Podcasts about allego

This is episode 701. Read the complete transcription on the Sales Game Changers Podcast website. The Sales Game Changers Podcast was recognized by YesWare as the top sales podcast. Read the announcement here. Read more about the Institute for Excellence in Sales Premier Women in Sales Employer (PWISE) designation and program here. Purchase Fred Diamond's best-sellers Love, Hope, Lyme: What Family Members, Partners, and Friends Who Love a Chronic Lyme Survivor Need to Know and Insights for Sales Game Changers now! Today's show featured an interview with Mark Magnacca, President and Co-Founder, Allego, Inc. and Mark Lonzo, Director of Sales Development at The Hillman Group. MARK MAGNACCA'S TIP:  "To take your sales career to the next level, pick a philosophy. In the same way that there's lots of great philosophies out there in terms of how to grow your business, how to be consultative, the key is to try to find one that you can actually follow. Trying to mix and match or mix religions, so to speak, is a lot harder than to pick one approach that you believe in and that you can hold onto and stay with over the long term." MARK LONZO'S TIP: " I have a sign in my office that says, “If we're not changing, we're dying.” Always look for ways that you're always changing and evolving as a person. Don't become stagnant in your career. Always look for ways to improve. It's a constant self-improvement process that you need to engage in."

Follow-up Social Media: Is It Rotting Your Brain? Is ANC slecht voor je gezondheid? Bart Vinck vindt van well We geven een Lewitt Ray weg! Onderwerpen Alles wat je ooit publiek hebt gepost is gebruikt om Meta’s AI te trainen. Meta’s AI is scraping users’ photos and posts. Europeans can opt out, but Australians cannot The Future Mark Zuckerberg Is Trying To Build Meta’s Orion AR glasses met de neural band van CTRL-Labs Vertrek Mira Murati bij OpenAI OpenAI hits more than 1 million paid business users Millieu-impact van AI Het drama bij Wordpress, Toon legt het uit… Studententeam KU Leuven wint voor het eerst ‘meest extreme’ zonnewagenwedstrijd. Allego past ‘kleeftarief’ aan Tips Toon: We Are Lady Parts (in Nederland op NPO plus of NLZIET) & Wizard Zines Dewi: Rugondersteuning voor desk werkers, What the dog saw & The Great Ruurd: Fern

Can you help me make more podcasts? Consider supporting me on Patreon as the service is 100% funded by you: https://EVne.ws/patreon You can read all the latest news on the blog here: https://EVne.ws/blog Subscribe for free and listen to the podcast on audio platforms: ➤ Apple: https://EVne.ws/apple ➤ YouTube Music: https://EVne.ws/youtubemusic ➤ Spotify: https://EVne.ws/spotify ➤ TuneIn: https://EVne.ws/tunein ➤ iHeart: https://EVne.ws/iheart TESLA'S CHINA SALES SURGE IN AUGUST https://evne.ws/3Xa533z ELECTRIC VEHICLE KNOWLEDGE GAP HINDERS ADOPTION https://evne.ws/3Z5uaqS LUCID AIR'S PLUMMETING RESALE VALUE https://evne.ws/4dR5QgL VOLKSWAGEN INTEGRATES CHATGPT INTO VOICE ASSISTANT https://evne.ws/4dPBivV SCOUT MOTORS SET TO UNVEIL ELECTRIC SUV AND TRUCK CONCEPTS https://evne.ws/4goiLsu BYD'S MEXICO PLANT PLANS ON HOLD AMID US ELECTION UNCERTAINTY https://evne.ws/4gaXyC6 BYD UNVEILS LUXURY MPV XIA WITH ADVANCED PLUG-IN HYBRID TECHNOLOGY https://evne.ws/4dVO9go SIMPLIFYING ELECTRIC VEHICLE CHARGING: ALLEGO'S PLUG&CHARGE TECHNOLOGY https://evne.ws/3MzEsYG GENESIS GV60 GET 2025 MODEL IMPROVEMENTS https://evne.ws/3XbcZS9 DENMARK'S ELECTRIC VEHICLE MARKET SEES SIGNIFICANT GROWTH https://evne.ws/3XloCpQ VOLVO UNVEILS LONG-RANGE ELECTRIC TRUCK https://evne.ws/4cT16pG

De EU verlaagt het importtarief op Chinese Tesla's naar 'slechts' 9%. Verder praten we je bij over de nieuwe Audi RS3, Meindert ergert zich dood aan een geparkeerde auto voor zijn deur, Lamborghini pakt uit met de opvolger van de Huracán en laadpaalleverancier Allego voert een 'kleefboete' in. Breek de week is een midweekse podcast waarin Meindert Schut, Wouter Karssen en Noud Broekhof je bijpraten over het wel en wee in de autowereld. Een nieuwe aflevering van De Nationale Autoshow hoor je iedere vrijdag om 15:00 uur live op BNR of luister achteraf de podcast terug via je favoriete podcastapp.  Meer luisteren? Petrolheads | Bas van Werven en Carlo Brantsen bespreken op geheel eigen wijze het autonieuws. Abonneer hier. Auto Update | Het laatste autonieuws, met Bas van Werven en Noud Broekhof. Abonneer hier.See omnystudio.com/listener for privacy information.

  In this episode, Mark emphasizes that Allego is an enablement platform designed to support sellers throughout their journey, from onboarding to product launches and digital selling. He encourages listeners to explore the potential of digital salesrooms as a crucial part of their digital transformation. As organizations adapt to the evolving sales landscape, embracing tools like DSRs is essential for staying competitive and meeting modern buyers' needs.

Watch The X22 Report On Video No videos found Click On Picture To See Larger Picture Everything the [DS]/[WEF] has told us about their climate agenda is a lie, just like covid. The Great Barrier Reef is thriving. Canadians are struggling because of the energy policies. EU is now adding a cost to charge your car. Trump sets the narrative for the rate cut. The [DS] is now trapped in their assassination attempt. The truth is coming out and they are now in the coverup phase but this is failing. Soon they will need another event to coverup the attempt event. Biden prepares the narrative for his departure. The ICA has not changed the definition to election interference. It now says assassination & cyber attacks.Its time flip the script, J13 select committee is needed to show the people the criminal syndicate.   (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:13499335648425062,size:[0, 0],id:"ld-7164-1323"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="//cdn2.customads.co/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs"); Economy https://twitter.com/Rasmussen_Poll/status/1813491408604422457 Coming Soon to an EV Charging Station Near You: Extra Fees for Taking Too Long to Charge Your Car  Charging station operator now levying extra fee if you take too long to charge your electric car. The aim: “fairer distribution”. Germany's online BlackoutNews.de here reports how Dutch charging station operator Allego is imposing a “blocking fee” at all its European fast chargers. The fee went into effect on July 1st. For example, in Germany, if drivers take more than 45 minutes to charge their electric cars at an Allegro fast-charger, then they will have to pay an extra 25 cents-euro for each additional minute of charging beyond 45 minutes.  But what's revealing here is the reason given for this new surcharge. “This measure is intended to ensure a fairer distribution of the charging infrastructure and prevent unnecessary over-parking, writes Blackout News. “So if you stand at the charging station for an hour longer, you pay almost 15 euros extra,” according to elektroauto-news:.Apparently, the fee is designed to reduce the long charging lines occurring at charging stations, especially as millions of Europeans head out on their summer holidays. It is belaboring the obvious that drivers of traditional gasoline or diesel-powered autos will not face this problem. This, of course, will be noticed by the "green energy" crowd on our side of the Atlantic, as well. As noted above, the American government has failed abysmally in its goals of producing 500,000 EV chargers, while still demanding subsidies to try to persuade more and more American drivers to give up their old benzene burners for Priuses; this proposal will likely be pitched here in the United States. Source: redstate.com   https://twitter.com/GRDecter/status/1813284572421058825 https://twitter.com/KobeissiLetter/status/1813231437077721144 Donald Trump warns US Fed chair not to cut rates before the election  Donald Trump warns US Fed chair not to cut rates before the election on facebook  Donald Trump has warned Jay Powell not to cut US interest rates before November's presidential vote, but said if elected he would let the Federal Reserve chair serve out his term if he was “doing the right thing”. The Republican nominee acknowledged in an interview with Bloomberg News that the central bank would “maybe” cut interest rates before the election on November 5, but added “it's something that they know they shouldn't be doing”. Trump also addressed mounting concerns in financial markets that he would politicise the Fed, starting with attempting to force Powell out before the end of his term as Fed chair in 2026.   Source: ft.com 2575 Dec 10, 2018 3:20:23 PM EST

