Rigid organs that constitute part of the endoskeleton of vertebrates
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1. David K. Randall, *The Monster's Bones: The Discovery of T. Rex and How It Shook Our World*. Barnum Brown, born in 1873, was named after showman P.T. Barnum after his brother visited a traveling fair. A formative 2,000-mile trip with his father introduced him to the changing nature of the Earth and the vastness of the American West. Later, at the University of Kansas, he studied under Professor Williston, a veteran of the legendary "bone wars" between Marsh and Cope. Brown excelled in the field due to his physical strength, survival skills, and remarkable patience while extracting fossils. His talent earned him the nickname "Mr. Bones" and led to a prestigious invitation to join Henry Fairfield Osborne's team in New York. (1)1911
2. David K. Randall, *The Monster's Bones: The Discovery of T-Rex and How It Shook Our World*. In 1902, Barnum Brown tracked a lead from a photograph of a triceratops skull to Jordan, Montana. Though the specific skull was disappointing, Brown recognized the potential of the remote Hell Creek region. Utilizing his unique skill for reading rock colors, he identified Sheba Mountain as a likely site for fossilization. He used dynamite to reveal a carnivorous dinosaur that had never been described before: the Tyrannosaurus Rex. Brown's discovery was a "jackpot" for the American Museum, even though the process of transporting and mounting the heavy specimen would take years to complete. (2)Butte, MT
3. David K. Randall, *The Monster's Bones: The Discovery of T-Rex and How It Shook Our World*. This source describes the intense "bones race" between major museums and their wealthy financiers, such as J.P. Morgan and Andrew Carnegie. These titans of industry sought massive dinosaur fossils to bolster their own prestige and increase public interest in their institutions. Henry Osborne, the director of the AmericanMuseum of Natural History, felt immense pressure to find "monster" specimens to make the museum relevant to the city's population. At the time, the museum was an isolated building that struggled to connect with visitors. Brown's relentless searching eventually provided the sensational exhibits necessary to transform the museum into a major cultural attraction. (3)GREEN RIVER FORMATION
4. David K. Randall, *The Monster's Bones: The Discovery of T-Rex and How It Shook Our World*. Between 1904 and 1910, Barnum Brown focused on recovering the missing pieces of the T-Rex skeleton in Hell Creek. He was initially supported by his wife, Marian Raymond, but her sudden death from scarlet fever in 1910 left him emotionally shattered. To cope with his grief, Brown worked in the harsh conditions of the Red River Valley in Canada. The museum finally mounted the full T-Rex exhibit in 1915, accompanied by Charles Knight's immersive paintings that brought prehistoric landscapes to life. Brown lived until 1963, leaving behind a legendary status as the man who discovered the world's most famous predator. (4)HELICOPRON
A rare karmic burn window is open right now — and what you release this week can shift the trajectory of your life. The eclipse corridor is closing, Mercury retrograde is ending, and the astrological year resets at the Equinox. Right now the pieces of our lives are still moving — which means the karma you release in this moment can actually change where your life lands next. If you want a powerful way to work with this window, join us inside BONES. Burn the Karma. Walk Your Destiny. → Join Bones here This week marks the final karmic burn window of eclipse season — a powerful threshold for releasing old karma, ancestral patterns, and outdated identities as we reach the final degrees of Pisces. With the Pisces New Moon closing the eclipse corridor, the Equinox igniting Aries season, and Mercury stationing direct on the North Node, the energy supports deep soul-level course correction and destiny alignment. It's a moment to let go of what's complete, reclaim your truth, and begin aiming your life more clearly toward your true north and soul path. Burn the Karma. Walk Your Destiny Inside BONES, this month's workshop guides you step-by-step through releasing karmic patterns, reclaiming your soul gifts, and aligning your life with your destiny line. If something in your life feels ready to end, shift, or finally move — this work was created for exactly this moment.