Podcasts about Penn

ADHD isn't about deficits; it's about difference. Dr. Becky talks with Kim and Penn Holderness about emotional intensity, Deeply Feeling Kids, and why connection matters more than correction. They explore reframing ADHD through strengths, supporting kids' regulation, and finding environments where they thrive.Get the Good Inside App by Dr. Becky: https://bit.ly/4fSxbzkYour Good Inside membership might be eligible for HSA/FSA reimbursement! To learn more about how to get your membership reimbursed, check out the link here: https://www.goodinside.com/fsa-hsa-eligibility/Follow Dr. Becky on Instagram: https://www.instagram.com/drbeckyatgoodinsideSign up for our weekly email, Good Insider: https://www.goodinside.com/newsletterFor a full transcript of the episode, go to goodinside.com/podcast.Thank you to our sponsor Zelle. When it counts, send money with Zelle.Headed out for the holidays? Netflix has free, educational games your kids will love—like PAW Patrol Academy, Barbie Color Creations, and LEGO DUPLO World—all fully unlocked with your membership and perfect for travel days, no WiFi required. Find more at netflixfamily.com/traveltipsThank you to our sponsor Skylight. Head to Skylight.com/BECKY for $30 off their 15-inch calendars. This offer expires December 31st of this year.This season, Good Inside is partnering with Welcome Baby, a nonprofit that provides essential supplies to new parents in need. From December 18th–22nd, 10% of every new membership will help fund Welcome Baby packages—giving parents the support they need during those first, beautiful, overwhelming weeks. Learn more at GoodInside.com.Thank you to our sponsor Sony. Get $700 off the Sony Alpha 7 IV camera at electronics.sony.com. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

When our daughter went off to college, I expected that she would change and she has. In a completely amazing, independent way. What I didn't expect is that we would change too. Now, she's home for holiday break and we're both navigating this changing relationship with no roadmap. (Time to call in an expert for some advice!)This week on Laugh Lines, Penn and I are joined by one of our favorite humans and parenting expert, Dr. Lisa Damour. She helps us navigate this weird, wonderful in-between that happens when your college kid comes home. We cover everything from crossed wires and unspoken expectations to late wake-ups, missed dinners, and the moment you realize you're not parenting a kid anymore — you're kind of living with a roommate.We also talk about why college kids basically hibernate when they come home, how to know when something is actually wrong, and how to celebrate the amazing new person your child is becoming — even when it feels unfamiliar. Plus, Penn goes full science nerd... again. (Don't say I didn't warn you!) We love to hear from you (and tell us what you want in 2026!) leave us a message at 323-364-3929 or write the show at podcast@theholdernessfamily.com. You can also watch our podcast on YouTube.Learn more about Dr. Lisa Damour and her work! Visit Our ShopJoin Our NewsletterFind us on SubstackFollow us on InstagramFollow us on TikTok Follow us on FacebookLaugh Lines with Kim & Penn Holderness is an evolution of The Holderness Family Podcast, which began in 2018. Kim and Penn Holderness are award-winning online content creators known for their original music, song parodies, comedy sketches, and weekly podcasts. Their videos have resulted in over two billion views and over nine million followers since 2013. Penn and Kim are also authors of the New York Times Bestselling Books, ADHD Is Awesome: A Guide To (Mostly) Thriving With ADHD and All You Can Be With ADHD. They were also winners on The Amazing Race (Season 33) on CBS. Laugh Lines is hosted and executive produced by Kim Holderness and Penn Holderness, with original music by Penn Holderness. Laugh Lines is also written and produced by Ann Marie Taepke, and edited and produced by Sam Allen. It is hosted by Acast. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