In this episode of the Energy News Beat Daily Standup, the hosts, Michael Tanner and Stuart Turley discussed various energy-related topics. They covered an opinion piece claiming the energy transition won't happen, China's plans for low-carbon upgrades in its coal power sector, and electricity rationing at charging stations in Europe due to limited infrastructure. They also reviewed nine mid-year energy predictions from Forbes, including the increasing use of coal and the prioritization of national energy security over international climate goals. Finally, they reported on ExxonMobil's new 30-well drilling campaign in offshore Guyana.Highlights of the Podcast00:00 - Intro01:32 - The “Energy Transition” Won't Happen03:00 - China plans low-carbon upgrades for coal power sector04:44 - Electricity Rationing At Charging Stations Due To Limited Charging Infrastructure in Europe06:57 - 9 Consequential Energy Predictions – Midyear Review10:54 - BREAKING NEWS: ExxonMobil unveils 30-well drilling campaign for seventh oil and gas project offshore Guyana13:01 - Markets Update15:18 - OutroPlease see the links below or articles that we discuss in the podcast.The “Energy Transition” Won't HappenJuly 16, 2024 Mariel AlumitThe laptop class has rediscovered a basic truth: foundational innovation, once adoption proceeds at scale, is followed by an epic increase in energy consumption. It's an iron law of our universe. To illustrate that law, […]China plans low-carbon upgrades for coal power sectorJuly 16, 2024 Mariel AlumitBEIJING, July 16 (Reuters) – China plans to cut carbon emissions in its coal power industry by piloting the firing of power plants using coal mixed with either green ammonia or biomass, as well as […]Electricity Rationing At Charging Stations Due To Limited Charging Infrastructure in EuropeJuly 16, 2024 Mariel AlumitCharging station operator now levying extra fee if you take too long to charge your electric car. The aim: “fairer distribution”. Germany's online BlackoutNews.de here reports how Dutch charging station operator Allego is imposing a “blocking fee” […]BREAKING NEWS: ExxonMobil unveils 30-well drilling campaign for seventh oil and gas project offshore GuyanaJuly 16, 2024 Mariel Alumit(WO) – Reuters has reported that ExxonMobil is planning a potential 30-well drilling campaign for its seventh oil and gas project offshore Guyana, named Hammerhead. Hammerhead aims to start production in 2029, boosting Guyana's oil […]9 Consequential Energy Predictions – Midyear ReviewJuly 16, 2024 Mariel AlumitAs has been my habit for a dozen years as a contributor at Forbes, it is time to conduct a midyear review of the annual energy predictions I made at the first of the current […]Professor makes stunning discovery as to why dead whales keep washing up on East Coast beachesJuly 16, 2024 Mariel AlumitFor the best part of half a century, a 41-foot humpback whale named Luna swam up and down the East Coast. Then on Jan. 30, 2023, Luna washed up dead on Long Island, New York. He […]Follow Stuart On LinkedIn and TwitterFollow Michael On LinkedIn and TwitterENB Top NewsEnergy DashboardENB PodcastENB SubstackENB Trading Desk– Get in Contact With The Show –

In this podcast  we will be examining energy transition and asking what the UK has to do to deliver on its ambition to electrify the future economy.The National Infrastructure Commission's latest five yearly Assessment highlights a number of strategic priorities for the UK, not least the need to accelerate the energy sector's move away from fossil fuels to ensure we reach our net zero emissions targets by 2050 – targets underlined by the latest COP28 global gathering in Dubai.This energy transition – the journey towards a future of new decarbonised, renewable energy sources to power our transport systems, drive our industries and heat our homes - will require massive investment in electrification. In fact, an expected 50% increase in electrification by 2035, according to the NIC, to support growth in heat pump use, electric car ownership and to power industry.That means not only having to decarbonise our electricity generation by investing in wind, solar, biomass and nuclear power, but also means bolstering and expanding the way that this power is distributed and stored, and to ensure that our national grid has sufficient capacity and flexibility to meet the new ambition.In fact, NIC has set a target of completing 17 additional electricity transmission projects by 2030.Now, some progress is being made. Renewables already account for around 40% of the UK energy mix with over 55GW of installed capacity in offshore and onshore wind, solar biomass and hydro – up 6% in the year. And government has set a target to develop up to 50GW of new offshore wind by 2030 and to take solar capacity to around 70GW by 2035 - which is largely in line with the NIC's modelling. The reality is that there is no shortage of potential sites and no shortage of potential investors. But there is a huge problem bringing forward these projects and in particular, navigating the planning process to enable investment to flow into projects and connections to be made into the existing grid.It's a huge and very important topic so it is my pleasure to welcome Julia Prescot, deputy chair of the National Infrastructure Commission to the podcast today.Julia is also co-founder of investment fund Meridiam, and, amongst many other things, is currently driving the £2.4bn NeuConnect energy interconnector between Germany and the UK while also helping to guiding leading EV charging company Allego.Resources National Infrastructure Commission Second National Assessment 2023National Grid live power dataMeridiam websiteBartlett School of Sustainable Construction Allego EV chargingNeuConnect interconnector projectPort of TyneWilton Park

Welcome back to another episode of Content Amplified! In this episode, we interview Michelle Davidson, Content Marketing Manager at Allego, a company specializing in sales enablement software for sales teams. Michelle brings a unique blend of journalism and technology publishing experience to the table, offering invaluable insights into the world of content marketing. In this engaging discussion, Michelle Davidson delves into the art of transforming complex research papers and e-books into compelling, visually appealing infographics. She shares her journey from editor and reporter to content marketing, highlighting how her background in journalism and tech publishing led her to Allego. The conversation focuses on how to effectively distill and present intricate data and information through infographics, ensuring that the content is not only informative but also visually engaging and easy for the audience to digest. What you'll learn in this episode: Strategies for extracting key data points and critical information from dense material to create informative and eye-catching infographics. The importance of color, design, and hierarchy in infographics to guide the viewer's attention and evoke the intended emotional response. Techniques to simplify complex topics into clear, concise visuals, enhancing the understanding and retention of the information. The significance of ensuring accuracy in data representation to maintain trust and credibility in your content. Insight into the varying costs of infographic production, ranging from a few hundred to a couple of thousand dollars, depending on the complexity and design elements involved. Tips on boosting the SEO value of infographics, including file format considerations and integration into various marketing channels like blogs, sales collateral, and social media. To view the infographic mentioned in this episode, click here.

On this episode we are joined by Richard Smith: EMEA Sales Leader of Sales Enablement platform Allego and former Co-Founder of Refract (acquired by Allego in 2020)Get ready to dive deep into the world of building champions and identifying them to ensure you're working on real deals that drive success.Join us as Richard shares his invaluable insights on the strategies and techniques that can elevate your sales game to new heights. Discover the secret sauce behind Backstage selling and how it can transform your approach to closing deals. Richard will unveil the key components of a successful champion-building process, offering practical tips and real-life examples to guide you along the way.So, whether you're a seasoned sales professional or just starting your journey in the world of sales, this episode promises to equip you with the knowledge and skills needed to navigate the intricacies of Backstage selling.Get ready to revolutionize your sales approach and build a winning team of champions.Subscribe to the podcast and please leave a review!