→ Join Bones Episode Highlights: • The Final Karmic Burn Window – why eclipse season is a powerful time to release ancestral patterns and old karma • Pisces New Moon + Eclipse Corridor Ending – closing a major karmic chapter • Mercury Direct on the North Node – destiny insights and soul-level course correction • Aries Season + Equinox Energy – focused fire and forward momentum • Opening the Miracle Field – how alignment magnetizes new opportunities If you're feeling the call to step more deeply into service during this time of transformation, watch the 4 Pillars of Priestessing video here → Details here Listen to “The Final Karmic Burn — What Ends This Week Changes Everything“ podcast here… Topics Explored in “The Final Karmic Burn — What Ends This Week Changes Everything” podcast: (Times based off audio version) (0:00) Final Karmic Burn Window: Eclipse Endings, New Moon & North Node Destiny (4:57) Eclipse Season Explained: Why Everything Feels Dispersed Right Now (7:43) Final Karmic Burn Window: Let Go of Old Karma & Ancestral Wounds (13:33) Soul Alignment Practices for the Final Eclipse Corridor (11:24) Pisces New Moon, Spring Equinox & Mercury Direct Meaning (15:47) Theme 1 Lose Your Seat to Find Your Seat: Finding Your New Center (20:04) Theme 2 South Node Activation: Healing the Past & Releasing Karmic Patterns (26:49) Theme 3 Reclaiming Past Life Gifts, Priestess Power & Lightworker Wisdom (29:00) North Node Destiny: How to Aim True Toward Your Soul Path (32:33) Theme 4 Aries Season Begins: Focused Fire, Passion & Forward Movement (37:44) Theme 5 Soul-Level Course Correction: What's No Longer Meant for You (44:40) Theme 6 Mercury Direct on the North Node: Destiny Messages & Clear Signs (47:23) Theme 7 Miracle Field Activation: Openness, Grace & Unexpected Opportunities (49:49) Important Astrology Dates This Week: March 17–22 (60:06) Final Reflection: Burn the Past, Reclaim Your Power, Move Forward You can leave a comment or question for Sabrina on the YouTube version of this episode. Listen to after “The Final Karmic Burn — What Ends This Week Changes Everything”: Why Lightworkers Feel Lost Right Now — Something Is Changing The Fog Is Lifting — What's Really Happening Is Being Revealed This Eclipse Week Is a Point of No Return (Mercury Retrograde + Breakthrough Energy) STAY CONNECTED ReWilding Weekly (free, embodied astrology) IG Website Disclaimer: Educational/spiritual perspectives; not medical/mental-health advice. #2025Shift #NewHuman #SpiritualAwakening If you’re feeling the call to step deeper into this work, trust that feeling. Sometimes the soul knows before the mind understands. → Explore the Ibiza retreat here Welcome to ReWilding with Sabrina Lynn & ReWilding for Women! A gifted facilitator of revolutionary inner work and the world's leading archetypal embodiment expert, Sabrina Lynn is the creator of the groundbreaking ReWilding Way and founder of ReWilding For Women. Sabrina has led more than 100,000 people through programs based on the ReWilding Way, a modality of healing and awakening that strips away the false, the deep wounds from early life, and the fears that hold people back, to reveal their true and unique soul light and help them build their innate capacity to shine it in the world. Her work includes in-person retreats and events, the monthly ReWilding Membership, Living Close to the Bone, Priest/ess Trainings, Mystery Schools, the ReWilding with the Archetypes, and the wildly popular 6 Faces of the Feminine workshop series. Welcome to ReWilding! The post 370 – The Final Karmic Burn — What Ends This Week Changes Everything appeared first on Rewilding for Women.