How can you be more relaxed about your writing process? What are some specific ways to take the pressure off your art and help you enjoy the creative journey? With Joanna Penn and Mark Leslie Lefebvre. In the intro, Spotify 2025 audiobook trends; Audible + BookTok; NonFiction Authors Guide to SubStack; OpenAI and Disney agreement on Sora; India AI licensing; Business for Authors January webinars; Mark and Jo over the years Mark Leslie LeFebvre is the author of horror and paranormal fiction, as well as nonfiction books for authors. He's also an editor, professional speaker, and the Director of Business Development at Draft2Digital. Joanna Penn writes non-fiction for authors and is an award-winning, New York Times and USA Today bestselling author of thrillers, dark fantasy, and memoir as J.F. Penn. She's also an award-winning podcaster, creative entrepreneur, and international professional speaker. Mark and Jo co-wrote The Relaxed Author in 2021. You can listen to us talk about the process here. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. Show Notes Why the ‘relaxed' author Write what you love Write at your own pace Write in a series (if you want to) Schedule time to fill the creative well and for rest and relaxation Improve your writing process — but only if it fits with your lifestyle You can find The Relaxed Author: Take the Pressure Off Your Art and Enjoy the Creative Journey on CreativePennBooks.com as well as on your favorite online store or audiobook platform, or order in your library or bookstore. You can find Mark Leslie Lefebvre and his books and podcast at Stark Reflections.ca Why the ‘relaxed' author? Joanna: The definition of relaxed is “free from tension and anxiety,” from the Latin laxus, meaning loose, and to be honest, I am not a relaxed or laid-back person in the broader sense. Back in my teens, my nickname at school was Highly Stressed. I'm a Type A personality, driven by deadlines and achieving goals. I love to work and I burned out multiple times in my previous career as an IT consultant. If we go away on a trip, I pack the schedule with back-to-back cultural things like museums and art galleries to help my book research. Or we go on adventure holidays with a clear goal, like cycling down the South-West coast of India. I can't even go for a long walk without training for another ultra-marathon! So I am not a relaxed person — but I am a relaxed author. If I wanted to spend most of my time doing something that made me miserable, I would go back to my old day job in consulting. I was paid well and worked fewer hours overall. But I measure my life by what I create, and if I am not working on a creative project, I am not able to truly relax in my downtime. There are always more things I want to learn and write about, always more stories to be told and knowledge to share. I don't want to kill my writing life by over-stressing or burning out as an author. I write what I love and follow my Muse into projects that feel right. I know how to publish and market books well enough to reach readers and make some money. I have many different income streams through my books, podcast and website. Of course, I still have my creative and business challenges as well as mindset issues, just like any writer. That never goes away. But after a decade as a full-time author entrepreneur, I have a mature creative business and I've relaxed into the way I do things. I love to write, but I also want a full and happy, healthy life. I'm still learning and improving as the industry shifts — and I change, too. I still have ambitious creative and financial goals, but I am going about them in a more relaxed way and in this book, I'll share some of my experiences and tips in the hope that you can discover your relaxed path, too. Mark: One of the most fundamental things you can do in your writing life is look at how you want to spend your time. I think back to the concept of: ‘You're often a reflection of the people you spend the most time with.' Therefore, typically, your best friend, or perhaps your partner, is often a person you love spending time with. Because there's something inherently special about spending time with this person who resonates in a meaningful way, and you feel more yourself because you're with them. In many ways, writing, or the path that you are on as a writer, is almost like being on a journey with an invisible partner. You are you. But you are also the writer you. And there's the two of you traveling down the road of life together. And so that same question arises. What kind of writer-self do you want to spend all your time with? Do you want to spend all your time with a partner that is constantly stressed out or constantly trying to reach deadlines based on somebody else's prescription of what success is? Or would you rather spend time with a partner who pauses to take a contemplative look at your own life, your own comfort, your own passion and the things that you are willing to commit to? Someone who allows that all to happen in a way that feels natural and comfortable to you. I'm a fan of the latter, of course, because then you can focus on the things you're passionate about and the things you're hopeful about rather than the things you're fearful about and those that bring anxiety and stress into your life. To me, that's part of being a relaxed author. That underlying acceptance before you start to plan things out. If the writing life is a marathon, not a sprint, then pacing, not rushing, may be the key. We have both seen burnout in the author community. People who have pushed themselves too hard and just couldn't keep up with the impossible pace they set for themselves. At times, indie authors would wear that stress, that anxiety, that rush to produce more and more, as a badge of honor. It's fine to be proud of the hard work that you do. It's fine to be proud of pushing yourself to always do better, and be better. But when you push too far — beyond your limits — you can ultimately do yourself more harm than good. Everyone has their own unique pace—something that they are comfortable with—and one key is to experiment until you find that pace, and you can settle in for the long run. There's no looking over your shoulder at the other writers. There's no panicking about the ones outpacing you. You're in this with yourself. And, of course, with those readers who are anticipating those clearly communicated milestones of your releases. I think that what we both want for authors is to see them reaching those milestones at their own paces, in their own comfort, delighting in the fact their readers are there cheering them on. Because we'll be silently cheering them along as well, knowing that they've set a pace, making relaxed author lifestyle choices, that will benefit them in the long run. “I'm glad you're writing this book. I know I'm not the only author who wants peace, moments of joy, and to enjoy the journey. Indie publishing is a luxury that I remember not having, I don't want to lose my sense of gratitude.” —Anonymous author from our survey Write what you love Joanna: The pandemic has taught us that life really is short. Memento mori — remember, you will die. What is the point of spending precious time writing books you don't want to write? If we only have a limited amount of time and only have a limited number of books that we can write in a lifetime, then we need to choose to write the books that we love. If I wanted a job doing something I don't enjoy, then I would have remained in my stressful old career as an IT consultant — when I certainly wasn't relaxed! Taking that further, if you try to write things you don't love, then you're going to have to read what you don't love as well, which will take more time. I love writing thrillers because that's what I love to read. Back when I was miserable in my day job, I would go to the bookstore at lunchtime and buy thrillers. I would read them on the train to and from work and during the lunch break. Anything for a few minutes of escape. That's the same feeling I try to give my readers now. I know the genre inside and out. If I had to write something else, I would have to read and learn that other genre and spend time doing things I don't love. In fact, I don't even know how you can read things you don't enjoy. I only give books a few pages and if they don't resonate, I stop reading. Life really is too short. You also need to run your own race and travel your own journey. If you try to write in a genre you are not immersed in, you will always be looking sideways at what other authors are doing, and that can cause comparisonitis — when you compare yourself to others, most often in an unfavorable way. Definitely not relaxing! Writing something you love has many intrinsic rewards other than sales. Writing is a career for many of us, but it's a passion first, and you don't want to feel like you've wasted your time on words you don't care about. “Write what you know” is terrible advice for a long-term career as at some point, you will run out of what you know. It should be “write what you want to learn about.” When I want to learn about a topic, I write a book on it because that feeds my curiosity and I love book research, it's how I enjoy spending my time, especially when I travel, which is also part of how I relax. If you write what you love and make it part of your lifestyle, you will be a far more relaxed author. Mark: It's common that writers are drawn into storytelling from some combination of passion, curiosity, and unrelenting interest. We probably read or saw something that inspired us, and we wanted to express those ideas or the resulting perspectives that percolated in our hearts and minds. Or we read something and thought, “Wow, I could do this; but I would have come at it differently or I would approach the situation or subject matter with my own flair.” So, we get into writing with passion and desire for storytelling. And then sometimes along the way, we recognize the critical value of having to become an entrepreneur, to understand the business of writing and publishing. And part of understanding that aspect of being an author is writing to market, and understanding shifts and trends in the industry, and adjusting to those ebbs and flows of the tide. But sometimes, we lose sight of the passion that drew us to writing in the first place. And so, writing the things that you love can be a beacon to keep you on course. I love the concept of “Do something that you love, and you'll never work a day in your life.” And that's true in some regard because I've always felt that way for almost my entire adult life. I've been very lucky. But at the same time, I work extremely hard at what I love. Some days are harder than others, and some things are really difficult, frustrating and challenging; but at the end of the day, I have the feeling of satisfaction that I spent my time doing something I believe in. I've been a bookseller my entire life even though I don't sell books in brick-and-mortar bookstores anymore—that act of physically putting books in people's hands. But to this day, what I do is virtually putting books in people's hands, both as an author and as an industry representative who is passionate about the book business. I was drawn to that world via my passion for writing. And that's what continues to compel me forward. I tried to leave the corporate world to write full time in 2018 but realized there was an intrinsic satisfaction to working in that realm, to embracing and sharing my insights and knowledge from that arena to help other writers. And I couldn't give that up. For me, the whole core, the whole essence of why I get up in the morning has to do with storytelling, creative inspiration, and wanting to inspire and inform other people to be the best that they can be in the business of writing and publishing. And that's what keeps me going when the days are hard. Passion as the inspiration to keep going There are always going to be days that aren't easy. There will be unexpected barriers that hit you as a writer. You'll face that mid-novel slump or realize that you have to scrap an entire scene or even plotline, and feel like going back and re-starting is just too much. You might find the research required to be overwhelming or too difficult. There'll be days when the words don't flow, or the inspiration that initially struck you seems to have abandoned you for greener pastures. Whatever it is, some unexpected frustration can create what can appear to be an insurmountable block. And, when that happens, if it's a project you don't love, you're more likely to let those barriers get in your way and stop you. But if it's a project that you're passionate about, and you're writing what you love, that alone can be what greases the wheels and helps reduce that friction to keep you going. At the end of the day, writing what you love can be a honing, grounding, and centering beacon that allows you to want to wake up in the morning and enjoy the process as much as possible even when the hard work comes along. “For me, relaxation comes from writing what I know and love and trusting the emergent process. As a discovery writer, I experience great joy when the story, characters and dialogue simply emerge in their own time and their own way. It feels wonderful.” — Valerie Andrews “Writing makes me a relaxed author. Just getting lost in a story of my own creation, discovering new places and learning what makes my characters tick is the best way I know of relaxing. Even the tricky parts, when I have no idea where I am going next, have a special kind of charm.” – Imogen Clark Write at your own pace Mark: Writing at your own pace will help you be a more relaxed author because you're not stressing out by trying to keep up with someone else. Of course, we all struggle with comparing ourselves to others. Take a quick look around and you can always find someone who has written more books than you. Nora Roberts, traditionally published author, writes a book a month. Lindsey Buroker, fantasy indie author, writes a book a month of over 100,000 words. If you compare yourself to someone else and you try to write at their pace, that is not going to be your relaxed schedule. On the other hand, if you compare yourself to Donna Tartt, who writes one book every decade, you might feel like some speed-demon crushing that word count and mastering rapid release. Looking at what others are doing could result in you thinking you're really slow or you could think that you're super-fast. What does that kind of comparison actually get you? I remember going to see a talk by Canadian literary author Farley Mowat when I was a young budding writer. I'll never forget one thing he said from that stage: “Any book that takes you less than four years to write is not a real book.” Young teenage Mark was devastated, hurt and disappointed to hear him say that because my favorite author at the time, Piers Anthony, was writing and publishing two to three novels a year. I loved his stuff, and his fantasy and science fiction had been an important inspiration in my writing at that time. (The personal notes I add to the end of my stories and novels came from enjoying his so much). That focus on there being only a single way, a single pace to write, ended up preventing me from enjoying the books I had already been loving because I was doing that comparisonitis Joanna talks about, but as a reader. I took someone else's perspective too much to heart and I let that ruin a good thing that had brought me personal joy and pleasure. It works the same way as a writer. Because we have likely developed a pattern, or a way that works for us that is our own. We all have a pace that we comfortably walk; a way we prefer to drive. A pattern or style of how and when and what we prefer to eat. We all have our own unique comfort food. There are these patterns that we're comfortable with, and potentially because they are natural to us. If you try to force yourself to write at a pace that's not natural to you, things can go south in your writing and your mental health. And I'm not suggesting any particular pace, except for the one that's most natural and comfortable to you. If writing fast is something that you're passionate about, and you're good at it, and it's something you naturally do, why would you stop yourself from doing that? Just like if you're a slow writer and you're trying to write fast: why are you doing that to yourself? There's a common pop song line used by numerous bands over the years that exhorts you to “shake what you got.” I like to think the same thing applies here. And do it with pride and conviction. Because what you got is unique and awesome. Own it, and shake it with pride. You have a way you write and a word count per writing session that works for you. And along with that, you likely know what time you can assign to writing because of other commitments like family time, leisure time, and work (assuming you're not a full-time writer). Simple math can provide you with a way to determine how long it will take to get your first draft written. So, your path and plans are clear. And you simply take the approach that aligns with your writer DNA. Understanding what that pace is for you helps alleviate an incredible amount of stress that you do not need to thrust upon yourself. Because if you're not going to be able to enjoy it while you're doing it, what's the point? Your pace might change project to project While your pace can change over time, your pace can also change project to project. And sometimes the time actually spent writing can be a smaller portion of the larger work involved. I was on a panel at a conference once and someone asked me how long it took to write my non-fiction book of ghost stories, Haunted Hamilton. “About four days,” I responded. And while that's true — I crafted the first draft over four long and exhausting days writing as much as sixteen hours each day — the reality was I had been doing research for months. But the pen didn't actually hit the paper until just a few days before my deadline to turn the book over to my editor. That was for a non-fiction book; but I've found I do similar things with fiction. I noodle over concepts and ideas for months before I actually commit words to the page. The reason this comes to mind is that I think it's important to recognize the way that I write is I first spend a lot of time in my head to understand and chew on things. And then by the time it comes to actually getting the words onto the paper, I've already done much of the pre-writing mentally. It's sometimes not fair when you're comparing yourself to someone else to look at how long they physically spend in front of a keyboard hammering on that word count, because they might have spent a significantly longer amount of a longer time either outlining or conceptualizing the story in their mind or in their heart before they sat down to write. So that's part of the pace, too. Because sometimes, if we only look at the time spent at the ‘writer's desk,' we fool ourselves when we think that we're a slow writer or a fast writer. Joanna: Your pace will change over your career My first novel took 14 months and now I can write a first draft in about six weeks because I have more experience. It's also more relaxing for me to write a book now than it was in the beginning, because I didn't know what I was doing back then. Your pace will change per project I have a non-fiction work in progress, my Shadow Book (working title), which I have started several times. I have about 30,000 words but as I write this, I have backed away from it because I'm (still) not ready. There's a lot more research and thinking I need to do. Similarly, some people take years writing a memoir or a book with such emotional or personal depth that it needs more to bring it to life. Your pace will also shift depending on where you are in the arc of life Perhaps you have young kids right now, or you have a health issue, or you're caring for someone who is ill. Perhaps you have a demanding day job so you have less time to write. Perhaps you really need extended time away from writing, or just a holiday. Or maybe there's a global pandemic and frankly, you're too stressed to write! The key to pacing in a book is variability — and that's true of life, too. Write at the pace that works for you and don't be afraid to change it as you need to over time. “I think the biggest thing for me is reminding myself that I'm in this to write. Sometimes I can get caught up in all the moving pieces of editing and publishing and marketing, but the longer I go without writing, or only writing because I have to get the next thing done instead of for enjoyment, the more stressed and anxious I become. But if I make time to fit in what I truly love, which is the process of writing without putting pressure on myself to meet a deadline, or to be perfect, or to meet somebody else's expectations — that's when I become truly relaxed.” – Ariele Sieling Write in a series (if you want to) Joanna: I have some stand-alone books but most of them are in series, both for non-fiction and for my fiction as J.F. Penn. It's how I like to read and write. As we draft this book, I'm also writing book 12 in my ARKANE series, Tomb of Relics. It's relaxing because I know my characters, I know my world; I know the structure of how an ARKANE story goes. I know what to put in it to please my readers. I have already done the work to set up the series world and the main characters and now all I need is a plot and an antagonist. It's also quicker to write and edit because I've done it before. Of course, you need to put in the work initially so the series comes together, but once you've set that all up, each subsequent book is easier. You can also be more relaxed because you already have an audience who will (hopefully) buy the book because they bought the others. You will know approximately how many sales you'll get on launch and there will be people ready to review. Writing in a non-fiction series is also a really good idea because you know your audience and you can offer them more books, products and services that will help them within a niche. While they might not be sequential, they should be around the same topic, for example, this is part of my Books for Authors series. Financially, it makes sense to have a series as you will earn more revenue per customer as they will (hopefully) buy more than one book. It's also easier and more relaxing to market as you can set one book to free or a limited time discount and drive sales through to other books in the series. Essentially, writing a book in a series makes it easier to fulfill both creative and financial goals. However, if you love to read and write stand-alone books, and some genres suit stand-alones better than series anyway, then, of course, go with what works for you! Mark: I like to equate this to no matter where you travel in the world, if you find a McDonald's you pretty much know what's on the menu and you know what to expect. When you write in a series, it's like returning to hang out with old friends. You know their backstory; you know their history so you can easily fall into a new conversation about something and not have to get caught up on understanding what you have in common. So that's an enormous benefit of relaxing into something like, “Oh, I'm sitting down over coffee, chatting with some old friends. They're telling me a new story about something that happened to them. I know who they are, I know what they're made out of.” And this new plot, this new situation, they may have new goals, they may have new ways they're going to grow as characters, but they're still the same people that we know and love. And that's a huge benefit that I only discovered recently because I'm only right now working on book four in my Canadian Werewolf series. Prior to that, I had three different novels that were all the first book in a series with no book two. And it was stressful for me. Writing anything seemed to take forever. I was causing myself anxiety by jumping around and writing new works as opposed to realizing I could go visit a locale I'm familiar and comfortable with. And I can see new things in the same locale just like sometimes you can see new things and people you know and love already, especially when you introduce something new into the world and you see how they react to it. For me, there's nothing more wonderful than that sort of homecoming. It's like a nostalgic feeling when you do that. I've seen a repeated pattern where writers spend years writing their first book. I started A Canadian Werewolf in New York in 2006 and I did not publish it until ten years later, after finishing it in 2015. (FYI, that wasn't my first novel. I had written three and published one of them prior to that). That first novel can take so long because you're learning. You're learning about your characters, about the craft, about the practice of writing, about the processes that you're testing along the way. And if you are working on your first book and it's taking longer than planned, please don't beat yourself up for that. It's a process. Sometimes that process takes more time. I sometimes wonder if this is related to our perception of time as we age. When you're 10 years old, a day compared to your lifetime is a significant amount of time, and thinking about a year later is considering a time that is one-tenth of your life. When you have a few more decades or more under your belt, that year is a smaller part of the whole. If you're 30, a year is only one-thirtieth of your life. A much smaller piece. Just having written more books, particularly in a series, removes the pressure of that one book to represent all of you as a writer. I had initial anxiety at writing the second book in my Canadian Werewolf series. Book two was more terrifying in some ways than book one because finally, after all this time, I had something good that I didn't want to ruin. Should I leave well enough alone? But I was asked to write a short story to a theme in an anthology, and using my main character from that first novel allowed me to discover I could have fun spending more time with these characters and this world. And I also realized that people wanted to read more about these characters. I didn't just want to write about them, but other people wanted to read about them too. And that makes the process so much easier to keep going with them. So one of the other benefits that helps to relax me as a writer working on a series is I have a better understanding of who my audience is, and who my readers are, and who will want this, and who will appreciate it. So I know what worked, I know what resonated with them, and I know I can give them that next thing. I have discovered that writing in a series is a far more relaxed way of understanding your target audience better. Because it's not just a single shot in the dark, it's a consistent on-going stream. Let me reflect on a bit of a caveat, because I'm not suggesting sticking to only a single series or universe. As writers, we have plenty of ideas and inspirations, and it's okay to embrace some of the other ones that come to us. When I think about the Canadian rock trio, Rush, a band that produced 19 studio albums and toured for 40 years, I acknowledge a very consistent band over the decades. And yet, they weren't the same band that they were when they started playing together, even though it was the same three guys since Neil Peart joined Geddy Lee and Alex Lifeson. They changed what they wrote about, what they sang about, themes, styles, approaches to making music, all of this. They adapted and changed their style at least a dozen times over the course of their career. No album was exactly like the previous album, and they experimented, and they tried things. But there was a consistency of the audience that went along with them. And as writers, we can potentially have that same thing where we know there are going to be people who will follow us. Think about Stephen King, a writer who has been writing in many different subjects and genres. And yet there's a core group of people who will enjoy everything he writes, and he has that Constant Reader he always keeps in mind. And so, when we write in a series, we're thinking about that constant reader in a more relaxed way because that constant reader, like our characters, like our worlds, like our universes, is like we're just returning to a comfortable, cozy spot where we're just going to hang out with some good friends for a bit. Or, as the contemplative Rush song Time Stand Still expresses, the simple comfort and desire of spending some quality time having a drink with a friend. Schedule time to fill the creative well and for rest and relaxation Mark: What we do as writers is quite cerebral, so we need to give ourselves mental breaks in the same way we need to sleep regularly. Our bodies require sleep. And it's not just physical rest for our bodies to regenerate, it's for our minds to regenerate. We need that to stay sane, to stay alive, to stay healthy. The reality for us as creatives is that we're writing all the time, whether or not we're in front of a keyboard or have a pen in our hand. We're always writing, continually sucking the marrow from the things that are happening around us, even when we're not consciously aware of it. And sometimes when we are more consciously aware of it, that awareness can feel forced. It can feel stressful. When you give yourself the time to just let go, to just relax, wonderful things can happen. And they can come naturally, never feeling that urgent sense of pressure. Downtime, for me, is making space for those magic moments to happen. I was recently listening to Episode 556 of The Creative Penn podcast where Joanna talked about the serendipity of those moments when you're traveling and you're going to a museum and you see something. And you're not consciously there to research for a book, but you see something that just makes a connection for you. And you would not have had that for your writing had you not given yourself the time to just be doing and enjoying something else. And so, whenever I need to resolve an issue or a problem in a project I'm writing, which can cause stress, I will do other things. I will go for a run or walk the dogs, wash the dishes or clean the house. Or I'll put on some music and sing and dance like nobody is watching or listening—and thank goodness for that, because that might cause them needless anxiety. The key is, I will do something different that allows my mind to just let go. And somewhere in the subconscious, usually the answer comes to me. Those non-cerebral activities can be very restorative. Yesterday, my partner Liz and I met her daughter at the park. And while we quietly waited, the two of us wordlessly enjoyed the sights and sounds of people walking by, the river in the background, the wind blowing through the leaves in the trees above us. That moment wasn't a purposeful, “Hey, we're going to chill and relax.” But we found about five minutes of restorative calm in the day. A brief, but powerful ‘Ah' moment. And when I got back to writing this morning, I drew upon some of the imagery from those few minutes. I didn't realize at the time I was experiencing the moment yesterday that I was going to incorporate some of that imagery in today's writing session. And that's the serendipity that just flows very naturally in those scheduled and even unscheduled moments of relaxation. Joanna: I separate this into two aspects because I'm good at one and terrible at the other! I schedule time to fill the creative well as often as possible. This is something that Julia Cameron advises in The Artist's Way, and I find it an essential part of my creative practice. Essentially, you can't create from an empty mind. You have to actively seek out ways to spark ideas. International travel is a huge part of my fiction inspiration, in particular. This has been impossible during the pandemic and has definitely impacted my writing. I also go to exhibitions and art galleries, as well as read books, watch films and documentaries. If I don't fill my creative well, then I feel empty, like I will never have another idea, that perhaps my writing life is over. Some people call that writer's block but I know that feeling now. It just means I haven't filled my creative well and I need to schedule time to do that so I can create again. Consume and produce. That's the balance you need in order to keep the creative well filled and the words flowing. In terms of scheduling time to relax instead of doing book research, I find this difficult because I love to work. My husband says that I'm like a little sports car that goes really, really fast and doesn't stop until it hits a wall. I operate at a high productivity level and then I crash! But the restrictions of the pandemic have helped me learn more about relaxation, after much initial frustration. I have walked in nature and lain in the garden in the hammock and recently, we went to the seaside for the first time in 18 months. I lay on the stones and watched the waves. I was the most relaxed I've been in a long time. I didn't look at my phone. I wasn't listening to a podcast or an audiobook. We weren't talking. We were just being there in nature and relaxing. Authors are always thinking and feeling because everything feeds our work somehow. But we have to have both aspects — active time to fill the creative well and passive time to rest and relax. “I go for lots of walks and hikes in the woods. These help me work out the kinks in my plots, and also to feel more relaxed! (Exercise is an added benefit!)” –T.W. Piperbrook Improve your writing process — but only if it fits with your lifestyle Joanna: A lot of stress can occur in writing if we try to change or improve our process too far beyond our natural way of doing things. For example, trying to be a detailed plotter with a spreadsheet when you're really a discovery writer, or trying to dictate 5,000 words per hour when you find it easier to hand write slowly into a journal. Productivity tips from other writers can really help you tweak your personal process, but only if they work for you — and I say this as someone who has a book on Productivity for Authors! Of course, it's a good idea to improve things, but once you try something, analyze whether it works for you — either with data or just how you feel. If it works, great. Adopt it into your process. If it doesn't work, then discard it. For example, I wrote my first novel in Microsoft Word. When I discovered Scrivener, I changed my process and never looked back because it made my life so much easier. I don't write in order and Scrivener made it easier to move things around. I also discovered that it was easier for me to get into my first draft writing and creating when I was away from the desk I use for business, podcasting, and marketing tasks. I started to write in a local cafe and later on in a co-working space. During the pandemic lockdown, I used specific playlists to create a form of separation as I couldn't physically go somewhere else. Editing is an important part of the writing process but you have to find what works for you, which will also change over time. Some are authors are more relaxed with a messy first draft, then rounds of rewrites while working with multiple editors. Others do one careful draft and then use a proofreader to check the finished book. There are as many ways to write as there are writers. A relaxed author chooses the process that works in the most effective way for them and makes the book the best it can be. Mark: When it comes to process, there are times when you're doing something that feels natural, versus times when you're learning a new skill. Consciously and purposefully learning new skills can be stressful; particularly because it's something we often put so much emphasis or importance upon. But when you adapt on-going learning as a normal part of your life, a natural part of who and what you are, that stress can flow away. I'm always about learning new skills; but over time I've learned how to absorb learning into my everyday processes. I'm a pantser, or discovery writer, or whatever term we can apply that makes us feel better about it. And every time I've tried to stringently outline a book, it has been a stressful experience and I've not been satisfied with the process or the result. Perhaps I satisfied the part of me that thought I wanted to be more like other writers, but I didn't satisfy the creative person in me. I was denying that flow that has worked for me. I did, of course, naturally introduce a few new learnings into my attempts to outline; so I stuck with those elements that worked, and abandoned the elements that weren't working, or were causing me stress. The thought of self-improvement often comes with images of blood, sweat, and tears. It doesn't have to. You don't have to bleed to do this; it can be something that you do at your own pace. You can do it in a way that you're comfortable with so it's causing you no stress, but allowing you to learn and grow and improve. And if it doesn't work but you force yourself to keep doing it because a famous writer or a six-figure author said, “this is the way to do it,” you create pressure. And when you don't do it that way, you can think of yourself as a failure as opposed to thinking of it as, “No, this is just the way that I do things.” When you accept how you do things, if they result in effectively getting things done and feeling good about it at the same time, you have less resistance, you have less friction, you have less tension. Constantly learning, adapting, and evolving is good. But forcing ourselves to try to be or do something that we are not or that doesn't work for us, that causes needless anxiety. “I think a large part of it comes down to reminding myself WHY I write. This can mean looking back at positive reviews, so I can see how much joy others get from my writing, or even just writing something brand new for the sake of exploring an idea. Writing something just for me, rather than for an audience, reminds me how much I enjoy writing, which helps me to unwind a bit and approach my projects with more playfulness.” – Icy Sedgwick You can find The Relaxed Author: Take the Pressure Off Your Art and Enjoy the Creative Journey on CreativePennBooks.com as well as on your favorite online store or audiobook platform, or order in your library or bookstore. The post The Relaxed Author Writing Tips With Joanna Penn and Mark Leslie Lefebvre first appeared on The Creative Penn.