On this week's episode, Writer Adam Pava (Boxtrolls, Lego Movie, Glenn Martin DDS and many many more) talks about his writing career, and why sometimes when he writes features, he doesn't always get credited. Tune in for much more!Show NotesAdam Pava on Twitter: https://twitter.com/adampava?lang=enAdam Pava on IMDB: https://www.imdb.com/name/nm1106082/Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptAdam Pava:I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can. I think that's the first thing, but to get those open writing assignments, I think it's just a cool errand to even try because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things and then they'll seen you've done it. You're listening to Screenwriters Need to Hear This with Michael Jenman.Hey everyone, it's Michael Jamin. Welcome back for another episode. I may be retitling the name of my podcast. So I'm, I'm going to be vague for everyone, but I'm here with my next guest, Adam Pava, who's a very talented writer I worked with many years ago on show called Glen Martin, d d s, and he works. We'll talk. I'll let you speak in a second. Pava, you just relax. I'm going to bring you on with a proper introduction because you've worked a lot, lot of features, a lot of animation. So I'm going to run through some of your many credits. Some of them are credited and some of them just are not so credited. We're going to talk about that even though you've done the work. So I think you started early on on shows like Clone High, Johnny Bravo, I'm going to skip around.You worked with us on Glen Martin d d s, but then you've also done Monsters versus Aliens Dragons. I'm going to jump around, but wait, hold on. I'm skipping a lot of your credits, Pavo, a lot of the box trolls you've done, you work a lot with Lord and Miller on all their stuff, all the Lego movies, goblins. You have something in the works with Leica, which is one of the big animation studios which you're attached to direct as well, and then also some other shows. Let's mention My Little Pony dreamland. What else should we talk about? A bunch of the label, it's hard to talk about the credits because so many of 'em are things that are either in production or development that they're not supposed to talk about yet, or they're things that I was uncredited on. And so it's a weird thing.And why are you uncredited? How does that work? It's super different from TV and movies. So back when I worked in tv, I did tv. I mean, back when we worked together it was like what, 10, 15 years ago? Something like that. But I did TV for the first decade of my career and everything you work on, you're credited, even if you're just like the staff writer in the corner who says three words and doesn't make, get a joke into the script. You're one of the credited writers. Movies are a different situation. It's like one of these dirty secrets of Hollywood where they always want to credit one writer or a team of writers. Sometimes it'll be two writers that get the credit if both of 'em did a huge chunk of the work. But the thing that usually happens these days on big studio movies anyway is they will go through three or four writers over the course of the years and years of it being in development and all those writers who worked on it before the final writer or sometimes just the first writer and the last writer will get credit and all the ones in the middle won't get credit.Or it's like the W G A has these arbitration rules where it's like, unless you did a certain percentage of the final shooting script, you're not going to get credit at all. So even though the guy who brings catering gets credit and every person on, so will you arbitrate for credit or do you go into these projects knowing that you're not going to get credit? Usually I go in knowing that I'm not going to get credit or I will. Sometimes there'll be a situation. I did about a year's worth of work on the Lego movie, the first Lego movie, and Phil and Chris, Phil Lauren and Chris Miller who directed that and wrote the first draft of the script and the final draft of the script. They're buddies of mine and so I'm not going to arbitrate against 'em and I want them to hire me in the future and I love them and they really wanted, they're written and directed by title, and so of course I'm not going to arbitrate in that sort of situation.And also to be fair, I don't think I would win that arbitration because they wrote the first draft and it was already the idea and it was brilliant and it came out of their minds and it was awesome. And then they had me do four or five drafts in the middle of there where I was just addressing all the studio notes and all the notes from the Lego Corporation and all the notes from Lucasville and all that kind of stuff while they're off shooting 21 Jump Street and then they come back. So you were just doing it to move it closer and then they knew they were, yeah, exactly. They knew they were coming back onto it and they were going to direct it and they would do another pass. They would do multiple passes once it goes into storyboarding once it's green lit. So I was just trying to get it to the green lit stage, so they had written a draft and then I did a bunch of drafts addressing all these notes and then we got a green lit off of my drafts and then they came back on and they started the storyboard process and directing process.And the story changes so dramatically during that process anyway that the final product is so far removed from the drafts I did anyway, but it was a valuable, my work was needed to get it to that point to where they can jump back onto it. But very little of that final movie is anything that I can take credit for and I wouldn't want to take credit away from them on that. So I do a lot of that kind of work. Did they have other writers that worked on Legos movie as well, or just you? On the first one, it was them and me. There was these two brothers, the Hagerman brothers who had done a very early treatment, but that had set up the original idea for the movie of Allego man sort of becoming alive. So they got a story by credit, and then they definitely always have a stable of writers that they bring in to do punch up work and to just watch the animatic and give notes and stuff like that.So there's a whole bunch of people that are contributing along the way. Funny, they come from tv, so they really run it. They run it as if they're still on TV a hundred percent. They have their writers. And so I've gotten to work on a lot of their projects as one of their staff writer type people basically is the idea. So it's all uncredited work, but it's great work. They're such great guys and you're working on really cool things every time. And so now there's a new, in the last few years, the W G A started this new thing called additional literary Material credit. And so if Lego were to have come out now, I think I would've gotten that credit on it, but at the time, that didn't exist, so I got a special thanks. And how did you, oh, really? Okay. And how did you meet these guys?They gave me my first ever job before I knew you. I mean, I had written a movie script that was an animated movie. This is like 99 or 2000. I was just out of grad. I wrote it while I was in grad school. And Wait, hold on. I didn't even know you went to grad school. Did you study screenwriting in grad school? Yeah, I went to U S C screenwriting. Oh, I did not. I hide it from you. Why do you hide it? For me? I don't know. It's a weird thing where I feel like a, it's like I was in this weird secondary program that wasn't part of the film school. It was the master's of professional writing and screenwriting. And so people would get confused and I didn't want to lead them on, but also I just feel like it got me to a place and then I was like, I didn't want be part of a good old boys club where people are just hiring U S C people or whatever.That's the whole point of going to USC for Yeah, people ask me, should I go to film school, get an M F A, and my standard answer is, no one will ever ask for your degree. No one caress about your degree. The only thing they care about is can you put the words on the page that are good a hundred? But why did you, but what it did offer me, and I'll get back to how I met Phil and Chris in a little bit, but this is a good side conversation. It gave me an opportunity to do some internships on a couple of TV shows. And that was super, super valuable. So when I was at U SS C, it was 99 and 2000, and so I interned my first year on a little show called Friends, which was still on the air. I was on the air at the time.I was just the stage intern. So I was moving the chairs around during the rehearsals and fetching coffees and getting frozen yogurt for cast members or whatever, just shitting my pants, trying to be a normal human being around all these superstars and was not, I wouldn't say it was the best experience of my life. It was definitely one of those things where I was like, everybody was super intimidating and everybody was really busy and the cast were in the middle of a renegotiation, so they're all showing up late. It just felt like everyone was angry the whole time. And I was like, dunno if I want to work in tv. But there was one writer's assistant who was just like, yeah, because on the stage you're a writer, you need to be in a writer's room, you should be an intern in a writer's room.And I was like, oh. And then so I was able to get an internship on Malcolm In the Middle, which had just sold, it was in his first year, so it was a summer show. So I jumped onto that in the summer and was able to do that. And then in that writer's room, I was like, oh, these are my people. These are actual, wait, you were an intern. They let you sit in the writer's room one. It was like for doing all, getting the lunches and making the coffee and all that stuff. Linwood was nice enough to let me just observe in the room for one day a week just to, well, if I didn't have other stuff I needed to get done. So it was super nice as long as I didn't pitch or say anything and I was just, I never would.But it was cool to, that experience showed me that show was so well written and it was so tight and those writers were all geniuses or I thought they were all geniuses. And then I'd go in the room first, I would read the scripts and I would think, oh my God, I'd never be able to do this. And then I got in the room and I'm like, oh no, they're just working really, really hard and banging their head against the wall until they come up with a perfect joke. And then by the time it's done, it seems like it's genius. But it all was just really hard work, really long hours to get to that place. So that taught me like, oh, maybe I can be one of those people. If I'm just one cog in this room, I could do that. And so that gave sort of the confidence to do that.So I had done those. Getting back, I can loop back into the Phil and Chris thing now because this actually connects really well. I had done those internships. I graduated U Ss C and I had this script that I'd written as my final project or whatever, and it was an animated movie, and I thought you could just sell an animated movie, but I didn't know, they didn't teach me this in grad school that at the time they developed 'em all. It was like only Disney and Dreamworks were doing 'em at the time. This is 2000. And they just hire directors and sort of were an artist in-house to sort of create the stories or back then that's how they would do it. And so I sent it to some agents and the response was always like, Hey, you're a really funny writer. This is really good.I can't sell this. I don't know anybody that buys animated movies, but you should write a live action movie if you can write it as good as this. And so I wrote another movie that was Live Action, but it was silly. It seemed like it might as well have been an, I go back and read it now and I'm like, it's basically an animated movie, but it didn't say it was animated, it was live action human beings. And I submitted it to a small boutique agency at the time called Broder. I don't know if you remember them, Broder Crow, we were there. Yeah. And so Matt Rice was an agent there at the time, and he had on his desk, his assistant was Bill Zody. I dunno if you know him, he's a big name agent now, but he was an assistant at the time.He read that script that I wrote and was like, oh, you know who this reminds me of these other clients that Matt has, Phil and Chris. And so he passed it on to those guys and they were looking for a writer's assistant on Clone High because they had just sold their first TV show. They were a young hotshot writers that were just deal. And so I met with Phil and Chris, and they hired me as the writer's assistant on Clone High, which was like, they were the same age as me. They were just like, we don't know what we're doing. But they're like, you've been in a writer's room, you've been knock on the middle and I friends and you, I didn't know anything. I didn't know what I was doing at all, but it said on my resume that I had had these experiences.So they thought I would be a good writer's assistant for that reason. But they were the coolest dudes from the very beginning. They were just like, you're the writer's assistant, but also you should pitch in the room. You should act like you're another writer. We have a really small staff, we have seven writers, and you're going to get episode eight. I mean, it was crazy. They were just like, they gave me a lance and that never happens anymore. How did they get an overall deal when they came? Oh, it's the craziest day. So they went to Dartmouth, they made each other at Dartmouth and then they were doing cartoons while they were there studying animation. And one of Phil's, I think it was Phil, I think it was Phil won the Student Academy Award for a student film that he did. And it was written about in the Dartmouth Alumni magazine.And there was a development exec at Disney whose son went to Dartmouth and read that article and was like, Hey, called them in their dorm room. And we're like, if you guys ever go out to la lemme know. We'll set a meeting. And they literally, the day after they graduate just drove to LA and then called 'em up and we're like, we're ready to get hired. And it worked and they got hired, it worked. They got hired just to do Saturday morning stuff, and they did that for a little bit and everything they were doing was too crazy for Saturday morning, but it was like Disney. But then Disney was like, well, you can start developing stuff for adult Disney or for primetime stuff. And so they came up with the idea for Clone High, and it originally sold to Fox as a pilot to be after the Simpsons or whatever, but then it didn't get picked up and then M T V picked it up and then they had a show.So it's crazy what a trajectory their career has. Yeah, I know. And now they're running Hollywood. Yeah, pretty much. Pretty much. Yeah. They were good guys to meet right away mean honestly, it was like to become friends with them and just to ride their wake and get some of their sloppy seconds and some of the stuff that they don't want to deal with, it's honestly, it was great. Did they call you a lot with stuff like that? Hey, we don't want to do this. It's yours less now than they used to. I mean, there was a point where I was one of their stable guys that they would call. I think they have met a lot of people in the 20 years since then, but early on it was like, I mean, even their first movie was Claudio with a Chance of Meatballs, and they brought me on to help rewrite the third act at one point.And it was just from then on, they would always send me their scripts and just add jokes or to give feedback or whatever, and they've always been like that. And then I've noticed the last maybe six or seven years as they've gotten these huge deals and all their projects are now just these massive things, it's not quite the same relationship where they would just text me or email me and be like, Hey, read this. Now. It's like they have a whole team of people. They have a machine now, but we still are friends. And then things will come up where they'll hire me for things here and there. I wonder, honestly, I don't want to make this differe about them, but it's so interesting. I kind of think, I wonder what it's like to be that busy. It almost feels like, oh my God, I'm too busy.They're so busy. They're the hardest working people I know. It's like people always wonder how this stuff comes out so good. And it's not that, I mean honestly, it's just good because they stay up later than everybody. They never stop tinkering with things. They're never satisfied. They always think the next thing they do is going to ruin their career. And so they run on this fear that propels them that, I mean, they harness it. It's not like it's a secret. They know that this is what makes them great and utilizing all their friends utilizing, they're the kind of people that are the best idea in the room wins. If you could be the PA or the head of the studio and if you have a great idea, they're like, let's try it. And they also try a lot of stuff that doesn't work and they're given the leeway to go down a lot of dead ends and then realize that's not the answer, and then back up and then try it again and try it again and try it again.And that's how a lot of animated movies are done. And so it drives everybody crazy, but also creates amazing product. That's what, because I've interviewed a couple of guys who worked at dreamworks, which John Able who does a lot of the kung movies, and he describes it the same way. I was like, wow, it's so different from writing live. It's so different from writing live action. The whole experience sounds exhausting to me. Do you find it the same? Yeah, I mean when I first started in it, I was like, this is ridiculous. Why don't they just write a script and then shoot the script? And then over the years, I've learned to love the process. I mean, I was frustrated early on when I would realize how much gets thrown out and how much changes and how much. It's just, it's out of the hands of one writer.And I think a lot of it is also just ego thinking that you could do it better than everybody. And then once I embraced, oh no, you have a bunch of really brilliant storyboard artists and you have a bunch of really brilliant character designers and head of story and a director and all these different people who, and layout artists and even the animators themselves, they all add something so vital and valuable to it, and you learn stuff from each of their steps and then you're just given the leeway to be able to keep adjusting and adjusting until you get it right. And that's why animation comes out so much tighter often than live action is just because you've been able to see the movie so many times and keep tweaking and tweaking until you get it right. Now there is a point where sometimes I feel like you can take that too far and then it just becomes like, oh, we had a great version, four drafts to go and now we've lost our way, or we're just spinning our wheels or whatever.See, that's why I get lost sometimes. I've been in shows where you rewrite something to death and then someone says, we should go back to the way it was, and I'm like, what was the way it was? I don't even remember anymore a hundred percent, and I've stopped ever thinking You can do that. I used to think I would hold out hope though they'll realize that the earlier draft was better. They'd never do. It's like everybody forgets it, and then you just have to have the confidence to be like, well, we know we'll come up with something better together that it'll be from the collaborative mind of all of us. And then I think now I've seen actually the last few years, there's a little bit of a tightening of the belt budgetarily, and that leads to faster schedules. And so instead of having seven times that you can throw the story up from beginning to end on the storyboards, like the reels and watch this movie, you can only do it three times or so.That gives you a little bit more of a window of like, okay, we got to get it right in three drafts or whatever, in three storyboard drafts. And who's driving the ship then in animation? Is it not the director in this case, it's Lord Miller, but they're the writers. Well, Lord Miller are often the directors, and so when they're the directors, they're in charge when they're the producers, they're in charge When they're on the Spider Verse movies, for example, they're the writer or Phil writes them and then they hire directors. But Phil and Chris are the producers, but they're sort of like these super directors. They're very unusual. Yeah, it's not, yeah, that's an unusual situation. But other movies somebody do at dreamworks and there's somebody do at Leica Leica, it's like the director and the head of the studio, Travis Knight, who it's his sandbox and it's his money because he's a billionaire that funds the studio.He has the ultimate say, and so the directors are always working with him, but it's always collaborative. It's always like you get in a room. When I'm working at Leica, it's always like me, the director and Travis trying to figure it out, and he's trusted me to be, I feel like he doesn't trust a lot of people. He is kind of closed off in that way, but once you earn his trust, you will be in that room and you'll figure it out together or whatever. But every movie's different, and sometimes I'm on a movie just to help fix it for a little bit, and then I'm just a fix it person that comes in for a little bit. Sometimes I just add jokes. Sometimes I just, there's been movies where it was a mystery animated movie and they're like, can you just rewrite the mystery?I was like, what a weird assignment. But I had three weeks still. But in this case, they're calling you. How are you getting this work? Just reputation, they're calling you out of nowhere? Mostly now it's reputation. I mean, sometimes I'll be submitted to it. I mean, the first time it's always like you have to be submitted. And I mean, I can tell you how I got hired on box rolls. That was a big breakthrough to me. I mean, it was after I'd done, so Lego was obviously just having known and worked with Phil and Chris forever, and then they got hired on Jump Street, and they needed somebody that they trusted to dear the ship for a while while they're gone. And so I was able to do that, and that was a huge big break. It was like, you couldn't ask for that. I just, I'm the luckiest guy in the world.But after that, at Leica, they had a draft of a movie before it was called box Rolls, it was called Here Be Monsters, and it had been in development for years and years and years and gone through a bunch of writers and they hadn't quite figured it out. It was kind of a mess. It was a big sprawling story that had a lot of moving parts to it, and they had heard that on Lego, I was able to harness a lot of the crazy ideas that Phil and Chris had and put it into a structure that made sense. And so they asked me to come in and do the same thing, or before they even did that, I did a punch up. I got hired to do a punch up on that movie, and I knew that it was going to be a huge opportunity to impress them.I really, really wanted to work at Leica because at the time, they had only had Coralline come out and I loved that movie. And then I had seen maybe ParaNorman had come out or it hadn't come out yet, but it was about to, whatever it was, I knew it was a new animation studio doing really unique original stuff, and I got asked to be part of this round table, and it was all these heavy hitter Simpsons writers. It was like J Kogan and Gamo and Pross, all these people that you're like, these are all legends. They've done a million shows and they get hired to do punch up all the time. That's like their bread and butter, right? I'm not so sure anymore, but okay, no, no, but this is in 2011 or whatever.And I was like, I am going to take this script and analyze it and come up with character moments and come up with, I'm not going to be able to compete with those guys with the best joke in the room necessarily. I'll have good jokes to pitch, but I'm going to have like, oh, what if we adjust the character to be more like this? And where those guys were all, not those guys specifically, but the room in general, these were all guys who were maybe reading five pages ahead and then pitching off the top of their head. And I spent a couple of days writing jokes in the margin and ideas in the margin, and I killed in that room. I got a lot of stuff in and to the point where a few months later when they needed a big overhaul, they asked me to come in and do sort of what I had done on Lego, just take this big thing and hone it down into, so it was a rewrite job at the beginning, and then it turned into three years of working with the director in the studio to change that story.We threw everything out and started over basically a couple times over the course of those years end up, but how are you get paid? Are you getting paid on a weekly scale? Because I don't know how that would work. Do you get paid? It starts off with a draft and then it'll be a typical thing like a draft in two rewrites, but you quickly run through those and then they keep needing your work. At least they're not getting free work out of you. They're picking no, then it turns into either a day rate or a weekly rate, and that's where I bought my house.I made so much money on my day rate. They would literally just, Leica would call me and just be like, oh, we're going to record an actor in a few days. Can you just go through all their scenes and write three or four alts for every joke? Just have a bunch of stuff. And I would spend a few days doing that, and then a day rate, you get paid really, really well, that stuff adds up. Or they would be like, we just need one more pass on the third act, or we just need to go through the whole script and remove this character. And so all these little weekly assignments, and then you're just like, that was very lucrative doing it that way.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Adam Pava:You usually, because done so much animation and it sounds like you always set out to do animation, is that I did set out to do it, and then I didn't set out to only do it. I thought I could do both, but you kind of get pigeonholed a little bit. It's hard. I've gotten hired to write a few live action movies, but there were always a live action movie that had an animation element to it. It could be a hybrid movie or be a family movie that they think, oh, because you've done family work, you can do this. But nobody would ever hire me to just do a horror movie or whatever. And I don't know if I'd be the right guy for that either. I think my sensibility tends to be more animation based, but also, I think movies are such a different thing than TV where there's like, they're so expensive.If you're spending $80 million or whatever, you want to hire somebody that's done it before. So it's really, really hard for the studio bosses or even the lower level executives to fight to hire you if you've never done that kind of thing before. And so you get, it's not pigeonholed. I love doing it and I love the work, but it's also, I get why I get hired for certain things and not for other things. But also I feel super lucky because animation is one of the only parts or the only genres of film that has not shrunk over the years. Movies in general, they've stopped making live action comedies almost completely, except for stuff on streamers. They don't make rom-coms anymore. They barely make action comedies. It's like they make superhero movies and Star Wars movies, but then animation movies are evergreen. And so I feel really lucky that I sort of fell into this area that there is still work to be had.So yeah, I mean, you really have put together a really pretty impressive career. And I know not all your credits, not all your work is credited, so what I mean? Yeah, well, it's either uncredited or there's so many projects that died Vine. So it's like you read my, I said you that list of credits and it's like I'm looking at it over earlier today. Oh, it's just a list of debt projects, but that's expected. When you go into it, you go, okay, they're not all going to go. That's expected. It's all right. I was looking at my, I was organizing my, it's a strike, so I have time to do these things, organizing my folders on my computer and putting everything in, and I had over 150 folders of each. One is its own project, and not all of those are work that I've done.Some of them are like, I got sent this thing to pitch on, and then I had one meeting and it went away. And some of 'em I did a few weeks on, or some of 'em I just did day work on, but 150 projects over the years. Some of 'em I'm on for a year or two or three years. So it's insane. And so the hit ratio is super low of, I got really lucky when I transitioned out of TV and went into movies. It was like the first two things. Well, I sold a thing to Dreamworks that didn't get made, but then right after that, it was Lego and box trolls. They both came out in 2014, and I worked on both of 'em, and I was like, oh, this is going to be easy. You work on a movie and then it comes out and then it's cut to 10 years later and it's like nothing else is my name on it has come out.I've worked steadily. I've worked really well. I've been very happy. But it's definitely, it's a different thing than TV where you're just working and getting credited all the time. Well, yeah, but it also sounds like, I don't know, it sounds like to me, maybe I'm wrong. It sounds like you don't need to hustle as much doing what you do. No, I feel like it's the opposite because on TV you can get on a show and you're running for years, but on a movie you always know what's going to add, but they're coming to you. People are coming to you with offers, in other words. Oh yeah, sometimes. I mean, yes, the ones that end up happening, that's true. But there's so many that I'm just on a list at the studio, but I'm in a bake off with six other writers and I don't get it.So you put a lot of work so people don't know what to bake off is. So this is when you have to pitch to get the job and you have to put in several weeks of work. That's the worst. That's just the worst. And that's the majority of my life. Oh, is it? That's like, yeah. Yeah. So there's definitely, I mean, between Phil and Chris and Laika, I have, and a little bit of Dreamworks now. I'm doing my third movie for them right now. So that's pretty good over 10 years, three movies. But other than those places, it's always like you're getting sent stuff, but that doesn't mean they want you. It just means they want to hear a bunch of takes, and so you have to try to fight for the job if you really want it. Or I used to spend months or maybe eight months coming up with the take and having every detail worked out.And then I realized over time, they don't actually want that. They want a big idea and some themes and some ideas of what the set pieces are, and they want to know that you, I mean, honestly, it's, I don't even recommend that young writers go out for them because you're not going to get it anyway, because they're always going to go with somebody that has done it before. Especially, I mean, not always, if you might be the rare exception, but so much. Well, then what do you recommend to young writers to do? Dude, I don't know. I mean, I think you have to write great samples. I mean, I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can.I think that's the first thing. But to get those open writing assignments, I think it's just a fool's errand to even try, because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things, and then they'll see you've done, it's not even try to get these big studio things, get a small indie thing if you can, or make your own thing if you can, or just try to work your way up in a smaller way. I mean, all the big name directors out there all started on small indie movies. And I think that's got to be the same for writers now too. So many fewer movies. Is there anything that you're doing on the side just for the love of it that you're creating for yourself? Or is it, I haven't, in the last few years, I haven't.I've just been busy with work, but during the pandemic, I had plenty of time. Nobody was buying movies, and I am wrapped up on something and I had an idea that I thought was going to be my next big sale, and that it was an idea about a virus that went, it was a comedy thing, but it was this idea where it was sort of based on the idea that Christmas is getting longer and longer every year, where people put up their lights in decorations sooner and sooner, and you start seeing the stuff for sale in October or whatever. And so I was like, oh, it felt like Christmas was a virus that was slowly taking over the world. And I was like, what if it's a zombie movie, but Christmas is the virus? And so it was sort of a Christmas apocalypse thing where Christmas takes over the world and one family didn't get infected and had to fight back.So I was like, this is going to be a big seller. And then I was like, and then Covid hit, and it was like nobody wanted to buy a thing about a virus taking over the world, so I literally spent the pandemic. To answer your question, I wrote it as a novel. Instead, I wrote it as a middle grade novel, a y, a novel. Did you publish it? Not yet. We're trying. So we're out to publishers, and it took a while to figure out literary agents, which are very different world and everything, but the idea is to hopefully sell it as a book and then be able to adapt it as a feature. But yeah, it was so fun to write, and it was so freeing to not be stuck in 110 pages and to, I mean, I already had the whole thing outlined from the pitch when I was going to pitch it, so I knew the structure of it, so I just kept it as the structure of a movie, but I expanded on it and got more into the character's heads and that kind of stuff.But I had such a fun time writing that, and I was just like, man, someday when the work dries up, I am going to look forward to writing novels instead. And oh, yeah. The funny thing is when you describe the literary word going out to publishers, it's not that different from Hollywood. You think It is. It's not. It's the same hell. Oh, absolutely. But you and I haven't had to deal with breaking into Hollywood in a long time. And then in the literary world, they're like, oh, you've written movies. We don't care. We don't care at all. So it's starting over. And U T A tried to help a little bit, but they're like, we don't really know what to do. And then, so it's, I've been, my manager has been introducing me to editors and stuff, literary editors, and they've been really receptive, and it's been good trying to find the right one and the person I jive with. But it's very much like, oh, you're starting from scratch all over again. And for less money, no money. I mean, literally, I don't know how you would make a living off of this. I mean, I think we're spoiled a little bit, but what was the money they were telling you? Can you say, I don't want to say you don't, but it was basically about, it was less than a 10th that I would get paid on a movie.It was about my weekly rate. So I was telling you, I do weekly jobs on movies, and it's like if I do a weekly on a studio movie or I could sell a novel, or you could work five years on a novel, and I'm like, oh, this is not a way to support a family, but it was really fun. Someday when I'm just doing it for fun, I would love to do it. Wow, how interesting. Wow. So your best advice, because you're not an animator, you're not even an artist, are you? No, I don't draw or anything. I just love animation. I just always loved animation. So I don't know. I think when I was in seventh grade when the Simpsons started, and that blew my mind, and I was like, I remember telling my dad, I think I want to write on this. It was the first time I recognized, oh, people are writing these jokes. It was very, I think, more self-aware than most comedy was. And I was in junior high and I was just like, I want to be a writer on a show like this. I never was a writer on that show, but a bunch of other stuff.Now, as far as directing, because I know you're attached to possibly direct this project, where does your confidence come from that to direct? I mean, I don't know if I have confidence in it. I mean, I would want to co-direct it. In animation, you often get paired with another, if you're a writer, you'd get paired with an experienced animation director who comes from the visual side. So either an animator or a store wear artist or visual development artist. And I just feel like some of the projects I've been doing, you sort of act as more than just a writer anyway. You're sort of meeting with the creative heads all the time, making these big decisions that affect the projects. And at a certain point, I'm like, well, if I write something, that project that I, that's at life that I was attached to, it probably won't even happen at this point.It's been a few years, and it's kind of sitting there waiting for Travis to decide if he wants to make it. But it was a personal project to me, and it was like this would be the one that I was like, I would really want to see this all the way through. And I'm sure at that studio at this point, he's, Travis himself who runs the studio, is kind of directing all the latest projects anyway, so I would be co-directing with him. And so he would really be in charge, and I would just be, they're up in Seattle, right? Portland? Yeah, Portland or in Portland, yeah. So do you go up there a lot for Yeah, when I'm on a project, so usually it's like if I'm just writing it before it's green lit, which is most of the time I'll just fly up there for meetings just to get launched or whatever, and then go back up after I turn it in to get notes. But if it's in production on box trolls, and then there's another upcoming one that I did a bunch of production work on, they'll fly me up there to work with the board artists and stuff. And that's a crazy, that place is so nice.It's like a wonderland. I mean, it's like this giant warehouse downstairs that they have all the stages and they're all covered with black velvet rope, I mean black velvet curtains. So to keep all the light out and everything. And that's where they're moving all the puppets and everything, the stop motion. And then upstairs it's like the offices, and it just feels like a corporate office building with cubicles and stuff. It's very weird. But you go downstairs and it's like there's people animating, there's this huge warehouse where they're building all the props and they're like armature section where they're adding all the skeletal armature to the You never went with us to, because Kapa was like that in a cup of coffee in Toronto when we did Glen Martin. Yeah, it was amazing though. Similar. But Kapa is doing it on a budget, and these guys are spending so much money, it's not a viable way to make money to make these animated stop motion animated movies.They don't do it to make money. He does it. He loves it. Oh, really? Oh my gosh. Yeah, because Travis Knight is the son of Phil Knight who've gone to Nike, so he's got sort of a lot of money, and it's his hobby shoe money. He's got shoe money, but he is a brilliant animator. He is a super smart, interesting dude who wants to make things that are different than anybody else. And so it's an amazing place to work because nowhere else do you ever have the conversation of like, oh, we could do this if we wanted to do it, where more people would see it, or we could do it this way, which is cool and we want to do this. It's fun and weird.Not that he doesn't care about an audience, he does care about an audience, but it's not most important to him is making something that's awesome to him for the art. And so it's a very different way of looking at things. But I've been in situations there where it's like we're doing upstairs, doing a rewrite with me and the director changing the whole third act or whatever, and then I go downstairs and just tour the stages and the workshops, and I'll meet a puppeteer who's like building this giant puppet who's telling me this is the biggest puppet that's ever been created in Stop motion, and here's the 17 different places where I can articulate it. And I'm just thinking like, dude, we cut that yesterday upstairs. Oh no. And he's been working on it for a month. Oh, no. But I can't say anything. I'm just sort of like, oh, yeah, that's awesome.It's so great. You're doing great work. Anyway, I'm going to get back upstairs. That's so heartbreaking. But they burn through so much money just doing it all by hand. It's so crazy. But it's so beautiful, so I love it. And so you were literally upstairs, they gave you a small office and you just start typing? Yeah, that's literally, I mean, usually when I'm there, it's like they just put me in some random cubicle that nobody else is using or it's not a cubicle, a little office that is or whatever, somebody office. And you'll stay there for a few days or a few weeks or what? Yeah, exactly. Depending on how much they need me. So it either be a few days or a few weeks. And then on box rolls, I was up there. I would be up there for a week, relining some stuff, and then I'd come back home for two weeks and write those pages up.And I mean, I'd be writing in the evenings after the meetings and stuff too, while I was up there. But when we are rewriting, it's a train that's moving and it's like the track is you're running on a track and you got to keep pressure. What did you think of staying there in Portland? Did you like it? I did it. It's hard because my family's here and life is here, but if that movie had gone that I was attached to Coder Act, we were planning on moving there for that for three or four years. That's how it would take. Interesting. Would you have sold your house here or just rented it out? I'd have rented it out, I think. Interesting. Yeah, you, it was like we were having all these conversations, and then it's the longer it goes, we're like, that's probably not going to happen.We don't have to think about this right now. How interesting. That's so key. It really takes that long, man. Oh yeah. They're so long. And then also, it's like there is this weird thing in animation where it's not uncommon for a movie to go through two or three directors over the course of its many years in production. So it's like, why? I know. Just because they're beasts. And sometimes in the same way that you're changing the story so many times over the years, sometimes you make such a drastic change that it's no longer the vision of that director, and it's just not a right fit anymore. And I've seen that happen on a lot of movies that I've been on. I mean, Boxtrolls didn't end up with the same two directors that it started with. One of the two stayed on it, but the other one didn't.Oh, no, this sounds very frustrating to me. It sounds It does. And then other movies up there have gone through different directors, and so I was like, even if I had gotten hired as the director, I was in the back of my head. I always knew this might not last even if I'll do my best and I'll try to make it work. But you haven't even started and you're finding I'm being fired. Yeah, totally. But I mean, it's a weird thing. It's not TV where you're on a show for a year and then hopefully you get the second year if you get one. It's like in movies, they fire and hire different writers all the time, and so directors less, but writers, it really is pretty common. I've been on both sides of it where it's like, I used to take it really harder, fired off a movie.You're like, oh my God, did they not like the draft? I did. And usually it's like, no, we liked it, but now there's a director on it and they want to take a different direction. Or Oh, the director has a friend that they want to work with that they work with as a writer. Or other times I've been that guy that a director has brought on to rewrite somebody else, and I always try to be super nice about it. Now that I've seen both sides of it, I always try to reach out to the previous writer and be like, Hey, I just want you to know it's in good hands. Or sometimes if I'm the one that's fired, I reach out, be like, Hey, if you want to know where the skeletons are buried, happy to get in lunch with you. Just to be like, here's the pitfalls to look out for.This is where people don't realize that people on the outside just don't realize what it's actually like when you're the writer. You're a successful working writer. And I think they have a very different vision of the reality of a hundred percent. I didn't know the job was, I thought the job was going to be writing the whole time. Most of the job is it's playing politics with the studio and the executives and the director and Well, what do you mean politics, getting navigating the notes? What do you mean? Yeah, yeah. I mean, it's like the notes, but also the personalities. It's like a lot of the job I feel like is to go in and to make everybody feel comfortable with where you're taking it. Because you walk into a room and sometimes you could feel like, oh, the director thinks they're making a very different movie than the head of development thinks.Then that's different than what the producer thinks. And that's different than what the head of the studio thinks. It's like I've been in a room where it's like Jeffrey Katzenberg is just like, guys, guys, guys, you're all thinking about this all wrong. And you just have to be like, okay, how can I find solutions that makes everybody happy, that make everybody happy? And that's a huge part of the job. I mean, honestly, when I did the Lego rewriting with Phil and Chris, that's what the whole job was, was just like, how do I make Warner Brothers who didn't know what they had? They thought it was a toy commercial. They were very skeptical of the whole thing, Phil and Chris, who wanted to make some beautiful art. And it was cool with cool ideas. And Lego Corporation who wanted to make a toy commercial and Lucasfilm who didn't want their characters to be in it, and DC who didn't know whether they should be or not.And you're just like, how do I get in a room? And and usually if you come up with a great gag or great joke that articulates the, that illuminates the tone of the thing. So they all go, oh, okay. That's the thing. So the round of notes, like you're saying, oh, it's incredible, but for everybody and everyone's got conflicting. I don't even know walking into that job, and all I care about is I don't want my friends, Phil and Chris to think I fucked up their movie because they're trusting me just so I keep it moving. But I would think even for them, it's like, how do I get this movie made when I have so many competing notes and to their credit account, great, but still that is a hundred percent to their credit, they have a genius ability to, not only are they great writers and great directors, I think more than that, they have this sense of how to make everybody in a room think that the ideas came from them.It's like, yeah, they're great at, they'll go into a room, I think sometimes having some ideas in their pocket, but it feels like the room came up with the ideas together, and then everybody's like, yes, we did it. Pat ourselves on the back. And everybody, the executives' seem happy. But sometimes it actually does come out that, I mean, those brainstorm sessions really do create a new idea, and sometimes it's them trusting the process that that's going to work out. And sometimes I think they literally are like, well, we can go this way or this way, but I know it'll be easier if they think they had the idea. So let's go this way for now. And then later they know it's going to change a thousand times anyway in the storyboards, and then they could figure it out for real later. Because all these see people like that.They're very well paid, but in my opinion, they're earning every penny of this a hundred percent. They're earning every, it's not that easy. This job, I feel like I've gotten better over the years where I've taken my ego out of it. I used to have a much bigger ego, you might remember, but I feel like I can be, now, I can just go in a room and be like, I'm just going to try to help. I'm just going to be like, how could I make everybody feel comfortable? How can I make everybody feel like we're on the right page together and create this thing? I know that it's like the process is going to take years and years, and the relationship is more important than the individual story note or whatever. It's like that's what's going to matter over the long term of this project.It's that we all trust each other and that we can make something great together. And that's more important than fighting for a joke or fighting for a story moment or a take, or even exactly, either. It's about fighting the relationship, and I've said this before, it's about the relationship is the most important thing, and sometimes you have to sacrifice what you think is the best story, the best moment for the greater good of the relationship. A hundred percent. A hundred percent. Wow. I feel like this has been eyeopening even for me, and I feel like my eyes are fucking opened. You know what I'm saying?We've done some movie work, but obviously we work mostly in tv, but the movie side, the movie side was never really appealing. I remember because we shared the same agent for our futures, and I remember he gave us a conversation. I was like, I dunno if I want to work in movies again. It's weird. It sounds hard. It's different because in TV you're the boss, right? I mean, when you're the showrunner, you're the boss. Yeah. You've been there for a long time. And in movies, you're never the boss. I mean, I gave up on, I mean, before I worked with you, there was one TV show I ran and I co ran with my friend Tim, and we were the bosses, and I hated it. I did not enjoy it. It was like all the meetings and all the decisions and the budgets and the interpersonal relationships and all that stuff.I was like, I was not good at it back then, and I don't know if I'd be better now, and I just was like, you know what? I just want to be part of a team and I want to be a writer. And it's like in movies, that's what you are. You're just part of this big team in a different way. I mean, I guess when you're a staff writer or coming up through the ranks and tv, you're part of a team too, but you can be like, you're also a much more integral part of the team, the one writer on it at the time. Or in movies, you're like, when you're the writer, you're the writer and they all look to you for that one job. Or if you're on a staff when I'm on a show with you or whatever, you might look to me for one type of, it's very different. I'm a cog in this room.It's never, you never have to be a hundred percent on your A game every day for you can showing it in a little bit coast. Wow. Adam Paval, what an interesting conversation. This is enlightening for me. Very enlightening. Yeah, man. Are you having everybody on from the old days, Brian? Well, I had Alex Berger on a while ago. We talked a little bit about that script that you guys wrote together. Well, there's two things on Glen Martin. You were always pestering me to do a musical. Yeah, I think, I don't know how to write a musical. And you're like, this is why I've work in animated features. I've written three musicals since I, so lemme let you do the movie. I was like, dude, I don't know how to do so go ahead and knock yourself out. That was fun. And then you guys came back with that Christmas episode. I thought you guys both hit it out of the park. I was like, let's shoot it, let's shoot it.I think it took, because that was all second year stuff and it took a little bit of time to figure out tonally what we were doing and then just to get a little crazier. And then, I mean, those episodes were like, yeah, I could be a little bit more myself of writing the weird stuff that I wanted. I mean, the other one I remember fondly is that weird Funshine episode. Was that the musical one or was that, I don't remember. Dude, fun cine was, it was like the planned community in Florida that was basically celebration Florida and they all realized that everybody was on being drugged and were lactating out of their breast and all that. Oh, that's right. Now I remember the guy, there was a scene where there's a pregnant man or something. It was fucking nuts. And I was like, oh, now we're writing the show that I could write.The first year, I think it was a little bit more like I was a little square pa in a round hole where it was like I didn't have a family at the time and it was a family show. It was about a dad and a mom trying to navigate their crazy kids and I was like, I don't know what the fuck. Crazy in that show. It's a shame. We didn't do more seasons. We weren't nuts. It was fun. It was a fun time. For sure. I got some of the puppies right over there, so see, yeah, I got the one you gave me of me that one from the college episode. Oh right, the college episode. That's right. We put you in. You ran the gauntlet I think, didn't you? I think that, yeah, that's exactly right. Funny. Yeah, funny. Adam, Papa, where can people, is there anything want, we can plug people, find you.Are you on social media? Is there anything? I'm not super active. I'm on Twitter. You can find me on Twitter. Adam Papa or Adam or whatever it's called now. X X, I'm on X, but don't really, I'm not super active on it. I don't have anything to plug. Everything's going to come out in four years. Yeah, right. Yeah. Look for Adam Papa in four years when something drops to the movies. That's the process. Dude, thank you again so much for doing this. This was a really interesting conversation. I haven't talked yet, spoken to anybody about this kind of stuff. You are a wealth of information. Alright. Yeah, it's fine. Everyone, thank you so much. Until the next episode drops, which will be next week. Keep writing.Phil Hudson:This has been an episode of Screenwriters Need to Hear this with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