Feel it in my bones
Tonight On The Last Word: Six U.S. Service members have been killed in a crash over Iraq. Plus, a judge blocks DOJ subpoenas of Federal Reserve Chair Jerome Powell. Also, an ex-DOGE staffer can't find the words to define "DEI" in new deposition footage. And Democratic momentum builds heading into November midterms. Rep. Eugene Vindman, Robert Reich, Rep. Suhas Subramanyam, Skye Perryman, and Rep. Chris Pappas join Ali Velshi. To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
March 13, 2026; 8pm: Tonight, the global impacts of Donald Trump's war as his cabinet scrambles to clean up the mess. Then, a stunning judicial rebuke of Trump's power grab of the Fed as his favorite prosecutor melts down. And the Oversight Committee seeks to interview the prison guard from the night of Jeffrey Epstein's death. Want more of Chris? Download and follow his podcast, “Why Is This Happening? The Chris Hayes podcast” wherever you get your podcasts.To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
The Iran conflict continues to escalate, and the messaging coming out of the White House is raising more questions than answers. In a new interview with Brian Kilmeade, Donald Trump delivered a string of eyebrow-raising remarks, including comments about immigrants having “bad genetics” and suggesting he'll know the war is over when he simply “feels it in his bones.” Meanwhile, the consequences of the conflict are already being felt at home. Energy markets are reacting, prices are creeping up, and Americans are being told this war is necessary even as the administration struggles to explain what the actual endgame is. Tonight, Don breaks down the latest developments in the Iran conflict, the increasingly bizarre rhetoric coming from Trump, and the growing concern that this war has no clear plan and no clear end.
Jeg er altså ikke hjælpe-socialdemokrat, Pia Olsen Dyhr med endnu en veninde-jakke, en salonsocialist i Fjällräven, Lars Boje Mathiesen på sin egen stil-rejse, en formueskat for de aller-aller-aller rigeste. Vand- og grisevalget, en stram servering på Bones fra Inger Støjberg, “Hvordan har grisen haft det?” spørger de i Ingers kommentarspor, Dansk Landbrug og Noma kører samme arbejdsgange, “Jeg gider ikke dø på skøjlet som en idiot.”, lixtallet for de folkevalgte og befolkningen – får de valgte, de fortjener? “VI VIL IKKE DEM, DER IKKE VIL DANMARK.” Stem på dem, der ikke bruger AI i valgkampen, Per Larsen med eeeen bøf fra Uruguay og laver en: “Er det en abe?” Angrebsbarometeret på danske politikere og osogdata.dk, fremtidskorrespondenten ringer ind fra 2046, Søren Gade vil have asylansøgerne ud på Livø, og Marie Bjerre skal ikke be' om det, demokratiet er i fare for AI-sværme, epistemisk svimmelhed, Oliepriserne og inflationen brager op på grund af situationen i Stormellemøsten - Who run the world? OIL.Få 30 dages gratis prøveperiode (kan kun benyttes af nye Podimo-abonnenter) - http://podimo.dk/hgdg (99 kroner herefter)Værter: Esben Bjerre & Peter FalktoftRedigering: PodAmokKlip: PodAmokMusik: Her Går Det GodtInstagram:@hergaardetgodt@Peterfalktoft@Esbenbjerre
How Your Bones Are Getting Fat
In this week's episode of The Bones Booth, Andrew, Taryn and Maggie discuss season eleven episode ten of Bones, "The Doom in the Boom."
