it's not necessarily like the most
effective conversation starter.
But like I said, because I think I like
engaging with people, um, and I learned
this like relatively early on is the more
that you can get people talking about
themselves, like the easier, like it
takes that pressure off
and it makes it easier
to get a conversation.
And because I shoot national parks,
nature, um, like I think that I've
learned is like the best conversations
and the most interesting people I've met.
They've either been to the place in the
photo or they really want to go there.
So that is an easy.
Yeah.
You tell me what your time in Yosemite
was like, like you
tell me your story about
being out and seeing this thing.
Um, you know, talk about that core memory
that you made with your kids when
you saw a bear outside your car.
I think that goes very nicely with what
you said before about
wanting to capture a feeling.
Yeah.
Because if, if your photograph, uh,
triggers a memory or a feeling in someone
else, it's, it's going to be very
different from your
own, but the photograph
did its job.
Yeah.
Right.
It reminds them of what
they felt like be there.
Um, and luckily I mean, a lot of people
love nature and they have those kind of
formative, meaningful
experiences out in the wild.
So, um, I think the art fairs is also
like a, it's a really good lesson in
failure as well, um, because like, I'm,
I'm there for a reason.
Like, yes, I love talking to people, but
I would also love to sell the owl, uh,
and, you know, um, have them hang some of
the art on the wall or buy a calendar or
buy a book or that kind of thing.
And I, you know, I don't usually try and
sell too hard when people come in the
booth, like if you're interested in
something and I can
tell, but if somebody's
not like in a buying mood for who knows
why, like there's an infinite number of
reasons, which is totally fine.
Um, but I do ask for, uh, an email
address so I can continue to communicate
with them so that if things change and
their style does change or they have the
space open up or they move to a new
place, like I can still be in the
consideration set, the number of people
who, you know, gosh over it, you know,
like your work is amazing.
It's so beautiful.
I love this place.
Like you really capture it,
like going on and on and on.
And then to say, Hey, like I'm, I'll
raffle off this free piece of art.
You don't have to pay anything for it in
exchange for your email address.
And they're like, no, no, thank you.
I'm okay.
Like the, the, the, it very quickly goes
from like, like, love it.
Like it lists like you're amazing to
like, I'm not even going to give you your
email address.
So it's a, it's a very good lesson in
humility and like, uh, yeah, the ask
is very small, um, and it's
not enough to get over that hump.
But, uh, again, like it's all they're
looking for is that connection, right?
Like they're, they're looking for that
moment, that good feeling.
And like, even if my art can photos can
give that to them and, um, you know,
that's it, uh, at the end of the day, I
can still feel pretty good about that.
Right.
Like it's, it's not a bad thing that by
any stretch of the imagination.
So that actually segues really well to a
question I like to ask, which is what
is your definition of success and how has
it changed over time?
Yep.
Um, yeah, so maybe like, like the
anti-gear question, maybe my
answer is a little bit unexpected.
Uh, I feel like, like
I've already succeeded.
I specifically intentionally tried to put
myself in that mindset before
I started selling anything.
Um, you know, I'm trying to focus on art
that I get all the enjoyment,
validation, good feel,
whatever you want to call it.
I want to get all of it
out of making the thing.
Yeah.
If I sell nothing, like
that's completely okay.
Yeah.
That's, that's actually, usually when I
speak with artists, that's,
that's the answer, like the number one
thing is just being able to do it.
And, um, selling is
just the cherry on top.
Yeah, right.
Well selling, I mean, for me, selling
enables me to do more.
Right.
Cause I probably wouldn't have gone back
to you somebody 18 times.
Uh, if, uh, I wasn't bringing people who
are kind of helping pay, pay my own way.
I mean, I w I would love to, it's not to
say that I don't want to do it, but,
uh, the economics of it are a little bit
harder when you're not getting paid for
it, but, um, you know, if you told me I
could go there by myself tomorrow, I
would, and you're not going to sell
anything from what
you shoot there or like
you have to leave your camera at home and
you can't photograph anything.
Like, yeah, great.
Would love, love to say less.
Yeah.
Um, has it, has it changed over time?
Yeah.
Yeah.
I think for sure.
I mean, especially when I was trying to
do, cause I just, you know, wrote short
stories, screenplays,
novels, that kind of thing.
And it wasn't that like, I was still
writing what I wanted to write.
Right.
Um, but, uh, there was
kind of baked into that.
Um, okay.
I've written the thing and now if it
doesn't get published, like that
doesn't feel like success, right?
Like the first couple novels that I
wrote, um, that, I mean, in all fairness,
that were not publishable.
Um, like I don't, when I look back on
them now, I still don't have that feeling
of like, Oh, like I wrote a book.
Like that's a huge accomplishment, right?
Like not many people are able to do that.
And like I made the thing, the manuscript
is probably still, it's still
sitting on an old computer somewhere.
Um, but I think like once I moved away
from like kind of leaving that behind
and focusing more on making the thing
that I want to make, like, I think I
started enjoying the process a lot more.
So the last writing project I did was I
wrote a Star Wars script.
Like that's never,
that's not how it works.
It's never getting
picked up by Lucasfilm.
Like they would throw it in the garbage
if I sent it to them for like
cop net, like whether it was
good or not, like just copy.
Yeah, they would, they would ditch it.
But it was like, I want to like, I would
love to write a Star Wars movie.
So I'm just going to do it.
And I don't care that nobody makes it
because I am taking it.
Like my part of the process is making the
script if they were paying me for it.
And then after that, it's
kind of out of my hands anyway.
So I get all the fun part of it.
And then because I didn't pin it to
Lucasfilm seeing it, I
was super happy about it.
Yeah.
But like if I had pinned it to it getting
made, like it's a fit, I've
already set myself up for failure.
Like I failed before I even started.
Yeah.
Yeah.
That that's, that's very true.
Um, so how can people find
you both online and offline?
Right.
You can go to JeffFauler.com.
Uh, that's where I'm online.
Um, all the social media accounts and
everything is, uh, there.
And then in person, um, I am going to art
fairs around Chicago, some in Michigan,
the one in Lowell, um, you know,
Fallisburg, I go to that every year.
So yeah, if you live in the Midwest and
like going to our affairs, um, if I
manage social media, I announce my
schedule and would be
happy to see people in person.
Awesome.
That was really wonderful.
Thank you very much.
Yeah.
Thank you so much for having me.
I appreciate that.
Okay.
Thanks again for tuning in.
That's our episode.
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