Welcome back to the Win Rate Podcast. Today Andy welcomes two amazing guests, Matt Benelli, sales coach and Co-Founder of CoachEm, and Lori Richardson, Sales Advisor, Founder and President of Women Sales Pros and author of She Sells. The roundtable starts today by discussing how pushing larger investments to frontline managers would create a wave of positive change across sales organizations. They give some personal stories of starting out as young salespeople and finding their footing with clients. They explain why their genuine curiosity gave them an advantage and how SDR's can learn from their approach.The group also talks through the short-comings of companies win rate tracking, how some CRM results need a more objective eye and context, why companies focus on scaling but end up not knowing how to sell their product, why upper management pressure can bring a breakdown of good sales practices, and how progressing successfully in your sales career means being conscious of the experience buyers are having with you. Connect with Lori and Matt on LinkedInHighlights[00:07:49] Inexperienced frontline managers struggle with their roles.[00:11:04] Importance of tracking critical metrics.[00:16:24] B2B industry experiences low win rates; [00:25:00] Improving win rates and aligning incentives for sales.[00:27:54] Choose carefully who you sell to.[00:36:37] Balancing revenue and understanding buyer decisions.[00:42:31] Youthful appearance helped build meaningful relationships.[00:47:16] System design influences win rates; strategic focus needed.[00:51:16] "Intentional actions shape your career and success."[00:57:37] First impressions matter when connecting with buyers in sales.