One of the things I talk about a lot on this show is how much writing we discover we have to do when we start our businesses. Nobody warns you about this. You get excited about your thing — your coaching, your expertise, your offer — and then you realize that getting people to know you exist requires words. Everywhere. All the time. And most of us, when that hits, immediately decide we're not writers.That's exactly why I wanted to bring Terri Trespicio on the show.Terri is someone I spotted from across a room before I ever officially met her — days before the pandemic, at a Luminary event in New York City — and I was instantly obsessed. If you don't know Terri yet, she's the author of Unfollow Your Passion, her TEDx Talk has been viewed over 8 million times, and she is one of the most compelling, funny, and genuinely wise people I know when it comes to helping people find and use their voice. Years of persistence (and a few missed Instagram DMs) later, we're actual friends. And this conversation did not disappoint.Here's what I want you to really hear before you press play: the reason you think you can't write? It's not the truth. It's conditioning. And Terri explains it in a way that I think is going to genuinely change how you see yourself.We got into why writing feels so hard for so many of us, and why it has almost nothing to do with whether you're "a writer." We talked about the inner critic, what's really going on when you stare at a blank page, and the sneaky ways we try to outsource the one thing we actually can't. We also got into AI, templates, and what it really means to show up consistently for your audience in a way that actually sounds like you.If you've been avoiding the blank page or struggling to find your voice in your business, this one is going to feel like a deep exhale.Listen to this episode to find out:What's really behind your resistance to writing (it's not what you think)Why outsourcing your writing might be costing you more than it's saving youThe mindset shift that makes content creation feel less like a grindWhat Terri means when she says creativity is weather — not lightningHow to use AI without losing your voice in the processWhy templates might actually be working against you
Can't Beat Jenn - Bones (Jenn's answers)
Can't Beat Jenn - Bones (Bones' answers)
Alex Voisine interviews today Amanda Sarasien. Born in Tennessee) she is a writer, literary translator, and visual artist. Her translation of Springtime in the Bones by Állex Leilla will be published in March 2026 by Foreshore Books. She translates from French and Portuguese into English and was a 2022 National Endowment for the Arts Translation Fellow. They speak about the role of the translator, to work in translation, art and literature with a disability and many other topics. Alex Voisine entrevista hoy a Amanda Sarasien. Nacida en Tennessee, es escritora, traductora literaria y artista visual. Su traducción de Springtime in the Bones de Állex Leilla se publicará en marzo de 2026 por Foreshore Books. Traduce del francés y del portugués al inglés y fue becaria de Traducción del National Endowment for the Arts en 2022. Conversan sobre el papel del traductor, el trabajo en la traducción, el arte y la literatura desde la experiencia de la discapacidad, y muchos otros temas.
We often treat our bodies like high-performance machines with infinite fuel, but the "grind" has a hidden price tag. What's the point of a growing bank account if you're too exhausted to enjoy it?In this episode of the FQ Mom Podcast, we dive deep into the two silent thieves of modern success: Burnout and Sleep Deprivation. Whether you're feeling "Pagod to the Bones" (that soul-level exhaustion) or living "Puyat to the Max" (surviving on caffeine and willpower), these aren't badges of honor—they are distress signals. Listen.
Pollentalene er eksploderet, og det kan være decideret invaliderende, en bred vifte af analytikere giver en smal sejr til Troels Lund Poulsen, “Do you use ChatGPT? I love AI”, kopiér 140.000 neuroner i bananfluens hjerne 1:1, den ikke-eksisterende bananflue lever, kender du typen på skygge-ayatollah Mojtaba Khamenei, Pokémon beskylder Det Hvide Hus for at stjæle, diplomaten Aneke sender evakueringsfly fra Mellemøsten til Danmark, vi bringer en kæmpe berettigelse, en uforbeholden undskyldning og en afstandstagen, De Konservative går nu med på rent drikkevand i valgkampen, der er ingen fireårsperiode for Israels efterretningstjeneste, en lovprisende Klaus med vanvidskaffe fra Colombia, historien om den originale kaffeinfluencer, køkkendæmonen fra Noma lever videre, hvad ville du stemme, hvis valget var i morgen, Signe Wenneberg-effekten i Alternativet, Messeren deler billig benzin og diesel ud, join us or death i dansk politik og søg i flæskeskjul på Bones.Få 30 dages gratis prøveperiode (kan kun benyttes af nye Podimo-abonnenter) - http://podimo.dk/hgdg (99 kroner herefter)Værter: Esben Bjerre & Peter FalktoftRedigering: PodAmokKlip: PodAmokMusik: Her Går Det GodtInstagram:@hergaardetgodt@Peterfalktoft@Esbenbjerre
On this week's episode of The Catered Quiz, writer (American Dad!, I'm Totally Fine) and director (Your Own Flavor) Alisha Ketry joins the show to answer questions about bones and Hercules. We also discuss puppetry, Mary Tyler Moore and snowboarding. Alisha's short film Your Own Flavor is available now on YouTube. Read the Letterboxd review of I'm Totally Fine discussed in this episode. Follow Alisha on Instagram.