Big new to cover this week with the pending Warner Bros purhcase. Plus we've got a slew of trailers to talk about that Penn definately "watched", and it's time to assess if we're truly ready for Avatar: Fire and Ash. Oh, and we didn't see Hamnet.    Be a part of the show! Email us at Podcast@PennCinema.com 

To kick off the first show in the brand new Urban One studios, Tanner Camp of the Regional Radio Sports Network calls in to talk about Penn vs Concord. Then, Kyle Roe, head coach of South Adams, breaks down his team’s win over Churubusco. Lastly, Kurt Darling from WMUN in Muncie had the rivalry between Delta and Yorktown. See omnystudio.com/listener for privacy information.

Jay Paterno - Son of Joe Pa, former Penn state coach and current Penn State Board Member - joins the pod to talk about the Penn State coaching search, the state of college football and his new book. Also - Sherrone Moore and Michigan. Duh. Later, College Football Playoff talk, NFL teams that Shea likes but shouldn't, and NFL teams that Shea doesn't like but should, Dylan's degen of the week, Emails - and of course - Phillip Rivers. Get it in yall. CODE for 20% off NicoKick.com orders: SHEAINIRV Sponsor Disclaimer: The views, opinions, and statements expressed by Shea in Irving are solely their views and do not necessarily reflect the views, opinions, or positions of Nicokick.com or its affiliates. WARNING: This product contains nicotine. Nicotine is an addictive chemical. Underage sale prohibited. link: https://nicokick.com/

This is a simple field recording of passenger hubbub and train announcements at Baltimore Penn Station which was constructed in 1911. They have recently updated the building and they have started to play classical music in the background which I personally adore. Note: Some people like to affectionately call the city "Bawlmer", thus the file is named "Bawlmer Penn". Recorded by Bill McKenna.

Matt had an experience at customer service the last day of his cruise (but not the kind you think), Penn got dressed for the premiere of Marty Supreme in L.A., the future of The Aristocrats, Penn and Goudeau are exercising again, and lots more.

While at this year's Magic At The Beach convention in Myrtle Beach, SC, one of the magicians who performed was my friend Trigg Watson. Trigg has performed on America's Got Talent [sic], Penn & Teller Fool Us, Masters of Illusion, just to mention a few of the television shows where he has appeared. He prefers performing in theaters where he has access to a large stage, a stage crew, and a strong Wi-Fi. He is best known for his avant garde performances employing high tech that is on the leading edge. He finds ways to present new technology in an entertaining way that looks like real magic. Throughout the ages, magicians have been in the forefront of using “modern” technology in their magic acts, but it is getting increasingly more difficult in today's world with our rapid communication. Everyone is getting “up to speed” much faster than in earlier times. View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize This week Trigg Watson shares his philosophy behind his act and how he keeps up with modern trends. He also discusses social trends and how media and magic has (and will) change. He always seems to keep his magic “fresh” meaning that he has to keep on the leading edge of technology before the rest of his audience has gotten there. Download this podcast in an MP3 file by Clicking Here and then right click to save the file. You can also subscribe to the RSS feed by Clicking Here. You can download or listen to the podcast through Pandora and SiriusXM (formerly Stitcher) by Clicking Here or through FeedPress by Clicking Here or through Tunein.com by Clicking Here or through iHeart Radio by Clicking Here. If you have a Spotify account, then you can also hear us through that app, too. You can also listen through your Amazon Alexa and Google Home devices. Remember, you can download it through the iTunes store, too. See the preview page by Clicking Here.

The Patina has a tense negotiation and the city fights back.Cast: - Marathon Messenger is played by Penn Van Batavia. She can be found on Twitter at @acquiredchaste and in drag as horror king JOHN on Instagram at @john.is.risen. Penn is an indie TTRPG designer whose most recent work includes SLICE *IT* OUT, a grisly carving RPG about cutting pieces of yourself out to fit in. Check out faer other work at pennharper.itch.io. - Cassidy Shard is played by Sydney Whittington. She is our wonderful editor. She's also a contributing editor and occasional guest player for the Orpheus Protocol, a cosmic horror espionage actual play podcast. Find her on Twitter at @sydney_whitt. - Emma Blackwood is played by Cameron Robertson. Find her on Twitter at @midnightmusic13 and on Instagram at @reading_and_dreaming. Cameron is also a player on Tabletop Squadron, a Star Wars Edge of the Empire actual play podcast. - Birdie Foundling is played by Kit Adames. Find her on Twitter at @venusvultures. Kit is also a voice actor and writer on Elevator Pitch Podcast, a queer genre-hopping anthology podcast that can be accessed on Spotify and YouTube. - Our GM and narrator is Nick Robertson. Find him on Twitter at @alias58. Nick is also the GM for Tabletop Squadron and can also be found as a player on the Orpheus Protocol.Music & Sound Credits: - This podcast features the musical talents of Dora Violet and Arne Parrott. You can find Dora at facebook.com/doraviolett. You can find Arne at atptunes.com. - old radio Channel search sound effect by Garuda1982. Link & License. - "Sekalaiset Miscellaneous » Sähköisiä räsähdyksiä / Electrical, short crackling, cracking, hissing sounds, like short-circuit, electric fault or electric shock, a close sound" by YleArkisto. Link & License. - "Ricochet" by ValhallaProject. Link & License. - Big Water by Sergey Cheremisinov. Link & License. - Lac des Arcs by Julia Kent. Link & License.Art Credits: - The official artwork for this podcast was created by Rashed AlAkroka, who can be found on Instagram and Artstation @rashedjrs.Find Us Online: - Our Website - Twitter - Join our Patreon - Join our Discord

If you're here for a perfectly curated tablescape, a stunning holiday gift guide, or expert tips on how to make your mantle look like the cover of a magazine… sweet friend, this is not that podcast. Welcome to the season of doing less, and honestly? It feels amazing.This week, I'm declaring a personal holiday revolution: I am officially going medium. No more crying on Christmas Eve because I tried to hand-bake, hand-tie, hand-craft, and hand-everything my way into the “perfect” holiday. Penn and I talk about the art of letting go, the magic of setting boundaries without apologizing, and why aluminum foil might be the world's most underrated wrapping paper.We also hear from you on Laugh Line including an unwanted-gift exchange that absolutely needs to be a nationwide movement and the emotional fallout of Presidential Physical Fitness Test. (Sidenote: "I lied or actively cheated" may be our most favorite line of the year.) Finally, we talk about holiday traditions of yesteryear and what we would bring back. This year, the cookies might be store-bought, the tree might be fake, the gifts might be wrapped at a solid C+, but the joy? The joy is staying.We love to hear from you (and tell us what you want in 2026!) leave us a message at 323-364-3929 or write the show at podcast@theholdernessfamily.com. You can also watch our podcast on YouTube.Visit Our ShopJoin Our NewsletterFind us on SubstackFollow us on InstagramFollow us on TikTok Follow us on FacebookLaugh Lines with Kim & Penn Holderness is an evolution of The Holderness Family Podcast, which began in 2018. Kim and Penn Holderness are award-winning online content creators known for their original music, song parodies, comedy sketches, and weekly podcasts. Their videos have resulted in over two billion views and over nine million followers since 2013. Penn and Kim are also authors of the New York Times Bestselling Books, ADHD Is Awesome: A Guide To (Mostly) Thriving With ADHD and All You Can Be With ADHD. They were also winners on The Amazing Race (Season 33) on CBS. Laugh Lines is hosted and executive produced by Kim Holderness and Penn Holderness, with original music by Penn Holderness. Laugh Lines is also written and produced by Ann Marie Taepke, and edited and produced by Sam Allen. It is hosted by Acast. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

In this episode, I sit down with Dr. Blair Feldman, former Phoenix Suns team orthodontist and co-founder of Retainer Club, to talk about everything from 3D printing and recurring revenue, to product innovation and mindset. Blair practiced for over 21 years, ran multiple startups, taught at AT Still, and ultimately made the leap to full-time entrepreneur after building a retainer program so effective, it demanded all of his attention.We dive deep into how Blair transformed a frustrating problem—retainer replacements—into a venture-backed fulfillment platform that supports ortho practices across the country. We also talk about how he helps orthodontists with product ideas that actually bring them to life, what he's learned from Entrepreneur's Organization (EO), and how to tell whether your big idea is a real business—or just a fun hobby.Quotes“It's a dirty secret in orthodontics: if patients stop wearing their retainers, their teeth move. Retainer Club was built to make sure that didn't happen—without creating more work for the practice.”— Dr. Blair Feldman“A patent is not a business. It's a tool. If you don't know what to do after the patent, then you don't have a plan—you have a prototype and a dream.”— Dr. Blair FeldmanKey TakeawaysIntro (00:00)From Penn to Detroit Mercy: why ortho won out over medicine (01:00)Blair's unusual journey into ortho—and architecture (01:35)Dental school culture at Penn and its impact on specialty training (02:27)21 years of experience: associate, buyer, builder, teacher, team ortho (17:10)The truth about being the “team orthodontist” for pro sports (17:58)How a casual idea about retainers turned into a funded business (20:30)Retainer Club: what it is, how it works, and who it's for (25:00)How recurring revenue + 3D printing changed the business model (22:40)Competitors vs. the real challenge: docs who think they're “fine” (26:43)Young orthodontists, hyper-efficiency, and outsourcing (28:25)Blair's passion for helping orthos bring product ideas to life (29:00)“Do you want a business, or just to see your idea in the real world?” (30:00)Advice on patents, investors, and entrepreneurial mindset (30:30)Additional ResourcesI've seen firsthand how a smart retainer program can transform your practice—financially and operationally. If you're tired of broken systems, endless remakes, or patients who stop coming back, Retainer Club might be exactly what you need.

Big K Hour 2: Farm Aid Details and Penn Sate's New Coach! full 1439 Tue, 09 Dec 2025 13:36:16 +0000 PHxZeIdRMIVg4qbqbLI4PMVX9kMrWRg4 news The Big K Morning Show news Big K Hour 2: Farm Aid Details and Penn Sate's New Coach! The Big K Morning Show 2024 © 2021 Audacy, Inc. News False https://player.amperwavepodcasting.

SUMMARY: People have interesting stories about music, as does our guest Mike Jones! Mike's got a podcast, The Stereo Image, where such stories are told, plus Mike is live recording a double album. We talk about working with Penn & Teller, creating player piano rolls, Piff's terrible taste in music, and Gilbert Gottfried's Penn impersonation. Also, a music Scoopardy and Paul's harrowing tales of winter.   SPONSOR: Listen to The Stereo Image with Mike Jones at www.thestereoimage.com and on most podcast platforms, plus catch Mike performing at Vic's Las Vegas, Monday, Dec 8th, at 7 and 9 pm.

To kick off the second hour, head coach of the Pike girls basketball team, coach Keith Hollins, calls in to breakdown his team’s 68-43 win over North Central. He’s also joined by team captain Marley Jeffers to talk about the win. Brandon Appleton of New Haven and Josh King of the Castle Lady Knights talk about their team’s losses before we cover Cambridge City Lincoln, Penn vs Carroll and Mt Vernon vs North Posey. Then, one of the most exciting games tonight was South Knox and North Knox, a contest that ended in a game-winner. Jim Ferris from South Knox joins to break it down. Park Heritage, Monroe Central and Corydon Central all get covered to round out the hour. See omnystudio.com/listener for privacy information.

In this episode I talk to a Pit Boss about what's been going on and ask for some honest information. I also talk about the crazy stuff that's been happening with Penn gaming and some sports betting companies. I don't make a lot of money in this episode but I learn a lot.

Penn. Gov. Josh Shapiro called Bull Bleep on Kamala Harris's excuses that she's using to cover her ass for losing the election.  Visit the Howie Carr Radio Network website to access columns, podcasts, and other exclusive content.

