This poignant, intimate, and hilarious memoir explores Shonda’s life before her Year of Yes-from her nerdy, book-loving childhood to her devotion to creating television characters who reflected the world she saw around her.
Shonda knew she had to embrace the challenge: for one year, she would say YES to everything that scared her. And then, over Thanksgiving dinner, her sister muttered something that was both a wake up and a call to arms: You never say yes to anything. With three children at home and three hit television shows, it was easy for Shonda to say she was simply too busy. So who would suspect that Shonda Rhimes is an introvert? That she hired a publicist so she could avoid public appearances? That she suffered panic attacks before media interviews? Her iconic characters live boldly and speak their minds. She’s the creator and producer of some of the most groundbreaking and audacious shows on television today. “As fun to read as Rhimes’s TV series are to watch” ( Los Angeles Times). GRAVES, SR.The instant New York Times bestseller from the creator of Grey’s Anatomy and Scandal and executive producer of How to Get Away With Murder shares how saying YES changed her life.
Her response: “As a writer, write as if you are the only person who will read your work.” In other words, create from honesty, not the need for approval or validation. I asked her if, when she first started writing, she was ever afraid of her own voice–afraid of the depth of her talent and where it might lead her. To my delight, my question was the first one answered by Rhimes. Instead, she stated, breaking the glass ceiling is a collective effort.ĭuring the Q&A session audience members myself included, were invited to ask questions. She also rejects the notion that she alone is responsible for breaking “the glass ceiling” by being, arguably, the only black woman to definitively own an entire evening of network television. Moreover, Rhimes discussed her disdain for the term “diversity” when describing her shows, as she feels that she is only normalizing television by creating roles for actors of color, women, the LGBTQ community, and other underrepresented groups, not revolutionizing it.
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