Paleontologists have often determined how old a dinosaur was by counting the growth rings in its bones. Just like with trees, it was thought that each ring corresponded to a single year of age. But researchers who studied crocodiles at an outdoor recreation center near Cape Town appear to have poked a hole in that approach. In the crocodiles, which are some of the closest living relatives of dinosaurs, there was more than one growth ring laid down per year. The results contribute to a growing debate over the best way to age animals.Read more of freelance science reporter Ari Daniel's story here.Interested in more on the future of science? Email us your question at shortwave@npr.org.Listen to every episode of Short Wave sponsor-free and support our work at NPR by signing up for Short Wave+ at plus.npr.org/shortwave.To manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy
How do you capture something as enormous and personal as the feeling of “home” in a book? How can you navigate the chaotic discovery period in writing something new? With Roz Morris. In the intro, KU vs Wide [Written Word Media]; Podcasts Overtake Radio, book marketing implications [The New Publishing Standard]; Tips for podcast guests; The Vatican embraces AI for translation, but not for sermons [National Catholic Reporter]; NotebookLM; Self-Publishing in German; Bones of the Deep. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Roz Morris is an award-nominated literary fiction author, memoirist, and previously a bestselling ghostwriter. She writes writing craft books for authors under the Nail Your Novel brand, and is also an editor, speaker, and writing coach. Her latest travel memoir is Turn Right at the Rainbow: A Diary of House-Hunting, Happenstance & Home. 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 being an indie author has evolved over 15 years, from ebooks-only to special editions, multi-voice audiobooks and tools to help with everything Why “home” is such a powerful emotional theme and how to turn personal experiences into universal memoir Practical craft tips on show-don't-tell, writing about real people, and finding the right book title The chaotic discovery writing phase — why some books take seven years and why that's okay Building a newsletter sustainably by finding your authentic voice (and the power of a good pet story) Low-key book marketing strategies for memoir, including Roz's community-driven “home” collage campaign You can find Roz at RozMorris.org. Transcript of the interview with Roz Morris JOANNA: Roz Morris is an award-nominated literary fiction author, memoirist, and previously a bestselling ghostwriter. She writes writing craft books for authors under the Nail Your Novel brand, and is also an editor, speaker, and writing coach. Her latest travel memoir is Turn Right at the Rainbow: A Diary of House-Hunting, Happenstance & Home. Welcome back to the show, Roz. ROZ: Hi, Jo. It's so lovely to be back. I love that we managed to catch up every now and again on what we're doing. We've been doing this for so long. JOANNA: In fact, if people don't know, the first time you came on this show was 2011, which is 15 years. ROZ: I know! JOANNA: It is so crazy. I guess we should say, we do know each other in person, in real life, but realistically we mainly catch up when you come on the podcast. ROZ: Yes, we do, and by following what we're doing around the web. So I read your newsletters, you read mine. JOANNA: Exactly. So good to return. You write all kinds of different things, but let's first take a look back. The first time you were on was 2011, 15 years ago. You've spanned traditional and indie, you've seen a lot. You know a lot of people in publishing as well. What are the key things you think have shifted over the years, and why do you still choose indie for your work? ROZ: Well, lots of things have shifted. Some things are more difficult now, some things are a lot easier. We were lucky to be in right at the start and we learned the ropes and managed to make a lot of contacts with people. Now it's much more difficult to get your work out there and noticed by readers. You have to be more knowledgeable about things like marketing and promotions. But that said, there are now much better tools for doing all this. Some really smart people have put their brains to work about how authors can get their work to the right readers, and there's also a lot more understanding of how that can be done in the modern world. Everything is now much more niche-driven, isn't it? People know exactly what kind of thriller they like or what kind of memoir they like. In the old days it was probably just, “Well, you like thrillers,” and that could be absolutely loads of things. Now we can find far better who might like our work. The tools we have are astonishing. To start with, in about 2011, we could only really produce ebooks and paperbacks. That was it. Anything else, you'd have to get a print run