The Joint Venture: inspiratia insightsThe team look over the past week of news and give their views on market trends in the energy sectorIn this week's episode, we spotlight Blackstone's monumental close of its BGREEN III fund at $7.1 billion (£5.59bn €6.53bn), marking it as the largest energy transition private credit fund to date. Simultaneously, United Bankers unveils its new Renewable Energy Fund, with portfolio managers sharing insights on their focus.Venturing into innovative territories, RWE advances its pilot floating wind project, DemoSATH, pointing to a promising future for the technology. We provide a quick PPA roundup, featuring collaborations between Nucor & Sebree, Encavis & Allego, and Statkraft & AstraZeneca.We take a deep dive analysis into how energy markets are putting additional strain on Germany's manufacturing sectors. Is this a temporary period of readjustment, or will Germany find that competitive disadvantage is the new normal? Rounding off this episode are some of the hard facts and data from CCUS projects. With the benefit of extensive start-up funding from governments in the UK and the US, where will the long-term viability of these projects land? Hosted by:Oliver Carr - Lead AnalystZachary Skidmore - Senior Reporter Dila Cebeci - Senior AnalystReach out to us at: podcasts@inspiratia.comFind all of our latest news and analysis by subscribing to inspiratiaListen to all our episodes on Apple Podcasts, Spotify, and other providers.