This episode was originally released on 11/1/2020. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes. ____________ In Breaking Walls episode 109 we continue our mini-series on the 1948-49 radio season by focusing on news and programming from Thanksgiving Day, 1948. —————————— Highlights: • Tex and Jinx for WNBC with photographer Robert Capa • John Nesbitt's Passing Parade for WOR while CBS broadcasts the Macy's parade • Cornell vs. Penn in the Turkey Bowl Game • Norma Young's Happy Homes for KHJ in Los Angeles • Let's Get Married with Bride and Groom on KECA • The Elgin Thanksgiving Special with Don Ameche • Dean Martin and Jerry Lewis with Vera Vague • Jack Benny Gets a Turkey on the Cheap — Signs A Big Contract with CBS • David Sarnoff Overplays his Hand • Fulton Lewis Jr. with the News from Mutual Broadcasting • Henry Aldrich's Turkey Run • Burns and Allen Loose a Wedding Ring • Pre-teen Margaret O'Brien Stars on Suspense • Casey, Crime Photographer's Holiday • James Hilton Hosts The Hallmark Playhouse with Free Land • Virginia Gregg and Willard Waterman Guest-Star on The First Nighter Program • Thanksgiving Leftovers and Looking Ahead to Christmas —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today's episode was: • On the Air — By John Dunning • Network Radio Ratings, 1932-53 — By Jim Ramsburg • The fantastic work by Doctor Joseph Webb on Suspense — https://sites.google.com/view/suspense-collectors-companion?fbclid=IwAR1L18Vl___MNGzqrDnJQd9fMgoyzxFboroMVC2akJBkfhDe5DHJHXgrYsE) Casey Crime Photographer — https://sites.google.com/view/ethelbertsarchives/home?fbclid=IwAR1MRDebzXn8uVYd36uaJBcwIcKV-PEu_IFMKOqOo12S38ka3UXlT39wAmo As well as articles from the archives of • Broadcasting Magazine • Radio Daily • The New York Times I'd also like to thank Mark Greenspan for supplying the audio from Penn vs. Cornell. —————————— On the interview front: • Virginia Gregg, Barbara Luddy, Margaret O'Brien, Olan Soule, Ezra Stone, Willard Waterman, and Don Wilson, were with Chuck Schaden. Hear their full chats at http://www.speakingofradio.com/ • Don Ameche, Hans Conried, Staats Cotsworth, John Gibson, Jan Miner, and Vincent Price were with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. Hear these at https://goldenage-wtic.org/ • Cedric Adams spoke with Jerry Lewis and Dean Martin in 1952. • Jack Poppele spoke with Westinghouse in 1970. • Jack Benny was interviewed for a 1972 PBS Documentary on Great Radio Comedians. • Barbara Walters spoke with George Burns in 1979. • Virginia Gregg spoke with SPERDVAC on August 14th, 1982. For more information, go to https://www.sperdvac.com/ —————————— Selected music featured in today's episode was: • Sleigh Ride and Jingle Bells — By Al Caiola, Riz Ortolani & Jimmy McGriff • Thanksgiving — By Michael Silverman • Greensleeves — By Steve Erquiaga • Night Pt. 1 - Snow — By George Winston • Deck The Halls — By J.P. Torres ——————————

This hour featured conversation about Vols recruiting and Penn state Coaches, and more...See omnystudio.com/listener for privacy information.

This hour featured conversation about Vols recruiting and Penn state issues, and more...See omnystudio.com/listener for privacy information.

Bill Cook has appeared on Penn & Teller: Fool Us, Masters of Illusion, an award-winning documentary, and is currently headlining cruise ships around the world. He started as a young teen magician in Chicago, working in nursing homes, and went to school to be a Foley Artist. Now he's on top of the world.

Message us!Join Whitley Penn's healthcare leaders as they recap key takeaways from our recent Dallas Healthcare Conference. In this episode, we dive into the biggest challenges facing the industry, workforce shortages, AI adoption and security, compliance crackdowns, and succession planning for private practices. Learn how these trends will shape healthcare in 2026 and what you can do to stay ahead. Read Jolee's white paper now: https://www.whitleypenn.com/healthcare-fraud-takedown-2025-gated/Highlighted Topics: - Key insights from panels on revenue cycle management, compliance, and leadership trends- Top Industry Challenges for 2026- Compliance & AI ImpactFill out this form to have new episodes sent right to your inbox! Follow Whitley Penn on LinkedIn, Instagram, Facebook, and X for more industry insights and thought leadership!

This hour featured conversation about Vols recruiting and Penn state issues, and more...See omnystudio.com/listener for privacy information.

This hour featured conversation about Vols recruiting and Penn state Coaches, and more...See omnystudio.com/listener for privacy information.

Jazz demon Mike Jones joins Penn, Matt, and Reddi via Zoom to talk his podcast, The Stereo Image (thestereoimage.com), and upcoming live trio recordings at Vic's Las Vegas on December 8. Plus, Penn gets some incredible news and then gets his hair cut by The Butcher, Matt’s act causes trouble with cruise ship security, a remarkable volunteer onstage at the big Penn & Teller show, and lots more.

(00:00) - Becoming a Physician(09:39) - Navigating Pre-Med College Life(17:20) - Navigating MD-PhD Gap Years(24:43) - Overcoming Challenges in McAt Preparation(35:31) - Choosing Medical Schools in New York(39:11) - Reflections on Pursuing MedicineGrowing up with a pediatrician aunt, Julia was captivated by the world of medicine from an early age. Her story is one of passion and perseverance, shaped by influential mentors and a deep love for science and biology. We explore how her early exposure to healthcare set her on a path marked by determination, from shadowing opportunities in high school to embracing the rigors of college science courses. Julia's journey is a testament to the profound impact of nurturing mentors and the power of early influences in shaping a lifelong commitment to the medical field.For those considering the premed track, the journey can be transformative, as experienced by a student who transitioned from Gonzaga University to the University of Pennsylvania. Initially drawn to Gonzaga for its small class sizes, they discovered a passion for neuroscience that led them to seek a university with more robust resources. At Penn, the pre-health office and a vibrant community of peers provided essential support, including MCAT preparation and research opportunities at CHOP. This narrative highlights the importance of aligning educational environments with personal aspirations and the value of a supportive academic community.The road to medicine is often fraught with challenges, notably the MCAT, which can test even the most dedicated students. Our candid discussion on the arduous journey of MCAT preparation reveals that struggles are common, but perseverance and strategic changes in study approaches can lead to success. For those pursuing an MD/PhD, like our guest, taking gap years to gain research experience can prove invaluable. Whether it's choosing the right medical school or overcoming skepticism from others, the journey demands resilience and alignment with one's passions. As we reflect on these stories, we hope to offer encouragement and guidance for future medical professionals navigating their unique paths.

Lola Kirke -- the actor and musician known for Mozart In The Jungle, Gone Girl, and her recent role in Sinners -- joins the hosts to discuss her fascinating upbringing in a family she describes as 'wolves,' her journey into country music, and the challenges of balancing an acting and music career. She also shares candid stories of growing up around rock stars, and spills the tea on what it's like to be Penn's sister-in-law. (Seriously, she's Penn's sister-in-law). Podcrushed listeners can grab Rosetta Stone’s LIFETIME Membership for 50% OFF at https://rosettastone.com/podcrushed. That’s unlimited access to 25 language courses, for life! Go to https://airalo.com and use code PODCRUSHED for 15% off your first eSIM. Terms apply. Check out our new book CRUSHMORE, out now! https://www.simonandschuster.com/books/Crushmore/Penn-Badgley/9781668077993

What do you get when a man hears a podcast, has an epiphany in his garage, and decides to educate millions of guys on TikTok about menopause? You get Jesse Robertson (the creator behind Husbands for Menopause) and one of our favorite conversations ever.This week on Laugh Lines, Penn and I sit down with Jesse to talk about how he started spiraling (in a good way!) into understanding menopause, better supporting his wife, and educating millions of men. Our conversation digs into why men absolutely need to be part of the menopause conversation, how to have more empathy for your spouse, and effective ways to communicate. We even brainstorm the very first Menopause Men's Choir (which is exactly as chaotic and delightful as it sounds) and laugh our way through “banana wrapper” moments that happen when your perimenopause brain cannot find the words.Enjoy the conversation, share this episode to your husband! Jesse believes with better understanding men can be more supportive—and after this episode, you'll believe it too. We love to hear from you, leave us a message at 323-364-3929 or write the show at podcast@theholdernessfamily.com. You can also watch our podcast on YouTube.Follow Jesse on InstagramVisit Our ShopJoin Our NewsletterFind us on SubstackFollow us on InstagramFollow us on TikTok Follow us on FacebookLaugh Lines with Kim & Penn Holderness is an evolution of The Holderness Family Podcast, which began in 2018. Kim and Penn Holderness are award-winning online content creators known for their original music, song parodies, comedy sketches, and weekly podcasts. Their videos have resulted in over two billion views and over nine million followers since 2013. Penn and Kim are also authors of the New York Times Bestselling Books, ADHD Is Awesome: A Guide To (Mostly) Thriving With ADHD and All You Can Be With ADHD. They were also winners on The Amazing Race (Season 33) on CBS. Laugh Lines is hosted and executive produced by Kim Holderness and Penn Holderness, with original music by Penn Holderness. Laugh Lines is also written and produced by Ann Marie Taepke, and edited and produced by Sam Allen. It is hosted by Acast. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

This episode features Dianne Na Penn, a senior product leader at Anthropic, discussing the launch of Claude Opus 4.5 and the evolution of frontier AI models. The conversation explores how Anthropic approaches model development—balancing ambitious capability roadmaps with user feedback, making strategic bets on areas like agentic coding and computer use while deliberately avoiding others like image generation. Dianne shares insights on the shifting nature of AI evaluation (moving beyond saturated benchmarks like SWE-bench toward more open-ended measures), the evolution of scaffolding from "training wheels" to intelligence amplifiers, and why she believes we're closer to transformative long-running AI than most people think. She also discusses Anthropic's distinctive culture of authenticity, the under appreciated benefits of model alignment for producing independent-thinking AI, and why the real bottleneck to AI agents isn't model capability anymore but product innovation. (0:00) Intro(0:57) Starting the Work on Opus 4.5(2:04) Model Capabilities and Surprises(5:59) Computer Use and Practical Applications(7:21) Pricing and Positioning(10:02) Customer Feedback and Early Access(16:44) The Reality of Enterprise Agents(18:47) Future of AI and Long-Running Intelligence(28:06) Anthropic's Culture and Decision Making(30:31) Key Decisions and Fun Moments(33:45) Quickfire With your co-hosts: @jacobeffron - Partner at Redpoint, Former PM Flatiron Health @patrickachase - Partner at Redpoint, Former ML Engineer LinkedIn @ericabrescia - Former COO Github, Founder Bitnami (acq'd by VMWare) @jordan_segall - Partner at Redpoint

My guest is Mark Kahn, Managing Partner at Omnivore, a $295 million venture capital firm investing in startups across agriculture, food, and the rural economy in India, focused on climate risk resilience.In this episode, we talk about how venture capital can be redesigned to fund climate adaptation in the real economy, and still deliver real returns.Mark shares what he's learned from over a decade investing in agritech and climate adaptation in India, and why institutional investors continue to underestimate the opportunity in emerging markets.We also discuss:how Omnivore balances financial returns with measurable impactwhy fintech for inclusion is key to rural transformationwhy fund managers need to build for climate resilience, not just growthTune in to hear why India may be the most logical and overlooked bet in climate-smart venture capital. And why it's time to fund adaptation before it's too late.—Intro (00:00)Childhood shaped by global curiosity and diversity (03:57)Disappointment with Penn's pre-professional culture (10:51)Burned out from early political consulting career (13:07)Harvard project with ITC ignites India focus (18:40)Omnivore's origin and spinout from Godrej Agrovet (27:26)Omnivore - high-level overview (35:09)Climate adaptation over mitigation in India (41:35)Investment strategy organized around four business models (43:24)Impact measurement - standardized IMM and field surveys (51:29)Agritech startups must mature into agribusinesses (58:21)Global capital still overlooks India's VC opportunities (01:02:20)India's life sciences sector limited by talent shortages (01:06:06)Alternative protein is culturally irrelevant for India (01:10:41)Agricultural subsidies need replacing with direct transfers (01:14:17)Rapid-fire questions (01:19:58)Contact info (01:23:31)— Discover More from SRI360°:Explore all episodes of the SRI360° Podcast Sign up for the free weekly email update —Additional Resources:Mark Kahn LinkedIn Omnivore Website