that would be quite expensive. Now we can get amazing, beautiful special editions made. We can do audiobooks, multi-voice audiobooks. We can do ebooks with all sorts of enhancements. We can even make apps if we want to. There's absolutely loads that creators can do now that they couldn't before, so it's still a very exciting world. JOANNA: When we first met, there was still a lot of negativity here in the UK around indie authors or self-publishing. That does feel like it's shifted. Do you think that stigma around self-publishing has changed? ROZ: I think it has really changed, yes. To start with, we were regarded as a bit of the Wild West. We were just tramping in and making our mark in places that we hadn't been invited into. Now it's changed entirely. I think we've managed to convince people that we have the same quality standards. Readers don't mind—I don't think the readers ever minded, actually, so long as the book looked right, felt right, read right. It's much easier now. It's much more of a level playing field. We can prove ourselves. In fact, we don't necessarily have to prove ourselves anymore. We just go and find readers. JOANNA: Yes, I feel like that. I have nothing to prove. I just get on with my work and writing our books and putting them out there. We've got our own audiences now. I guess I always think of it as perhaps not a shadow industry, but almost a parallel industry. You have spanned a lot of traditional publishing and you still do editing work. You know a lot of trad pub authors too. Do you still actively choose indie for a particular reason? ROZ: I do. I really like building my own body of work, and I'm now experienced enough to know what I do well, what I need advice with, and help with. I mean, we don't do all this completely by ourselves, do we? We bring in experts who will give us the right feedback if we're doing a new genre or a genre that's new to us. I choose indie because I like the control. Because I began in traditional publishing—I was making books for other people—I just learned all the trades and how to do everything to a professional standard. I love being able to apply that to my own work. I also love the way I can decide what I'm going to write next. If I was traditionally published, I would have to do something that fitted with whatever the publisher would want of me, and that isn't necessarily where my muse is taking me or what I've become interested in. I think creative humans evolve throughout their lives. They become interested in different things, different themes, different ways of expressing themselves. I began by thinking I would just write novels, and now I've found myself writing memoirs as well. That shift would have been difficult if someone else was having to make me fit into their marketing plans or what their imprint was known for. But because I've built my own audience, I can just bring them with me and say, “You might like this. It's still me. I'm just doing something different.” JOANNA: I like that phrase: “creative humans.” That's what we are. As you say, I never thought I would write a memoir, and then I wrote Pilgrimage, and I think there's probably another one on its way. We do these different things over time. Let's get into this new book, Turn Right at the Rainbow. It's about the idea of home. I've talked a lot about home on my Books And Travel Podcast, but not so much here. Why is home such an emotional topic, for both positive and negative reasons? Why did you want to explore it? ROZ: I think home is so emotional because it grows around you and it grows on you very slowly without you really realising it. As you are not looking, you suddenly realise, “Oh, it means such a lot.” I love to play this mind game with myself—if you compare what your street looks like to you now and how it looked the first time you set eyes on it, it's a world of difference. There are so many emotional layers that build up just because of the amount of time we spend in a place. It's like a relationship, a very slow-growing friendship. And as you say, sometimes it can be negative as well. I became really fascinated with this because we decided to move house and we'd lived in the same house for about 30 years, which is a lot of time. It had seen a lot of us—a lot of our lives, a lot of big decisions, a lot of good times, a lot of difficult times. I felt that was all somehow encapsulated in the place. I know that readers of certain horror or even spiritual fiction will have this feeling that a place contains emotions and pasts and all sorts of vibes that just stay in there. When we were going around looking at a house to buy, I was thinking, “How do we even know how we will feel about it?” We're moving out of somewhere that has immense amounts of feelings and associations, and we're trying to judge whether somewhere else will feel right. It just seemed like we were making a decision of cosmic proportions. It comes down so much to chance as