Welcome back to The Win Rate podcast. Today Andy welcomes Tim Hughes, CEO of DLA ignite and author of Social Selling, and Eric Stine who is just coming off his roles of CRO and Chief Commercial Officer at Skillsoft. Eric, Tim, and Andy explore the importance of evaluating performance at different levels within organizations and the impact it has on overall success, how misclassifying leads affects sales pipelines, and the common practice of capturing leads early on without properly assessing their potential. They explore the repercussions of this, including the pressure to maintain an artificially high pipeline multiple and the struggle to differentiate between top performers and those who struggle to say no to low-quality leads.They also share valuable insights on the role played by first line managers, the challenges they face, and innovative ways to improve effectiveness. And within all the data, they reflect on why human connection is essential for closing deals and how it can still be easy to build a relationship in a short span of time even when face to face interaction isn't as common as it once was.Find Tim and Eric on LinkedInHost Andy Paul is the expert on modern B2B selling and author of three best-selling, award-winning sales books, including his latest Sell Without Selling Out. Visit andypaul.com to subscribe to his newsletter for even more strategies and tips to accelerate your win rate!Thank you to our sponsors:AllegoClozdCognismKey Quotes"If you have fairly good sales reps and they're well enabled, then they are performing that early stage discovery almost unconsciously."— Eric 00:21:410 0:21:52Pipeline Management: "I have plenty of sales reps that I wouldn't trade for anything in the world that have win rates of 35, 45%. But they have one bad behavior, which is they can't say no to a lead."— Eric 00:23:32 00:23:43Improving First Line Management: "And for me, the critical inflection point and where I spend a lot of time as a leader is on first line management, because I think a lot of success or failure happens based on what your first line managers do..."— Eric 00:25:240 0:25:35I was fortunate to work for people that I remember asked a boss once what's our pipeline or multiple should I have? And he says, whatever you need to hit your number. Okay, that's good advice. And for me that was yeah, I generally ran 1.5 throughout my career and I was selling big stuff, but that's what worked for me. And somebody else may need three, somebody else may need four. — Andy 00:28:320 0:29:27 "I think there has to be we still need to train sales leaders because we still have the situation where we take the best salespeople and make them leaders. And quite often they're not leaders and they have to learn how to deal with people."— Tim 00:30:530 0:31:07“We should have known earlier we didn't talk to the right person that we should have talked to, that would have just devastated us. It was a great lesson, right?"— Andy 00:36:060 0:36:13"Got one thing out of that meeting. I got money for manager enablement. Because manager enablement is like a hurricane or a wildfire. Nobody wants to pay for prevention, but once the storm hits, they'll pay for the cleanup."— Eric 00:41:330 0:41:45