Why do some romance authors build decades-long careers while others vanish after one breakout book? What really separates a throwaway pen name and rapid release strategy from a legacy brand and a body of work you're proud of? How can you diversify with trad, indie, non-fiction, and Kickstarter without burning out—or selling out your creative freedom? With Jennifer Probst. In the intro, digital ebook signing [BookFunnel]; how to check terms and conditions; Business for Authors 2026 webinars; Music industry and AI music [BBC; The New Publishing Standard]; The Golden Age of Weird. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jennifer Probst is a New York Times, USA Today, and Wall Street Journal bestselling author of over 60 books across different kinds of romance as well as non-fiction for writers. Her latest book is Write Free. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. Show Notes How Jennifer started writing at age 12, fell in love with romance, and persisted through decades of rejection A breakout success — and what happened when it moved to a traditional publisher Traditional vs indie publishing, diversification, and building a long-term, legacy-focused writing career Rapid-release pen names vs slow-burn author brands, and why Jennifer chooses quality and longevity Inspirational non-fiction for writers (Write Naked, Write True, Write Free) Using Kickstarter for special editions, re-releases, courses, and what she's learned from both successes and mistakes – plus what “writing free” really means in practice How can you ‘write free'? You can find Jennifer at JenniferProbst.com. Transcript of interview with Jennifer Probst Jo: Jennifer Probst is a New York Times, USA Today, and Wall Street Journal bestselling author of over 60 books across different kinds of romance as well as non-fiction for writers. Her latest book is Write Free. So welcome, Jennifer. Jennifer: Thanks so much, Joanna. I am kind of fangirling. I'm really excited to be on The Creative Penn podcast. It's kind of a bucket list. Jo: Aw, that's exciting. I reached out to you after your recent Kickstarter, and we are going to come back to that in a minute. First up, take us back in time. Tell us a bit more about how you got into writing and publishing. Jennifer: This one is easy for me. I am one of those rarities. I think that I knew when I was seven that I was going to write. I just didn't know what I was going to write. At 12 years old, and now this will kind of date me in dinosaur era here, there was no internet, no information on how to be a writer, no connections out there. The only game in town was Writer's Digest. I would go to my library and pore over Writer's Digest to learn how to be a writer. At 12 years old, all I knew was, “Oh, if I want to be a famous writer, I have to write a book.” So I literally sat down at 12 and wrote my first young adult romance. Of course, I was the star, as we all are when we're young, and I have not stopped since. I always knew, since my dad came home from a library with a box of romance novels and got in trouble with my mum and said, basically, “She's reading everything anyway, just let her read these,” I was gone. From that moment on, I knew that my entire life was going to be about that. So for me, it wasn't the writing. I have written non-stop since I was 12 years old. For me, it was more about making this a career where I can make money, because I think there was a good 30 years where I wrote without a penny to my name. So it was more of a different journey for me. It was more about trying to find my way in the writing world, where everybody said it should be just a hobby, and I believed that it should be something more. Jo: I was literally just going back in my head there to the library I used to go to on my way home from school. Similar, probably early teens, maybe age 14. Going to that section and… I think it was Shirley Conran. Was that Lace? Yes, Lace books. That's literally how we all learned about sex back in the day. Jennifer: All from books. You didn't need parents, you didn't need friends. Amazing. Jo: Oh, those were the days. That must have been the eighties, right? Jennifer: It was the eighties. Yes. Seventies, eighties, but mostly right around in the eighties. Oh, it was so… Jo: I got lost about then because I was reminiscing. I was also the same one in the library, and people didn't really see what you were reading in the corner of the library. So I think that's quite funny. Tell us how you got into being an indie. Jennifer: What had happened is I had this manuscript and it had been shopped around New York for agents and for a bunch of publishers. I kept getting the same exact thing: “I love your voice.” I mean, Joanna, when you talk about papering your wall with rejections, I lived that. The only thing I can say is that when I got my first rejection, I looked at it as a rite of passage that created me as a writer, rather than taking the perspective that it meant I failed. To me, perspective is a really big thing in this career, how you look at things. So that really helped me. But after you get like 75 of them, you're like, “I don't know how much longer I can take of this.” What happened is, it was an interesting story, because I had gone to an RWA conference and I had shopped this everywhere, this book that I just kept coming back to. I kept saying, “I feel like this book could be big.” There was an indie publisher there. They had just started out, it was an indie publisher called Entangled. A lot of my friends were like, “What about Entangled? Why don't you try more digital things or more indie publishers coming up rather than the big traditional ones?” Lo and behold, I sent it out. They loved the book. They decided, in February of 2012, to launch it. It was their big debut. They were kind of competing with Harlequin, but it was going to be a new digital line. It was this new cutting-edge thing. The book went crazy. It went viral. The book was called The Marriage Bargain, and it put me on the map. All of a sudden I was inundated with agents, and the traditional publishers came knocking and they wanted to buy the series. It was everywhere. Then it hit USA Today, and then it spent 26 weeks on The New York Times. Everybody was like, “Wow, you're this overnight sensation.” And I'm like, “Not really!” That was kind of my leeway into everything. We ended up selling that series to Simon & Schuster because that was the smart move for then, because it kind of blew up and an indie publisher at that time knew it was a lot to take on. From then on, my goal was always to do both: to have a traditional contract, to work with indie publishers, and to do my own self-pub. I felt, even back then, the more diversified I am, the more control I have. If one bucket goes bad, I have two other buckets. Jo: Yes, I mean, I always say multiple streams of income. It's so surprising to me that people think that whatever it is that hits big is going to continue. So you obviously experienced there a massive high point, but it doesn't continue. You had all those weeks that were amazing, but then it drops off, right? Jennifer: Oh my goodness, yes. Great story about what happened. So 26 weeks on The New York Times, and it was selling like hotcakes. Then Simon & Schuster took it over and they bumped the price to their usual ebook price, which was, what, $12.99 or something? So it's going from $2.99. The day that they did it, I slid off all the bestseller lists. They were gone, and I lost a lot of control too. With indies, you have a little bit more control. But again, that kind of funnels me into a completely different kind of setup. Traditional is very different from indie. What you touched on, I think, is the biggest thing in the industry right now. When things are hot, it feels like forever. I learned a valuable lesson: it doesn't continue. It just doesn't. Maybe someone like Danielle Steel or some of the other big ones never had to pivot, but I feel like in romance it's very fluid. You have genres hitting big, you have niches hitting big, authors hitting big. Yes, I see some of them stay. I see Emily Henry still staying—maybe that will never pause—but I think for the majority, they find themselves saying, “Okay, that's done now. What's next?” It can either hit or not hit. Does that make sense to you? Do you feel the same? Jo: Yes, and I guess it's not just about the book. It's more about the tactic. You mentioned genres, and they do switch a lot in romance, a lot faster than other genres. In terms of how we do marketing… Now, as we record this, TikTok is still a thing, and we can see maybe generative AI search coming on the horizon and agentic buying. A decade ago it might have been different, more Facebook ads or whatever. Then before that it might have been something else. So there's always things changing along the way. Jennifer: Yes, there definitely is. It is a very oversaturated market. They talk about, I don't know, 2010 to 2016 maybe, as the gold rush, because that was where you could make a lot of money as an indie. Then we saw the total fallout of so many different things. I feel like I've gone through so many ups and downs in the industry. I do love it because the longer you're around, the more you learn how to pivot. If you want this career, you learn how to write differently or do whatever you need to do to keep going, in different aspects, with the changes. To me, that makes the industry exciting. Again, perspective is a big thing. But I have had to take a year to kind of rebuild when I was out of contract with a lot of things. I've had to say, “Okay, what do you see on the horizon now? Where is the new foundation? Where do you wanna restart?” Sometimes it takes a year or two of, “Maybe I won't be making big income and I cut back,” but then you're back in it, because it takes a while to write a few new books, or write under a pen name, or however you want to pivot your way back into the industry. Or, like you were saying, diversifying. I did a lot of non-fiction stuff because that's a big calling for me, so I put that into the primary for a while. I think it's important for authors to maybe not just have one thing. When that one thing goes away, you're scrambling. It's good to have a couple of different things like, “Well, okay, this genre is dead or this thing is dead or this isn't making money. Let me go to this for a little while until I see new things on the horizon.” Jo: Yes. There's a couple of things I want to come back to. You mentioned a pen name there, and one of the things I'm seeing a lot right now—I mean, it's always gone on, but it seems to be on overdrive—is people doing rapid-release, throwaway pen names. So there's a new sub-genre, they write the books really fast, they put them up under whatever pen name, and then when that goes away, they ditch that pen name altogether. Versus growing a name brand more slowly, like I think you and I have done. Under my J.F. Penn fiction brand, I put lots of different sub-genres. What are your thoughts on this throwaway pen name versus growing a name brand more slowly? Jennifer: Well, okay, the first thing I'm goign to say is: if that lights people up, if you love the idea of rapid release and just kind of shedding your skin and going on to the next one, I say go for it. As long as you're not pumping it out with AI so it's a complete AI book, but that's a different topic. I'm not saying using AI tools; I mean a completely AI-written book. That's the difference. If we're talking about an author going in and, every four weeks, writing a book and stuff like that, I do eventually think that anything in life that disturbs you, you're going to burn out eventually. That is a limited-time kind of thing, I believe. I don't know how long you can keep doing that and create decent enough books or make a living on it. But again, I really try not to judge, because I am very open to: if that gives you joy and that's working and it brings your family money, go for it. I have always wanted to be a writer for the long term. I want my work to be my legacy. I don't just pump out books. Every single book is my history. It's a marking of what I thought, what I put out in the world, what my beliefs are, what my story is. It marks different things, and I'm very proud of that. So I want a legacy of quality. As I got older, in my twenties and thirties, I was able to write books a lot faster. Then I had a family with two kids and I had to slow down a little bit. I also think life sometimes drives your career, and that's okay. If you're taking care of a sick parent or there's illness or whatever, maybe you need to slow down. I like the idea of a long-term backlist supporting me when I need to take a back seat and not do frontlist things. So that's how I feel. I will always say: choose a long, organic-growth type of career that will be there for you, where your backlist can support you. I also don't want to trash people who do it differently. If that is how you can do it, if you can write a book in a month and keep doing it and keep it quality, go for it. Jo: I do have the word “legacy” on my board next to me, but I also have “create a body of work I'm proud of.” I have that next to me, and I have “Have you made art today?” So I think about these things too. As you say, people feel differently about work, and I will do other work to make faster cash rather than do that with books. But as we said, that's all good. Interestingly, you mentioned non-fiction there. Write Free is your latest one, but you've got some other writing books. So maybe— Talk about the difference between non-fiction book income and marketing compared to fiction, and why you added that in. Jennifer: Yes, it's completely different. I mean, it's two new dinosaurs. I came to writing non-fiction in a very strange way. Literally, I woke up on New Year's Day and I was on a romance book deadline. I could not do it. I'll tell you, my brain was filled with passages of teaching writing, of things I wanted to share in my writing career. Because again, I've been writing since I was 12, I've been a non-stop writer for over 30 years. I got to my computer and I wrote like three chapters of Write Naked (which was the first book). It was just pouring out of me. So I contacted my agent and I said, “Look, I don't know, this is what I want to do. I want to write this non-fiction book.” She's like, “What are you talking about? You're a romance author. You're on a romance deadline. What do you want me to do with this?” She was so confused. I said, “Yes, how do you write a non-fiction book proposal?” And she was just like, “This is not good, Jen. What are you doing?” Anyway, the funny story was, she said, “Just send me chapters.” I mean, God bless her, she's this wonderful agent, but I know she didn't get it. So I sent her like four chapters of what I was writing and she called me. I'll never forget it. She called me on the phone and she goes, “This is some of the best stuff I have ever read in my life. It's raw and it's truthful, and we've got to find a publisher for this.” And I was like, “Yay.” What happened was, I believe this was one of the most beautiful full circles in my life: Writer's Digest actually made me an offer. It was not about the money. I found that non-fiction for me had a much lower advance and a different type of sales. For me, when I was a kid, that is exactly what I was reading in the library, Writer's Digest. I would save my allowance to get the magazine. I would say to myself, “One day, maybe I will have a book with Writer's Digest.” So for me, it was one of the biggest full-circle moments. I will never forget it. Being published by them was amazing. Then I thought I was one-and-done, but the book just completely touched so many writers. I have never gotten so many emails: “Thank you for saying the truth,” or “Thank you for being vulnerable.” Right before it published, I had a panic attack. I told my husband, “Now everybody's going to know that I am a mess and I'm not fabulous and the world is going to know my craziness.” By being vulnerable about the career, and also that it was specifically for romance authors, it caused a bond. I think it caused some trust. I had been writing about writing for years. After that, I thought it was one-and-done. Then two or three years later I was like, “No, I have more to say.” So I leaned into my non-fiction. It also gives my fiction brain a rest, because when you're doing non-fiction, you're using a different part of your brain. It's a way for me to cleanse my palate. I gather more experiences about what I want to share, and then that goes into the next book. Jo: Yes, I also use the phrase “palate cleanser” for non-fiction versus fiction. I feel like you write one and then you feel like, “Oh, I really need to write the other now.” Jennifer: Yes! Isn't it wonderful? I love that. I love having the two brains and just giving one a break and totally leaning into it. Again, it's another way of income. It's another way. I also believe that this industry has given me so much that it is automatic that I want to give back. I just want to give as much as possible back because I'm so passionate about writing and the industry field. Jo: Well, interestingly though, Writer's Digest—the publisher who published that magazine and other things—went bankrupt in 2019. You've been in publishing a long time. It is not uncommon for publishers to go out of business or to get bought. Things happen with publishers, right? Jennifer: Yes. Jo: So what then happened? Jennifer: So Penguin Random House bought it. All the Writer's Digest authors did not know what they were going to do. Then Penguin Random House bought it and kept Writer's Digest completely separate, as an imprint under the umbrella. So Writer's Digest really hasn't changed. They still have the magazine, they still have books. So it ended up being okay. But what I did do is—because I sold Write Naked and I have no regrets about that, it was the best thing for me to do, to go that route—the second and the third books were self-published. I decided I'm going to self-publish. That way I have the rights for audio, I have the rights for myself, I can do a whole bunch of different things. So Write True, the second one, was self-published. Writers Inspiring Writers I paired up with somebody, so we self-published that. And Write Free, my newest one, is self-published. So I've decided to go that route now with my non-fiction. Jo: Well, as I said, I noticed your Kickstarter. I don't write romance, so I'm not really in that community. I had kind of heard your name before, but then I bought the book and joined the Kickstarter. Then I discovered that you've been doing so much and I was like, “Oh, how, why haven't we connected before?” It's very cool. So tell us about the Kickstarters you've done and what you know, because you've done, I think, a fiction one as well. What are your thoughts and tips around Kickstarter? Jennifer: Yes. When I was taking that year, I found myself kind of… let's just say fired from a lot of different publishers at the time. That was okay because I had contracts that ran out, and when I looked to see, “Okay, do we want to go back?” it just wasn't looking good. I was like, “Well, I don't want to spend a year if I'm not gonna be making the money anyway.” So I looked at the landscape and I said, “It's time to really pull in and do a lot more things on my own, but I've got to build foundations.” Kickstarter was one of them. I took a course with Russell Nohelty and Monica Leonelle. They did a big course for Kickstarter, and they were really the ones going around to all the conferences and basically saying, “Hey guys, you're missing out on a lot of publishing opportunities here,” because Kickstarter publishing was getting good. I took the course because I like to dive into things, but I also want to know the foundation of it. I want to know what I'm doing. I'm not one to just wing it when it comes to tech. So what happened is, the first one, I had rights coming back from a book. After 10 years, my rights came back. It was an older book and I said, “You know what? I am going to dip my foot in and see what kind of base I can grow there. What can I do?” I was going to get a new cover, add new scenes, re-release it anyway, right? So I said, “Let's do a Kickstarter for it, because then I can get paid for all of that work.” It worked out so fantastically. It made just enough for my goal. I knew I didn't want to make a killing; I knew I wanted to make a fund. I made my $5,000, which I thought was wonderful, and I was able to re-release it with a new cover, a large print hardback, and I added some scenes. I did a 10-year anniversary re-release for my fans. So I made it very fan-friendly, grew my audience, and I was like, “This was great.” The next year, I did something completely different. I was doing Kindle Vella back in the day. That was where you dropped a chapter at a time. I said, “I want to do this completely different kind of thing.” It was very not my brand at all. It was very reality TV-ish: young college students living in the city, very sexy, very angsty, love triangles, messy—everything I was not known for. Again, I was like, “I'm not doing a pen name because this is just me,” and I funnelled my audience. I said, “What I'm going to do is I'm going to start doing a chapter a week through Kindle Vella and make money there. Then when it's done, I'm going to bundle it all up and make a book out of it.” So I did a year of Kindle Vella. It was the best decision I made because I just did two chapters a week, which I was able to do. By one year I had like 180,000 words. I had two to three books in there. I did it as a hardback deluxe—the only place you could get it in print. Then Vella closed, or at least it went way down. So I was like, “Great, I'm going to do this Kickstarter for this entire new thing.” I partnered with a company that helps with special editions, because that was a whole other… oh Joanna, that was a whole other thing you have to go into. Getting the books, getting the art, getting the swag. I felt like I needed some help for that. Again, I went in, I funded. I did not make a killing on that, but that was okay. I learned some things that I would have changed with my Kickstarter and I also built a new audience for that. I had a lot of extra books that I then sold in my store, and it was another place to make money. The third Kickstarter I used specifically because I had always wanted to do a writing course. I go all over the world, I do keynotes, I do workshops, I've done books, and I wanted to reach new writers, but I don't travel a lot anymore. So I came up with the concept that I was going to do my very first course, and it was going to be very personal, kind of like me talking to them almost like in a keynote, like you're in a room with me. I gathered a whole bunch of stuff and I used Kickstarter to help me A) fund it and B) make myself do it, because it was two years in the making and I always had, “Oh, I've got this other thing to do,” you know how we do that, right? We have big projects. So I used Kickstarter as a deadline and I decided to launch it in the summer. In addition to that, I took years of my posts from all over. I copied and pasted, did new posts, and I created Write Free, which was a very personal, essay-driven book. I took it all together. I took a couple of months to do this, filmed the course, and the Kickstarter did better than I had ever imagined. I got quadruple what I wanted, and it literally financed all the video editing, the books, everything that I needed, plus extra. I feel like I'm growing in Kickstarter. I hope I'm not ranting. I'm trying to go over things that can help people. Jo: Oh no, that is super useful. Jennifer: So you don't have to go all in and say, “If it doesn't fund it's over,” or “I need to make $20,000.” There are people making so much money, and there are people that will do a project a year or two projects a year and just get enough to fund a new thing that they want to do. So that's how I've done it. Jo: I've done quite a few now, and my non-fiction ones have been a lot bigger—I have a big audience there—and my fiction have been all over the place. What I like about Kickstarter is that you can do these different things. We can do these special editions. I've just done a sprayed-edge short story collection. Short story collections are not the biggest genre. Jennifer: Yes. I love short stories too. I've always wanted to do an anthology of all my short stories. Jo: There you go. Jennifer: Yes, I love that for your Kickstarter. Love it. Jo: When I turned 50 earlier this year, I realised the thing that isn't in print is my short stories. They are out there digitally, and that's why I wanted to do it. I feel like Kickstarter is a really good way to do these creative projects. As you say, you don't have to make a ton of money, but at the end of the day, the definition of success for us, I think for both of us, is just being able to continue doing this, right? Jennifer: Absolutely. This is funding a creative full-time career, and every single thing that you do with your content is like a funnel. The more funnels that you have, the bigger your base. Especially if you love it. It would be different if I was struggling and thinking, “Do I get an editor job?” I would hate being an editor. But if you look at something else like, “Oh yes, I could do this and that would light me up, like doing a course—wow, that sounds amazing,” then that's different. It's kind of finding your alternates that also light you up. Jo: Hmm. So were there any mistakes in your Kickstarters that you think are worth sharing? In case people are thinking about it. Jennifer: Oh my God, yes. So many. One big thing was that I felt like I was a failure if I didn't make a certain amount of money because my name is pretty well known. It's not like I'm brand new and looking. One of the big things was that I could not understand and I felt like I was banging my head against the wall about why my newsletter subscribers wouldn't support the Kickstarter. I'm like, “Why aren't you doing this? I'm supposed to have thousands of people that just back.” Your expectations can really mess with you. Then I started to learn, “Oh my God, my newsletter audience wants nothing to do with my Kickstarter.” Maybe I had a handful. So then I learned that I needed longer tails, like putting it up for pre-order way ahead of time, and also that you can't just announce it in your newsletter and feel like everybody's going to go there. You need to find your streams, your Kickstarter audience, which includes ads. I had never done ads either and I didn't know how to do that, so I did that all wrong. I joined the Facebook group for Kickstarter authors. I didn't do that for the first one and then I learned about it. You share backer updates, so every time you go into your audience with a backer update, there's this whole community where you can share with like-minded people with their projects, and you post it under your updates. It does cross-networking and sharing with a lot of authors in their newsletters. For the Write Free one, I leaned into my networking a lot, using my connections. I used other authors' newsletters and people in the industry to share my Kickstarter. That was better for me than just relying on my own fanbase. So definitely more networking, more sharing, getting it out on different platforms rather than just doing your own narrow channel. Because a lot of the time, you think your audience will follow you into certain things and they don't, and that needs to be okay. The other thing was the time and the backend. I think a lot of authors can get super excited about swag. I love that, but I learned that I could have pulled back a little bit and been smarter with my financials. I did things I was passionate about, but I probably spent much more money on swag than I needed to. So looking at different aspects to make it more efficient. I think each time you do one, you learn what works best. As usual, I try to be patient with myself. I don't get mad at myself for trying things and failing. I think failing is spectacular because I learn something. I know: do I want to do this again? Do I want to do it differently? If we weren't so afraid of failingqu “in public”, I think we would do more things. I'm not saying I never think, “Oh my God, that was so embarrassing, I barely funded and this person is getting a hundred thousand.” We're human. We compare. I have my own reset that I do, but I really try to say, “But no, for me, maybe I'll do this, and if it doesn't work, that's okay.” Jo: I really like that you shared about the email list there because I feel like too many people have spent years driving people to Kindle or KU, and they have built an email list of readers who like a particular format at a particular price. Then we are saying, “Oh, now come over here and buy a beautiful hardback that's like ten times the price.” And we're surprised when nobody does it. Is that what happened? Jennifer: Exactly. Also, that list was for a non-fiction project. So I had to funnel where my writers were in my newsletter, and I have mostly readers. So I was like, “Okay…” But I think you're exactly right. First of all, it's the platform. When you ask anybody to go off a platform, whether it's buy direct at your Shopify store or go to Kickstarter, you are going to lose the majority right there. People are like, “No, I want to click a button from your newsletter and go to a site that I know.” So you've got that, and you've got to train them. That can take some time. Then you've got this project where people are like, “I don't understand.” Even my mum was like, “I would love to support you, honey, but what the heck is this? Where's the buy button and where's my book?” My women's fiction books tend to have some older readers who are like, “Hell no, I don't know what this is.” So you have to know your audience. If it's not translating, train them. I did a couple of videos where I said, “Look, I want to show you how easy this is,” and I showed them directly how to go in and how to back. I did that with Kindle Vella too. I did a video from my newsletter and on social: “Hey, do you not know how to read this chapter? Here's how.” Sometimes there's a barrier. Like you said, Joanna, if I have a majority that just want sexy contemporary, and I'm dropping angsty, cheating, forbidden love, they're like, “Oh no, that's not for me.” So you have to know whether there's a crossover. I go into my business with that already baked into my expectations. I don't go in thinking I'm going to make a killing. Then I'm more surprised when it does well, and then I can build it. Jo: Yes, exactly. Also if you are, like both of us, writing across genres, then you are always going to split your audience. People do not necessarily buy everything because they have their preferences. So I think that's great. Now we are almost out of time, but this latest book is Write Free. I wondered if you would maybe say— What does Write Free mean to you, and what might it help the listeners with? Jennifer: Write Free is an extremely personal book for me, and the title was really important because it goes with Write Naked, Write True, and Write Free. These are the ways that I believe a writer should always show up to the page. Freedom is being able to write your truth in whatever day that is. You're going to be a different writer when you're young and maybe hormonal and passionate and having love affairs. You're going to write differently when you're a mum with kids in nappies. You're going to write differently when you are maybe in your forties and you're killing your career. Your perspective changes, your life changes. Write Free is literally a collection of essays all through my 30 years of life. It's very personal. There are essays like, “I'm writing my 53rd book right now,” and essays like, “My kids are in front of SpongeBob and I'm trying to write right now,” and “I got another rejection letter and I don't know how to survive.” It is literally an imprint of essays that you can dip in and dip out of. It's easy, short, inspirational, and it's just me showing up for my writing life. That's what I wish for everybody: that they can show up for their writing life in the best way that they can at the time, because that changes all the time. Jo: We can say “write free” because we've got a lot of experience at writing. I feel like when I started writing—I was an IT consultant—I literally couldn't write anything creative. I didn't believe I could. There'll be people listening who are just like, “Well, Jennifer, I can't write free. I'm not free. My mind is shackled by all these expectations and everything.” How can they release that and aim for more freedom? Jennifer: I love that question so much. The thing is, I've spent so many years working on that part. That doesn't come overnight. I think sometimes when you have more clarification of, “Okay, this is really limiting me,” then when you can see where something is limiting you, at least you can look for answers. My answers came in the form of meditation. Meditation is a very big thing in my life. Changing my perspective. Learning life mottos to help me deal with those kinds of limitations. Learning that when I write a sex scene, I can't care about my elderly aunt who tells my mother, “Dear God, she ruined the family name.” It is your responsibility to figure out where these limitations are, and then slowly see how you can remove them. I've been in therapy. I have read hundreds of self-help books. I take meditation courses. I take workshop courses. I've done CliftonStrengths with Becca Syme. I don't even know if that's therapy, but it feels like therapy to me as a writer. Knowing my personality traits. I've done Enneagram work with Claire Taylor, which has been huge. The more you know yourself and how your brain is showing up for yourself, the more you can grab tools to use. I wish I could say, “Yes, if everybody meditates 30 minutes a day, you're going to have all blocks removed,” but it's so personal that it's a trick question. If everybody started today and said, “Where is my biggest limitation?” and be real with yourself, there are answers out there. You just have to go slowly and find them, and then the writing more free will come. I hope that wasn't one of those woo-woo answers, but I really do believe it. Jo: I agree. It just takes time. Like our writing career, it just takes time. Keep working on it, keep writing. Jennifer: Yes. And bravery, right? A lot of bravery. Just show up for yourself however you can. If “write free” feels too big, journal for yourself and put it in a locked drawer. Any kind of writing, I think, is therapeutic too. Jo: Brilliant. So where can people find you and your books and everything you do online? Jennifer: The best place to go is my website. I treat it like my home. It's www.JenniferProbst.com. There is so much on it. Not just books, not just free content and free stories. There's an entire section just for writers. There are videos on there. There are a lot of resources. I keep it up to date and it is the place where you can find me. Of course I'm everywhere on social media as Author Jennifer Probst. You can find me anywhere. I always tell everybody: I answer my messages, I answer my emails. That is really important to me. So if you heard this podcast and you want to reach out on anything, please do. I will answer. Jo: Fantastic. Well, thanks so much for your time, Jennifer. That was great. Jennifer: Thanks for having me, Joanna.The post Writing Free: Romance Author Jennifer Probst On A Long-Term Author Career first appeared on The Creative Penn.

ATLP Rewind - Originally Released October 29, 2024They say that music can bring people together, and, in the case of Joey Giunto, it can also lead to meeting your model railroad mentor. On this episode of Around The Layout, Joey shares his model railroading journey and how a music gig led him to meeting a great friend and how they lifted each other up in the hobby. Joey also shares how, after his mentor's passing, he keeps his memory alive through his modeling efforts.Thank you to our episode sponsor, Oak Hill Model Railroad Track Supply:https://ohrtracksupply.com/Thank you to our episode sponsor, ScaleSigns.com:https://scalesigns.com/Thank you to our episode sponsor, Home Shops:https://homeshops.net/

Check out my sit down with Penn Trafford HC. Travis McKillop

Recorded live at Zibby's Bookshop pop-up in NYC, guest host and author Emma Rosenblum interviews viral content creators and New York Times bestselling authors Kim and Penn Holderness about their joyful new picture book, ALL YOU CAN BE WITH ADHD. They share the inspiration behind writing a kids' edition after the success of their adult book, reflect on the families and young readers who motivated them, and talk about the importance of helping children feel seen, confident, and understood. Penn also opens up about his own childhood experiences with undiagnosed ADHD, and how having a book like this might have changed everything for him.Share, rate, & review the podcast, and follow Zibby on Instagram @zibbyowens!** Follow @totallybookedwithzibby on Instagram for listening guides and more. **(Music by Morning Moon Music. Sound editing by TexturesSound. To inquire about advertising, please contact allie.gallo@acast.com.) Hosted on Acast. See acast.com/privacy for more information.