Would 100 new connections grow your business? Steve Ramona is the founder of the most effective connecting and referral tool in the world! Sure it's a big statement, but it is TRUE! Check out InPhone for yourself. We're looking to grow our audience - Would you help us if you could? Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS!  We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Here's another Quick tip from Morris! Today, let's work on avoiding Distractions! We're looking to grow our audience - Would you help us if you could? Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS!  We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Just Launch's Shawn Channell is a small business consultant for organizations looking to begin their sales departments or increase sales! You can visit Shawn at his website www.just-launch.com or shoot him an email at Shawn.channell@just-launch.com We're looking to grow our audience - Would you help us if you could? Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS!  We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Here's another Quick tip from Morris! Today let's work on answering all the possible objections!! We're looking to grow our audience - Would you help us if you could? Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS!  We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Automation. That's the key and Ely Delaney is an EXPERT in this!! So much so that the executive producer was editing this one and got all the way to the end before she realized she hadn't even mentioned our sponsor yet!! Please take the time to listen to this one, I know TBOS will be implementing a number of the practical guides Ely shared! Ely's website - https://elydelaney.com/ We're looking to grow our audience - Would you help us if you could? Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS! We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Sales leader, life and leadership coach and best selling author, Jaime Konzelman is the guest today! We talk about her book, her work as a sales leader, sales today, and three pieces of advice she has for those of you just getting started in the business! visit jaimekonzelman.com for more information and click HERE for the book! We're looking to grow our audience - Would you help us if you could? Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS! We love our sponsor!   Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

A few weeks ago, Morris wrote an email about his response to "Quiet Quitting." He got in trouble for it... from me... his daughter and editor who just about didn't publish it at all I wrote a lengthy response to Dad that started with "YOU ARE WRONG" and ended with "you cannot expect people to work harder without the correct compensation!" There were some other phrases put in there too like "old school mentality" and "they don't care about the workers anymore" etc. Dad responds here in this short and it's really good- this was his response to me as well that I then asked him to create a short about because it explained things better, at least it did to me! Now, you'll never convince this former educator that teachers should work past contract hours for the subpar compensation that teachers are subjected to; BUT I do understand where this "old school" father of mine is coming from! Let us know - what are your thoughts and feelings on this? Where do YOU stand? We're looking to grow our audience - Would you help us if you could? Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS! We love our sponsor!   Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

The Boss Project is here to help service based businesses design their businesses around their lives - not the other way around! Check out more at https://bossproject.com/about Today's episode features the CFO and co-founder of The Boss Project, Abigail Pumphrey. She and Morris have a great conversation regarding the services her company provides in a time where it's most needed! As Morris says at the end- "Wow this is so much more than I initially thought! I thought it was mostly administrative and systems based but you do so much more!" Abigail's response? "Don't underestimate me!" We're looking to grow our audience - Would you help us if you could? Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS! We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

The Easy Principle - take 10 minutes today and learn more from Morris about making it EASY for your clients to say YES. We're looking to grow our audience - Would you help us if you could? Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS! We love our sponsor!   Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Summary: In this podcast episode, David Dulany interviews David Ashe, Head of Sales Development at Allego, discussing the role of technology in Sales Development and how it has transformed the traditional sales floor. They explore the benefits of using a sales enablement platform, which offers onboarding experiences, course materials, call recordings for coaching, and a simulator for practice. They highlight the importance of asynchronous communication and knowledge sharing in a virtual sales environment. Additionally, they discuss how Allego ensures the freshest and most relevant content for its users, replacing outdated SDR playbooks and providing easy access to up-to-date resources. The conversation emphasizes the continuous learning and growth mindset necessary for success in Sales Development.Ready for more exclusive content?Join Tenbound Plus today - Limited Time - Get Full Year Access. https://www.tenboundplus.com/Peer-Led Community Access - Slack and Kartra Private groupSales Dev Manager Online Training CourseSDR Bootcamp Online Training CourseExclusive Events, Meet-ups and ConferencesThe Sales Development Framework Print Book..and much more.https://www.tenboundplus.com/#sales #marketing #salesengagement #salesenablement #research #prospecting #SDR #BDR #salesdevelopment #tenbound #podcast

We've broken up the conversation between Morris and Kim into two parts. This should help our listeners use their time wisely between appointments and events with a little practical advice from Morris and Kim this week. Part One was published on Tuesday and Part Two today! Kim Laughlin is the owner and operator of Cultural Apex Coaching. She's here to chat with you about the importance of a solid culture in the workplace and give you some practical ideas to help YOU when you are frustrated with coworkers. We're looking to grow our audience - Would you help us if you could? Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS! We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

We're Breaking up the conversation between Morris and Kim into two parts. This should help our listeners use their time wisely between appointments and events with a little practical advice from Morris and Kim this week. Part One will air on Tuesday and Part Two on Thursday. Kim Laughlin is the owner and operator of Cultural Apex Coaching. She's here to chat with you about the importance of a solid culture in the workplace and give you some practical ideas to help YOU when you are frustrated with coworkers. We're looking to grow our audience - Would you help us if you could? Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS! We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Bryan is an author and phenomenal Sales Professional. The conversation between Bryan and Morris is so good, we're splitting it into two parts!!!! Here's Part 1 with the first special appearance of the Widgets... You just thought Morris was done talking about the widgets... he's not. They're back... Like every sales professional, Bryan Charleau had to pursue this career the hard way, which, according to the workforce, is "the only way." Based on what he had to endure on his journey to success, Charleau presents insightful ways on how you can connect the dots much faster than he did, allowing you to perpetuate the highs and soften the lows and allowing you to recognize that at the beginning, you do not need to navigate sales on your own. - https://www.amazon.com/Pitching-Sales-Complete-Becoming-Professional/dp/1738651606 We're looking to grow our audience - Would you help us if you could? Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS! (2 episodes to 200!! WOW Thank you all for listening!!!!)  We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

200! What a milestone. We reached 200 episodes this week and we are so very thankful to all of you who take the time to comment, share, like and follow all things TBOS! Keep it going and I can't wait to celebrate episode 300 with you soon. What a great guest to be our 200th episode! Vin Infante is a master mindset & Executive coach. He's a licensed psychotherapist, full-time entrepreneur and angel investor. Vin is a former FDNY firefighter who served during the C-19 pandemic as well! Visit his website here -https://www.vincentinfante.life/ We're looking to grow our audience - Would you help us if you could?  Follow us on Spotify, share the show with your friends, and recommend us to people in your network that would benefit from listening to TBOS! We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

This week's short form is also available on YouTube. We'll be slowly transitioning to a more video based format for all of our podcasts throughout the summer! The Short Forms are just the beginning. Be sure you're following us on Spotify! This week marks our 200th Episode! Follow us on Spotify and let's make TBOS one of the most listened to podcast out there! Visit our sponsor! Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue. --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Bryan is an author and phenomenal Sales Professional.  The conversation between Bryan and Morris is so good, we're splitting it into two parts!!!! Here's Part 2 with more from those blue widgets... You just thought Morris was done talking about the widgets... he's not. They're back... Like every sales professional, Bryan Charleau had to pursue this career the hard way, which, according to the workforce, is "the only way." Based on what he had to endure on his journey to success, Charleau presents insightful ways on how you can connect the dots much faster than he did, allowing you to perpetuate the highs and soften the lows and allowing you to recognize that at the beginning, you do not need to navigate sales on your own. - https://www.amazon.com/Pitching-Sales-Complete-Becoming-Professional/dp/1738651606 We're looking to grow our audience - Would you help us if you could?  Follow us on Spotify, share the show with your friends, recommend us to people in your network that would benefit from listening to TBOS! (1 episodes to 200!! WOW Thank you all for listening!!!!)  We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