We welcome Lafayette's own master of illusion, Devon Faul, one of Acadiana's most captivating magicians. Devon is known for blending sleight of hand with a deep sense of showmanship to create experiences that leave audiences spellbound. From close-up moments to full stage performances, Devon brings a unique blend of creativity, humor, and heart to his craft. We explore his journey into magic, the discipline required to master illusion, and the universal connection he creates through wonder and surprise. The Universal Language of Wonder Devon says that people of all ages speak the universal language of wonder and awe. In today's world, he believes many people don't get that feeling as often as they used to because everyone's kind of in survival mode. Magic, for him, is a way to reach out to people in a universal way and give them a feeling that they haven't had before, one that reaches you on a deeper level. Magic for Devon is “the human condition, psychology, philosophy, struggles, triumph.” Day Job at Stuller Devon’s day job is work at Stuller, the largest jewelry manufacturer and distributor in North America headquartered in Lafayette. He calls it “kind of a dream,” explaining that they take people seriously and foster an environment where employees “feel like you can be a person. I'm super lucky to be working with them.” How Magic Began: “A Place of Vulnerability” Devon began devoloping his magic craft at age ten years of age, but not in the traditional way. He didn't get hooked by a magic kit or a grandparent pulling a coin from behind his ear. Instead, he says “it actually started because my dad was in the oil field, so we moved a lot”—Wyoming, Louisiana, Virginia, Pennsylvania, Texas.” “I was always the weird, quiet, out-of-state kid. You know, Wyoming people are very different than Louisiana people, who are very different from Virginia people. It’s like their own countries. Each state is its own territory.” Frequent moves and feeling out of place led to bullying: “People want to tear down that which they do not understand.” As a ten-year-old, he imagined that maybe people wouldn't bully him “if I had superpowers, if I could become Superman.” Magic became “the closest thing to superpowers,” a way to bridge gaps, build confidence, and connect. Early Magic: Cards, Psychology, and Possibilities Devon started with card tricks, “kind of everyone's entry point.” He explained that card magic involves numbers, memory, psychology, and timing. “It’s getting used to handling a deck of cards just like any tool.” He shares one of the mathematical realities that inspired him: If you shuffle a 52-card deck, “no deck has ever been in that exact order, and statistically, no deck in the future ever will be.” The concept mesmerized him: “It's math, science and statistics and psychology.” “You get into, like, this weird area of random knowledge. For example, if you have a deck of 52 cards, figure out numerically how many possibilities are on a deck of cards. It is mathematically 52 factorial, which is 52 times 51 times 50, all the way down to one. Which means if you shuffle a deck of cards in the history of a deck of cards, no deck has ever been in that exact order. And statistically, no deck in the future ever will be in that exact order. It is a deck of cards and magic, but it’s also math, science and statistics. So, you start off with card tricks and then you branch into anything and everything from there.” Rejecting Gimmicks: “I Pride Myself on My Sleight of Hand” While some magicians use trick decks, Devon says, “I pride myself on my sleight of hand. I don't ever want to be reliant on any kind of apparatus. That's not magic.” He wants spectators to be able to inspect anything he uses. “Magic will come for those who seek it. I’ve always told people I don’t have any special capabilities that anyone else can’t develop. I just put in the time, the energy and the effort. Everyone wants the view from the top of the mountain, but very few people want to actually climb the mountain. And so it’s the destination, but it’s also more so the journey. So once you get the knack for cards and you develop that dexterity, then you see other things that are maybe more visual.” Learning Through YouTube and Persistence Devon began learning magic through YouTube “when I was like 9 or 10.” Some tricks came easily; others took relentless practice. “The cool thing about magic is that it kind of compounds a little bit… it builds the dexterity in your hand to then be able to do something totally different.” Beyond Cards: Ropes, Coins, Rings, and Mentalism Devon performs with cards, coins, rings, ropes, and also does mentalism—“reading minds.” He studied reading systems and even tarot, not spiritually, but “as a way to understand it for what it is.” He notes that ancient magicians, including shamans and the oracle at Delphi, used magic to bring people spiritual well-being and peace of mind, much like the psychological effects we recognize today. Magic as a Fine Art Devon believes magic belongs alongside poetry, storytelling, and painting. “Magic is so pervasive through human history,” he says, describing innovators like Jean Eugene Robert-Houdin and the famed Light and Heavy Chest illusion. “The effect would be that the magician might be able to lift the box. But when the box is set back down, no other spectator could lift it. Or maybe a child could lift it, but no adult could.“ This magician has been rumored to have stopped a violent revolt in Algeria that threatened to erupt into a full-scale war with France. In 1856, the French government commissioned him to perform his magic for Algerian tribal chiefs, who were being incited to rebellion by religious leaders claiming magical powers. Houdin’s show of superior illusion, including catching a bullet and the light and heavy chest trick, demoralized the rival magicians and quelled the uprising.  Defining Magic: “Perception Is Reality” Devon sees magic as the art of altering perception: “Magic is about perception… because perception is reality.” While science says matter cannot be created or destroyed, “a magician pulls a coin out of thin air.” The illusion forces us to confront the gap between what is real and what seems real. Close-Up, Parlor, Stage, and Specialization Devon explains that magicians often specialize in: Close-Up — his specialty Parlor Stage magic (Criss Angel, David Copperfield) Escapism Mentalism He prefers close-up and parlor for the “intimacy” they create. Silent Magic: Lessons from Teller Devon admires Penn & Teller. Teller doesn't speak because “he found that the magic would speak for itself.” Devon notes that magicians unconsciously build misdirection into speech patterns, but Teller proves that “you could say absolutely nothing and let the magic speak for itself.” At 28: “Overwhelming, but in the Best Way” Devon loves connecting with people: “We all have stories… we're like screaming, this is me, this is who I am.” Magic allows him to meet people and share meaningful experiences, because “none of us make it out alive… we're all in the same playing field.” His signature maroon velvet suit and handlebar mustache? It's intentional: “I love the vaudeville style of magic.” And yes—he wears velvet suit to work: “Oh, absolutely.” “Being a Magician Is a Mindset” Devon says: “Being a magician is not necessarily just a career choice… It's a mindset.” A magician is “someone who creates their universe,” seeks knowledge, solves problems from new angles, and explores what is “possible versus impossible.” Magic teaches him to “tear open the fabric of reality for just a split second.” Magic in the Workplace: Connecting People Devon explains that magic at corporate events can make “two people who have been working together for ten years and just never seen each other” suddenly bond. Magic creates conversations that lead to genuine connection. “Magic speaks to everyone… it's arguably unmatched in that regard.” Hypnosis: A Surprising First Attempt Devon once hypnotized his cousin after practicing from YouTube tutorials. Her hand stuck to the wall—so convincingly that “the genuine look of concern in her eyes told me, oh wait, this might be real.” When he released her, “you could hear the sound of her hand coming off the wall.” She told him, “my brain was telling my hand to move and it wouldn't respond.” He explains that hypnosis is misunderstood but real, sharing examples like highway hypnosis while driving and gut-level decisions. Magic's Origins in Misdirection and Thievery Devon discusses how the same psychological tools magicians use were once used by pickpockets and con artists. He references a historic painting depicting the cups and balls trick—“the oldest trick in the book”—where someone is performing magic while a thief steals a nearby spectator's purse.”“In the ancient times of the Pharaoh, slaves would do magic tricks to distract the Pharaoh while others would sneak in and steal food. Some of the oldest magic tricks were removing the head of a goose and then reattaching it. And then the goose would walk or fly away.” https://www.youtube.com/watch?v=GZGY0wPAnus Devon also discussed a modern day master of deception, Apollo Robbins, who is one of the world’s leading experts on pickpockets and confidence crimes. Robbins made national news as the man who pick-pocketed the Secret Service while entertaining former U.S. president Jimmy Carter. He uses pick-pocketing and sleight-of-hand to demonstrate proximity manipulation, diversion techniques and attention control. Devon explained the science behind misdirection used by magicians: “There’s this little guy in your head and he’s running the security cameras and he sees everything, but he still has blind spots. You can only take in so much information at one time, and you don’t know what you don’t know. You can’t see what you can’t see. So there are times where if you’re looking here, something is happening elsewhere, or I’m setting something up in ten minutes, but because you don’t know what’s happening, you don’t know that me rubbing my nose is going to be something that helps me in like ten minutes. So there is like a core tool set, psychology.” Visit https://devonfaul.com/ or call 337-366-2014 to contact Devon Faul.

The launch of ChatGPT in 2022 sparked an “AI arms race” with trillions of dollars in investment and profound implications for productivity and employment. For a discussion of how generative AI and related technologies are reshaping public sector operations, workforce needs, and infrastructure planning, Penn IUR and the Volcker Alliance convened a panel of government, academic, and industry experts for “Special Briefing on AI in Government—More Efficiency but Fewer Workers” on November 20, 2025. William Glasgall, Penn IUR Fellow and Volcker Alliance Public Finance Adviser, Susan Wachter, Co- Director of Penn IUR and Wharton professor, and our expert panel discuss the state of America's infrastructure and how some states are developing strategies to better identify and fund needed investments. Panelists include: • Jon Hartley, Policy Fellow, Hoover Institution • Leigh Palmer, Vice President, Google Public Sector LLC • Megan Kilgore, City Auditor, City of Columbus, Ohio • Howard Neukrug, Executive Director, The Water Center at Penn and Professor of Practice, Department of Earth and Environmental Science, University of Pennsylvania • Thomas Sanchez, Professor, Landscape Architecture and Urban Planning, Texas A&M University NOTABLE QUOTES Hartley: “As of the end of September, about 37 percent of American workers claim to be using generative AI at work.” Hartley: “I think it's still a TBD in terms of what the overall labor market impact is going to be, but I think we're just in some of the early innings of what's a much longer baseball game.” Palmer: “We're just at the tip of the iceberg on the potential for this technology.” Kilgore: “We need more GOATs—not sheep. People who are curious, courageous, and willing to climb into unfamiliar terrain as technology reshapes how we're constantly working and ultimately serving the public.” Kilgore: “We need to view building human infrastructure as well as investing in forward-thinking AI technology as on the same level of vitality as investing in that traditional form of hard infrastructure… Equally as important, governments have to start investing in the skills necessary to allow our public sector leaders and our workers here to really use those tools well: data literacy, ethical reasoning, and creative problem solving. I do believe AI will absolutely redefine public service.” Neukrug: “AI-powered digital twins can simulate entire water networks, helping planners test technologies virtually before real-world deployment, saving time and resources.” Hartley: “Conditional on using generative AI to complete a task, roughly two-thirds of the time that would traditionally be dedicated to that task is saved."

Penn recounts a surprising audience interaction re-reading his journal, new and old tricks for Piff and Pop's Magic Shoppe, Penn and Matt's thoughts on gambling, bits with Reddi Rich, and lots more.

The Patina runs into more trouble as they try to reach the city core.Cast: - Marathon Messenger is played by Penn Van Batavia. She can be found on Twitter at @acquiredchaste and in drag as horror king JOHN on Instagram at @john.is.risen. Penn is an indie TTRPG designer whose most recent work includes SLICE *IT* OUT, a grisly carving RPG about cutting pieces of yourself out to fit in. Check out faer other work at pennharper.itch.io. - Cassidy Shard is played by Sydney Whittington. She is our wonderful editor. She's also a contributing editor and occasional guest player for the Orpheus Protocol, a cosmic horror espionage actual play podcast. Find her on Twitter at @sydney_whitt. - Emma Blackwood is played by Cameron Robertson. Find her on Twitter at @midnightmusic13 and on Instagram at @reading_and_dreaming. Cameron is also a player on Tabletop Squadron, a Star Wars Edge of the Empire actual play podcast. - Birdie Foundling is played by Kit Adames. Find her on Twitter at @venusvultures. Kit is also a voice actor and writer on Elevator Pitch Podcast, a queer genre-hopping anthology podcast that can be accessed on Spotify and YouTube. - Our GM and narrator is Nick Robertson. Find him on Twitter at @alias58. Nick is also the GM for Tabletop Squadron and can also be found as a player on the Orpheus Protocol.Music & Sound Credits: - This podcast features the musical talents of Dora Violet and Arne Parrott. You can find Dora at facebook.com/doraviolett. You can find Arne at atptunes.com. - old radio Channel search sound effect by Garuda1982. Link & License. - Metal_heavy_punch_with_crunch_and_glass_debris_sounds_08242024 by Artninja. Link & License. - Whistle, Finger, Long, A.wav by InspectorJ. Link & License. - explosive_punchy_rock_impacts_fate_stay_night_HF_inspired_11162025 by Artninja. Link & License. - gunshot.wav by mark646. Link & License. - Running Eiskrokodil (ID 01) - Remastered by Lobo Loco. Link & License. - Recognize Greatness by The Oracle Of St. Vincent. Link & License.Art Credits: - The official artwork for this podcast was created by Rashed AlAkroka, who can be found on Instagram and Artstation @rashedjrs.Find Us Online: - Our Website - Twitter - Join our Patreon - Join our Discord

In this episode, Travis and producer Eric dive into breaking sports media news: ESPN and Penn Entertainment unwinding their $2 billion, 10-year ESPN Bet partnership just two years after launch and pivoting into a new multi-year deal with DraftKings. They unpack what this says about ESPN's fading dominance, DraftKings' position as the default sportsbook brand, and how Barstool founder Dave Portnoy continues to land on his feet after Penn sold Barstool back to him and rebranded to ESPN Bet. Along the way, they draw parallels to Disney's evolving “family-friendly” branding strategy, the broader shift from legacy TV to social-first sports media, and why product quality and user behavior matter more than just a big name.​​ On this episode we talk about: The stunning early termination of the ESPN–Penn Entertainment $2B, 10-year ESPN Bet deal, effective December 1, 2025, after ESPN Bet failed to crack meaningful market share.​ Why ESPN Bet reportedly struggled to get above ~5% market share and never hit “top three” sportsbook status despite ESPN's massive brand and distribution.​ Penn's prior Barstool Sports era, regulatory pushback tied to Portnoy's persona, and how Penn sold Barstool back to Dave Portnoy as it pivoted to the ESPN Bet rebrand.​​ Portnoy's reaction on his own show, why he thinks time will tell if this is a good move for DraftKings, and his hint that Disney CEO Bob Iger made unflattering comments about Barstool behind the scenes.​ How Disney's move from “no R-rated content” on Disney+ to hosting edgier, R-rated films via the Hulu integration shows a slow but real shift away from a strictly squeaky-clean image.​ Why even a giant like ESPN can't just slap its logo on a product and win—especially when users already love DraftKings and other established betting apps.​ The rise of social-native sports brands like House of Highlights and Barstool Sports, and how short-form content has replaced traditional SportsCenter viewing for many fans.​​ Jake Paul's “Betr” (Better) and other creator-led betting and media plays, and how having the ear of younger fans changes the balance of power in sports media.​ Why product quality, UX, and habit lock-in often beat legacy branding, even when legacy outlets still dominate live rights and TV distribution.​ A quick detour into the best sports movies of all time—Hoosiers, Remember the Titans, Warrior, Rocky, Moneyball, and more—and what they reveal about the nostalgia we still attach to sports storytelling. Top 3 Takeaways Big legacy brands like ESPN and Disney can no longer rely on their name alone; in crowded categories like sports betting, sticky products and fan-favorite platforms like DraftKings are extremely hard to displace.​ Controversial personalities like Dave Portnoy can create regulatory and brand headaches, but they also build cult followings and resilient IP—Barstool's rebound and Portnoy's “$1 buyback” remain a masterclass in leverage.​​ The future of sports attention is social-first and creator-driven: fans increasingly get their highlights, hot takes, and sometimes even betting cues from digital-native brands rather than traditional TV networks.​​

Scott Green joins us on the podcast this week.Scott was the winner of contest #962 (Octopus Pilot) and heard us on the podcast talking about it. He contacted us to see if we'd have him on to discuss the caption and his unique way of coming up with captions (it was his first time entering the contest, so  his method seems to work!)Scott is also an accomplished magician (he has appeared on Penn & Teller's Fool Us), comedian and a frequent game show contestant. We talk about all this and more!You can check out Scott's website here:https://www.scottgreenmagic.comSee his Penn & Teller appearance here:https://www.youtube.com/@ScottGreenMagicBuy his book, "Excellence in Family Magic", here:https://www.amazon.com/Excellence-Family.../dp/1548665223And see a couple of game show appearances here:https://www.youtube.com/playlist...Scott also joins us to discuss the current contests:Winning captions for New Yorker contest #966 (I'm paranoid because everybody knows my name)Finalists for contest #968 (Teacher's pets)Current New Yorker contest #970 (Dewey Dismal System)We also talk about our favorite cartoons from the current issue of the New Yorker.You can buy original New Yorker cartoon art at Curated Cartoons:https://www.curatedcartoons.comSend us questions or comments to:  Cartooncaptioncontestpodcast@gmail.com