This week's short form is also available on YouTube. We'll be slowly transitioning to a more video based format for all of our podcasts throughout the summer! The Short Forms are just the beginning. Be sure you're following us on Spotify! As we approach our 200th episode, share our episodes. Follow us on Spotify and let's make TBOS one of the most listened to podcast out there! Visit our sponsor! Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue. --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

This week's short form is in video format!! We'll be slowly transitioning to a more video based format for all of our podcasts throughout the summer! The Short Forms are just the beginning. Here's a great quick reminder for you today... - DON'T GIVE UP Be sure you're following us on Spotify! As we approach our 200th episode, share our episodes. Follow us on Spotify and let's make TBOS one of the most listened to podcast out there! Visit our sponsor! Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue. --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Another great quick tip from Morris this week! Be sure you're following us on Spotify! Help us grow! As we approach our 200th episode, share our episodes. Follow us on Spotify and let's make TBOS one of the most listened to podcast out there! (4 episodes to 200!! WOW Thank you all for listening!!!!)  Visit our sponsor! Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue. --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Who is Dr. Danny Brassell? He's a speaker, author, teacher, coach... ok so he's a little bit of everything! From a program to help encourage our youth to read to books he's authored to high level executives he's coached and groups he's spoken to; Danny's humor and intelligence always shines through as he speaks to his passions. The episode here is a conversation between Dr. Brassell and Morris that is not to be missed! Lots of wonderful and practical guidance throughout the episode. www.freegiftfromdanny.com- He's got a great collection of items for our use visit you'll enjoy it for sure! Help us grow! As we approach our 200th episode, please share our episodes. Follow us on Spotify and let's make TBOS one of the most listened to podcast out there! (3 episodes to 200!! WOW Thank you all for listening!!!!)  We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Help us grow! As we approach our 200th episode, share our episodes. Follow us on Spotify and let's make TBOS one of the most listened to podcast out there! (4 episodes to 200!! WOW Thank you all for listening!!!!)  We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Zach Knight is never not busy. Between multiple books, being a Veteran, Helping Veterans and his businesses Zach's motivated by that magic word- "Why". There has to be an intentional reason for why you do what you do. You've heard Morris say it "Your why must be wrapped in passion and fueled with emotion!". Now, before we do anything else, stop and visit this site - www.atlvets.org. It's Zach's 501-C3 organization focused on helping veterans start businesses. It's because of them that we are free, so let's help contribute to this phenomenal cause! Help us grow! As we approach our 200th episode, share our episodes. Follow us on Spotify and let's make TBOS one of the most listened to podcast out there! (5 episodes to 200!! WOW Thank you all for listening!!!!)  We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Oh what a fabulous and fun conversation this was! Sara Nay is the COO of Duct Tape Marketing and she's here with practical help for you as you think about marketing! She's focused on the customer experience, strategic planning, and Morris's FAVORITE- Systems!!! Don't miss out and don't forget to visit https://ducttapemarketing.com to contact Sara!! Help us grow! As we approach our 200th episode, share our episodes. Follow us on Spotify and let's make TBOS one of the most listened to podcast out there! (6 episodes to 200!! WOW Thank you all for listening!!!!)  We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Ahhhh the Elevator Pitch... yes I know, last week was a rant on not "Pitching" anything... just listen. You'll see... Visit our sponsor! Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue. --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Is there a weakness somewhere in your customer experience? Tyler's company, Lone Fir Creative's goal is to address weaknesses in your customer journey, help you convert more business and create a scalable, revenue-generating machine. And he doesn't mind too much when someone mispronounces his name! www.lonefircreative.com Help us grow! As we approach our 200th episode, share our episodes. Follow us on Spotify and let's make TBOS one of the most listened to podcast out there! (7 episodes to 200!! WOW Thank you all for listening!!!!)  We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Our guest today is Dennis Devlin of Clarity Research and Strategy. Their Mission is clear-  – to educate, inspire, and empower our clients by developing strategic insights and greater customer, competition, and brand clarity.  Are you at the start of your journey and need a little bit of help with this? Then you need to chat with Dennis and the folks over at Clarity Research and Strategy! Click Here for their webpage! Help us grow! As we approach our 200th episode, share our episodes. Follow us on Spotify and let's make TBOS one of the most listened to podcast out there! (8 episodes to 200!! WOW Thank you all for listening!!!!)  We love our sponsor!  Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  ⁠CLICK HERE⁠ to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

In today's short form, Morris has a small Rant to share with you about two words that get thrown around quite a bit in the sales world... ***Editor's note... The editor is a trained musician. Pitch is very important to her in terms of music and she just about didn't publish this one at all... It's a good thing she listens to all my podcasts! What about you? Are you listening? Share and like and comment so we know. TBOS is made possible by Allego. Allego's sales enablement platform equips sellers with skills, knowledge, and content to engage buyers with confidence and win. SCHEDULE A DEMO HERE. --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Need a Wingman? Shruti Kapoor has an AI program to help! visit www.trywingman.com to learn more. Help us grow! As we approach our 200th episode, share our episodes. Follow us on Spotify and let's make TBOS one of the most listened to podcast out there! (10 episodes to 200!! WOW Thank you all for listening!!!!)  We love our sponsor! Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue.  CLICK HERE to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Your social media presence can build your credibility, community, and pipeline… or break it. Most people don't create content on LinkedIn, so they miss out on all of the opportunities that can come along with having a sizeable following on the platform. In this episode, your host Donald Kelly sits down with Richard Smith,  the VP of Sales for Allego. Listen in to hear how Smith grew his social media audience to the point where his content now generates conversation, interest, and qualified inbound leads. Why DON'T People Post on LinkedIn? People don't think they have anything interesting or novel to contribute People are happy to read and don't feel like it's necessary to make the extra effort to post “Head trash” – people don't want to embarrass themselves if no one interacts, or say the wrong thing and end up in trouble professionally How to Do LinkedIn Posts the Right Way Keep your day job. Smith uses LinkedIn to generate leads for his sales job, but it took years to build his audience. It's a marathon, not a sprint. Build a community, not an echo chamber. Discussion is healthy – while you don't want to be inflammatory just for the sake of getting attention, don't try to pander to your audience either. Your reputation on social media will follow you everywhere, so be educated, honest, and authentic. “The key is to almost “anti-sell,” and this is quite strange for some people to hear. You have to be on there, not wanting to sell your product – you have to be on there building an audience… And that is the key starting point.” – Richard Smith TSE episode 578: How to Use Technology to Better Coach Salespeople with Richard Smith Allego: Sales Training and Sales Enablement Platform Website Sponsorship Offers 1. This episode is brought to you in part by Scratchpad. Scratchpad is the fastest way for sales professionals to update Salesforce. Move at the speed of thought with Scratchpad. Try it for free or learn more at Scratchpad.com.  2. This episode is brought to you in part by TSE Sales Foundation. I think we can all agree that sales should be fun. However, many times, we find ourselves in a quagmire where we're not progressing and deals are not going the way that they should. This is why we created TSE Sales Foundation. It's a program designed to help sales professionals just like you master the fundamentals of sales so they can radically improve their sales pipeline and close more deals. To find out more about TSE Sales Foundation and our next start date, simply go to thesalesevangelist.com/foundation. Credits As one of our podcast listeners, we value your opinion and always want to improve the quality of our show. Complete our two-minute survey here: thesalesevangelist.com/survey. We'd love for you to join us for our next episodes by tuning in on Apple Podcast, Google Podcast, Stitcher, or Spotify. Audio provided by Free SFX, Soundstripe, and Bensound. Other songs used in the episodes are as follows: The Organ Grinder written by Bradley Jay Hill, performed by Bright Seed, and Produced by Brightseed and Hill.

Zen Rabbit... want to know what that is? Listen up!! Lori Saitz is here to help us live a more relaxed and stress free life! www.zenrabbit.com Help us grow! As we approach our 200th episode, share our episodes. Follow us on Spotify and let's make TBOS one of the most listened to podcast out there! (10 episodes to 200!! WOW Thank you all for listening!!!!) We love our sponsor! Allego's AI-powered sales enablement platform equips sellers with the skills, knowledge, and content to engage buyers with confidence and produce more wins and revenue. CLICK HERE to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Habits... the good and the bad... let's chat about it today in just under 10 mins or so! Allego's AI-driven sales enablement platform accelerates performance, ensuring sellers have the skills, knowledge, and content they need to drive results in a hybrid world. Learn more by clicking HERE. --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Struggling with how to use email for marketing? Kyle Stout from www.elevateandscale.com is here with answers and ideas for us! First, let's drop the "Newsletter" title and call it what it is- a conversation starter!! Allego's AI-driven sales enablement platform accelerates performance, ensuring sellers have the skills, knowledge, and content they need to drive results in a hybrid world.  Click HERE to get a demo today! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Do you have a client or potential client, or a boss who's obsessed with sports and you just...well... don't know the difference between a football and a basketball? Amy's company, Last Night's Game, is here to help. With a podcast, a website with morning conversation starters, and a 3 times a week email, Last Night's Game is going to help you identify tomorrow's talking points! Please enjoy the conversation between Morris and Amy, then go to www.lastnightsgame.com and sign up for their emails! Our Sponsor, Allego, equips sellers with skills, knowledge, and content to engage buyers with confidence and win. Click here to schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Ever feel like you're just DONE. DONE. DONE. DONE! Morris has a short form for you today to help ignite your ENTHUSIASM!!! Also, let's give Allego a shout out for supporting The Business of Sales Podcast! Please visit HERE and see how Allego can help your business! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

Collaboration - is when the conversation or collaboration is beneficial to BOTH parties! Learn more about the magic of collaboration in today's show with Peter Anthony. **Editor's note - can someone please recommend to Morris a NEW example besides the widgets and the drill bit stories??? As always, thank you Allego for sponsoring and fueling The Business of Sales Podcast! Click HERE and get a demo now! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support

What's the difference between a sales professional and just someone who sells things??? As always, we're powered by Allego and want you to benefit from their services as well! Please visit HERE and schedule a demo! --- Support this podcast: https://podcasters.spotify.com/pod/show/tbospodcast/support