Initially, Kal Penn was hesitant to do a podcast because “every actor has a podcast.” Fortunately for us, he created Here We Go Again, focused on why history keeps repeating itself. “I loved the fact that you could talk about history repeating itself through pop culture, through politics. But it's not a political podcast by any means.” That said, Penn, an actor who took a break from Hollywood to work in the Obama administration, still very much has a foot in advocacy. “If you wanna go through the death spiral of social media and make yourself anxious,” go for it, he says, but he's not going to join. Instead, he's going to invite people to “come knock on doors...it's gonna move the needle on real conversations.” And one thing fans continue to discuss is their love for his Harold & Kumar franchise. Recounting a time he ran into political adviser Karl Rove and found out he was a fan, Penn realized, “as long as we stay truthful to the characters, the hope is that as polarized as this world is, we can still make a movie for everybody.” See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's Thanksgiving week, which means two things: delicious food and at least one unhinged opinion... or several. Here's the deal, the estrogen has left my body and my perimenopause is gonna tell it like it is. Penn and I dive headfirst into all things turkey season, like why I start Christmas music in November, whether turkey is actually just a gravy delivery system, and why perimenopause isn't so bad.We revisit the USPS uniform - thanks to an absolutely iconic voicemail from a mail carrier named Andy. (Do we need Ralph Lauren and Glen Powell to step in? I think so.) Add in a little not-sponsored peanut brittle, Penn revealing he's a thigh guy, and one dramatic gas company saga where we got gaslit - and you've got yourself quite the holiday special.Whether you're prepping mashed potatoes, sitting in traffic, or hiding from your family in a guest room—come hang out with us. I even share my favorite Thanksgiving table conversation starters. (There are some below if you're looking for topics!) We love to hear from you, leave us a message at 323-364-3929 or write the show at podcast@theholdernessfamily.com. You can also watch our podcast on YouTube.Get Uncle Rusty's Peanut Brittle Questions for Thanksgiving:1. If you started a rock band, what would your name be?2. Did you ever want to change your first name?3. Have you ever had a psychic reading? Was it accurate?4. If you could meet one fictional character, who would it be?5. What was your proudest moment from this past year?6. What was your worst haircut/hairstyle of all time?7. What's the strangest date you've ever been on?8. What's your personal anthem or theme song?9. Are there any chores you secretly enjoy?10. What is the trashiest TV show that you love?11. What is your favorite charity?Visit Our ShopJoin Our NewsletterFind us on SubstackFollow us on InstagramFollow us on TikTok Follow us on FacebookLaugh Lines with Kim & Penn Holderness is an evolution of The Holderness Family Podcast, which began in 2018. Kim and Penn Holderness are award-winning online content creators known for their original music, song parodies, comedy sketches, and weekly podcasts. Their videos have resulted in over two billion views and over nine million followers since 2013. Penn and Kim are also authors of the New York Times Bestselling Books, ADHD Is Awesome: A Guide To (Mostly) Thriving With ADHD and All You Can Be With ADHD. They were also winners on The Amazing Race (Season 33) on CBS. Laugh Lines is hosted and executive produced by Kim Holderness and Penn Holderness, with original music by Penn Holderness. Laugh Lines is also written and produced by Ann Marie Taepke, and edited and produced by Sam Allen. It is hosted by Acast. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Overview Evelyn Eddy Shoop PMHNP-BC joins Psychedelics Today to share her journey from Division I athlete to psychiatric mental health nurse practitioner and psilocybin research participant. In this conversation, she explains how sports injuries, OCD, and intensive treatment led her into psychiatry and eventually into a psilocybin clinical trial at Yale. Her story weaves together lived experience, clinical training, and a call for more humane systems of care and better qualitative data in psychedelic science. Early Themes: Injury, OCD, and Choosing Psychiatry Early in the episode, Evelyn Eddy Shoop PMHNP-BC describes how multiple season ending injuries in college and serious mental health stressors in her family pushed her to rethink her life path. Originally pre vet, she stepped away from veterinary medicine after realizing she could not tolerate that environment. During a semester off for surgery and mental health, she completed intensive outpatient treatment and family therapy. That time showed her how powerful psychological work could be. It also reawakened a long standing curiosity about the brain, consciousness, and human experience. This led her to switch her major to psychology and later pursue psychiatric mental health nurse practitioner training at the University of Pennsylvania. At Penn, she felt supported academically and personally. Her interest in psychedelics grew as she realized that standard OCD treatments and high dose SSRIs were not giving her the level of functioning or happiness she knew was possible. Core Insights: Psilocybin Trials, Qualitative Data, and Clinical Skepticism In the middle of the episode, Eddy shares the story of finding a psilocybin trial on ClinicalTrials.gov just as she was about to start ketamine therapy. She received placebo first, then open label psilocybin, and describes the dosing day as one of the hardest days of her life, with benefits that emerged slowly over months through integration. She uses her experience to highlight why qualitative data matters. Numbers alone cannot capture the depth of a psychedelic journey or the slow unfolding of meaning over time. She argues that subjective stories, even difficult ones, are essential for clinicians, researchers, and policymakers. Key themes include: The central role of integration support in turning a crisis level session into lasting growth How trial environments on inpatient psychiatric units can feel like prison instead of healing spaces The limits of double blind placebo trials when participants become desperate for active treatment The need for more nuanced language around psychosis and psychedelic harms Eddy also addresses skepticism in psychiatry. Many providers fear substance induced psychosis and feel uneasy with medicines whose mechanisms are not fully understood. She suggests that more lived experience stories and careful education can help bridge that gap. Later Discussion and Takeaways In the later part of the episode, Eddy and Joe discuss harm reduction, ketamine risks, and how poorly designed systems can create harm even when the medicine itself is helpful. Eddy describes being treated as "just another psych patient" once the research team left for the day, including being denied basic comforts like headache relief after an emotionally intense session. She calls for: More humane hospital and research environments Required psychedelic education in psychiatric training Honest, nonjudgmental conversations about substance use with patients Stronger public education for students and festival communities Eddy also invites listeners in Wilmington, Delaware and nearby regions to connect if they need a psychiatric mental health nurse practitioner for psychedelic related research. She hopes to bring her lived experience and clinical skills into the emerging field as psilocybin and other treatments move toward approval. Frequently Asked Questions Who is Evelyn Eddy Shoop PMHNP-BC? She is a psychiatric mental health nurse practitioner trained at the University of Pennsylvania, a former Division I athlete, and a psilocybin trial participant who now advocates for more humane and data informed psychedelic care. What did Eddy learn from her psilocybin clinical trial experience? She learned that the hardest sessions can lead to deep change when integration support is strong and when there is time to unpack insights, rather than rushing to rate symptoms on a scale. Why does she care so much about qualitative data in psychedelic research? Eddy believes that numbers cannot capture the full human impact of psychedelic therapy. Stories show how people actually live with their disorders and integrate change, which is vital for ethical practice and policy. How does she view psychedelic harms and psychosis risk? She acknowledges real risks, especially for people with certain histories, but also notes that some psychotic experiences are not distressing. She calls for more precise language, better containers, and honest harm reduction education. What role does a psychiatric nurse practitioner like Evelyn play in psychedelic care? Practitioners like Evelyn can assess risk, prescribe within legal frameworks, provide preparation and integration, and help bridge the gap between traditional psychiatry and emerging psychedelic therapies. Psychedelic care is evolving fast, and this episode shows why voices like Evelyn Eddy Shoop PMHNP-BC are essential in the current psychedelic resurgence. Her blend of lived experience, clinical training, and critical thinking points toward a future where data and story, safety and possibility, can finally grow together.

Life lessons from Neil Young, South Park makes Penn cry, Matt prepares to hit the road again with the Jokers of Magic as Penn & Teller’s 50th anniversary tour continues, more Springsteen talk, continued musings on Vegas, and lots more!

Even though I do miss the collagen in my neck, you couldn't pay me to be 25 again. (As it turns out, aging is pretty awesome!) This week Penn and I are talking about the things we'd never want to relive from our twenties and the surprising joys of getting older... including reading your comments! Thank you for sharing some truly unfiltered thoughts about thongs, weddings, and Taco Bell at 2 a.m.Before we get into the meat of show, Penn issues a formal apology (or seven) to our new favorite listener, Pam, and we decide to start the "Dude You Look Good!" movement. (Send us pics and Penn will compliment you! Shoulders up, please.) It's a fun ride including why the kids are saying 'chopped' and how 50th birthday parties are secretly the best parties of all. We love to hear from you, leave us a message at 323-364-3929 or write the show at podcast@theholdernessfamily.com. You can also watch our podcast on YouTube.Visit Our ShopJoin Our NewsletterFind us on SubstackFollow us on InstagramFollow us on TikTok Follow us on FacebookLaugh Lines with Kim & Penn Holderness is an evolution of The Holderness Family Podcast, which began in 2018. Kim and Penn Holderness are award-winning online content creators known for their original music, song parodies, comedy sketches, and weekly podcasts. Their videos have resulted in over two billion views and over nine million followers since 2013. Penn and Kim are also authors of the New York Times Bestselling Books, ADHD Is Awesome: A Guide To (Mostly) Thriving With ADHD and All You Can Be With ADHD. They were also winners on The Amazing Race (Season 33) on CBS. Laugh Lines is hosted and executive produced by Kim Holderness and Penn Holderness, with original music by Penn Holderness. Laugh Lines is also written and produced by Ann Marie Taepke, and edited and produced by Sam Allen. It is hosted by Acast. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

In connection with this week's "Fun for All Ages" conversation about "The Day the Clown Cried," GGACP revisits this 2015 interview with illusionist, filmmaker and comedian Penn Jillette. In this episode, Penn opines on a host of offbeat topics ranging from Jerry Lewis' ill-fated pet project to strippers' tricks of the trade, the comedy of Dennis Miller, the cinema of the Three Stooges and failed attempts to summon the spirit of Bela Lugosi. Also: Penn debunks “cold readings,” exposes phone scams, disses Richie Havens and compares Jerry Lewis to Lou Reed. PLUS: The Amazing Kreskin! Penn auditions for “Ishtar”! And Gilbert annoys Harrison Ford!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Bomani Jones is joined by his former ESPN radio producer Shannon Penn. First, they discuss the Giants firing Brian Daboll & making the move to start Jameis Winston at quarterback. They also debate whether or not Russell Wilson has played himself out of the Hall of Fame over the latter stages of his career. Later, they break down the Mavericks' firing of Nico Harrison and the reporting that Nico viewed Jrue Holiday and Nikola Jokic as the same tier of NBA player. Finally, they discuss Draymond Green calling out his Warriors teammates, marvel at the progress of Victor Wembanyama, and laugh at the NBA All-Star game's new format. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the Skies Over Vietnam to the Power of Healing — The Story of Mike Penn  This week's Team Never Quit guest, Mike Penn, embodies courage, resilience, and grace under pressure. A Navy fighter pilot who served in Vietnam over 50 years ago, Penn's life took a dramatic turn on August 6, 1972, during his 85th combat mission off the USS Midway. Shot down and captured by enemy forces, he endured eight harrowing months as a POW in Hanoi, facing starvation, torture, and isolation. Losing 60 pounds and battling injuries from the crash, he survived where many did not. Upon returning home, Penn continued to serve his country before transitioning to a long and successful career as an airline pilot. Yet, his greatest battles weren't fought in the skies—they were fought within. Like countless Veterans, Penn wrestled with PTSD and alcoholism, learning that even the strongest warriors can't always go it alone. Penn credits his recovery and renewed purpose to sheer determination, the support of fellow Veterans, and the care he received through the Houston VA, which later discovered a life-threatening cancer during a routine scan—saving his life once again. Today, Penn continues to inspire others through motivational speaking, encouraging Veterans to seek help, share their stories, and lean on one another. His outlook remains deeply positive: despite his suffering, he still calls it “an honor to serve.” Join us as we hear Mike Penn's incredible journey—from fighter pilot to prisoner of war to survivor and mentor. His story is a testament to resilience, faith, and the healing power of community. Thank you, Mike Penn, for your honorable service—and for reminding us that healing begins when we choose to reach out. In this episode you will hear: • [Marcus] If you're struggling in college, get your butt in the military for4-6 years, come back, and you'll scream right through it. (6:54) • To get on the Blue Angels demo pilot team, they vote on you. It's a good ol' boy system. If any one guy says no, you're done. (9:30) • Out of nowhere this Marine Corps Master Gunnery Sergeant shows up right in my face. And he starts yelling at me, and honestly, I thought I was in the wrong place. When he gets through yelling at me, he says “You got anything to say for yourself you smart ass college boy?” I put my hand on his shoulder, looked him in the eyes, and I called him “sarge,” I said “Sarge, I really think I'm in the wrong place, because I cam down here to be a Navy jet pilot.” Boom! He threw me on the ground. I've never done so many push ups in my life. (12:21) • He got me in such good officer shape; I ended up becoming the Regimental Commander.  (13:19) • Landing at night is so difficult, because in the daytime you have depth perception. You're looking at the “Meatball,” the optical landing system. Line up with the ship, and your air speed. At night you can't see anything. (19:00) • [When missiles are fired at you] you see it lift off, you see it coming at you. You build up speed. When it gets to be about ¾ of a mile away from you, you do a high G roll into it. It tries to track on you, but it's going so fast, it can't. (29:00) • They were firing 3 from behind that we never saw, so when I tried to get more speed, one from behind hit me. Boom. Engine quit. Stated shaking like crazy. Immediately 8I turned toward the beach. (29:26) • When I got hit, I knew it was over. (30:14) • I reached up to fire the ejection seat. I pulled it, and nothing happened. Never quit. (31:10) • Once I hit the ground, I was in about a foot of water, and the bullets were hitting the water all around me. (34:02) • [Melanie: Q: What happens to the plane?”] A: It blew up right after I ejected. (34:49) • At 36:22, Mike tells the story of his treatment when he was taken by the enemy. • When we got there, we were just beat up and tied up. We had about 3 weeks of that. (41:25) • We had 24” concrete slabs on either side. That's what we slept on. (42:57) • We got no rice. The Vietnamese ate it all. (43:35) • My grandfather, who was an Army vet in Japan, when I went to war, he told me 2 things: Take care of your men, and don't ever give up.(44:36) • [Melanie: Q: How long were you in there as a POW”] A: 8 months. (47:27) • When I got to Oakland, I made beer milkshakes. (55:03) • When I was at Clark, first thing I did – I sat in the shower for 2 hours. (55:28) • Guess where I git [a new car]? I won it on Hollywood Squares. (71:19) • If I can save 1 life from [writing] that book, it's worth it. (80:53) Support Mike:   - www.hopeandcourage.us Support TNQ   - IG: team_neverquit , marcusluttrell , melanieluttrell , huntero13   -  https://www.patreon.com/teamneverquit Sponsors:   - Tractorsupply.com/hometownheroes   - Navyfederal.org        - Dripdrop.com/TNQ   - ShopMando.com [Promo code: TNQ]   - mizzenandmain.com   [Promo code: TNQ20]   - meetfabiric.com/TNQ   - masterclass.com/TNQ   - Prizepicks (TNQ)   -  cargurus.com/TNQ    - armslist.com/TNQ    -  PXGapparel.com/TNQ   - bruntworkwear.com/TNQ    - Groundnews.com/TNQ    - shipsticks.com/TNQ    - stopboxusa.com {TNQ}    - ghostbed.com/TNQ [TNQ]   -  kalshi.com/TNQ   -  joinbilt.com/TNQ    - Tonal.com [TNQ]   - greenlight.com/TNQ   - PDSDebt.com/TNQ   - drinkAG1.com/TNQ   - Hims.com/TNQ   - Shopify.com/TNQ

Penn and Reddi are joined by Matt and special guest Tim Jenison over Zoom from San Antonio. Flight delays, the prices of exotic animals, and an in-depth discussion with Tim on the history, current state, and possible future of artificial intelligence.