well. You're not only just deciding, “Okay, I'd like to buy that one,” and pressing a button like on eBay and you've won it. It doesn't happen like that. There are lots of middle steps. The other person's got to agree to sell to you, not do the dirty on you and sell to someone else. You've got all sorts of machinations going on that you have no idea about. And you only have what's on offer—you only get an opportunity to buy a place because someone else has decided to let it go. All this seemed like immense amounts of chance, of dice rolling. I thought, yet we end up in these places and they mean so much to us. It just blew my mind. I thought, “I've got to write about this.” JOANNA: It's really interesting, isn't it? I really only started using the word “home” after the pandemic and living here in Bath. We had luckily just bought a house before then, and I'd never really considered anywhere to be a home. I've talked about this idea of third culture kids—people who grow up between cultures and don't feel like there's a home anywhere. I was really interested in your book because there's so much about the functional things that have to happen when you move house or look for a house, and often people aren't thinking about it as deeply as you are. So did you start working on the memoir as you went to see places, or was it something you thought about when you were leaving? Was it a “moving towards” kind of memoir or a “sad nostalgia” memoir? ROZ: Well, it could have been very sad and nostalgic because I do like to write really emotional things, and they're not necessarily for sharing with everybody, but I was very interested in the emotions of it. I started keeping diaries. Some of them were just diaries I'd write down, some of them were emails I'd send to friends who were saying, “How's it going?” And then I'd find I was just writing pieces rather than emails, and it built up really. JOANNA: It's interesting, you said you write emotional things. We mentioned nostalgia, and obviously there are memories in the home, but it's very easy to say a word like “nostalgia” and everyone thinks that means different things. One of the important things about writing is to be very specific rather than general. Can you give us some tips about how we can turn big emotions into specific written things that bring it alive for our readers? ROZ: It's really interesting that you mention nostalgia, because what we have to be careful of is not writing just for ourselves. It starts with us—our feelings about something, our responses, our curiosities—but we then have to let other people in. There's nothing more boring than reading something that's just a memoir manuscript that doesn't reach out to anyone in any way. It's like looking through their holiday snaps. What you have to do is somehow find something bigger in there that will allow everyone to connect and think, “Oh, this is about me too,” or “I've thought this too.” As I said, we start with things that feel powerful and important for us, and I think we don't necessarily need to go looking for them. They emerge the more deeply we think about what we're writing. We find they're building. Certainly for me, it's what pulls me back to an idea, thinking, “There's something in this idea that's really talking to me now. What is it?” Often I'll need to go for walks and things to let the logical mind turn off and ideas start coming in. But I'll find that something is building and it seems to become more and more something that will speak to others rather than just to me. That's one way of doing it—by listening to your intuition and delving more and more until you find something that seems worth saying to other people. But you could do it another way. If you decided you wanted to write a book about home, and you'd already got your big theme, you could then think, “Well, how will I make this into something manageable?” So you start with something big and build it into smaller-scale things that can be related to. You might look at ideas of homes—situations of people who have lost their home, like the kind of displacement we see at the moment. Or we might look at another aspect, such as people who sell homes and what they must feel like being these go-betweens between worlds, between people who are doing these immense changes in their lives. Or we might think of an ecological angle—the planet Earth and what we're doing to it, or our place in the cosmos. We might start with a thing we want to write about and then find, “How are we going to treat it?” That usually comes down to what appeals to us. It might be the ecological side. It might be the story of a few estate agents who are trying to sell homes for people. Or it might be like mine—just a personal story of trying to move house. From that, we can create something that will have a wider resonance as well as starting with something that's personally interesting to you. The big emotions will come out of that wider resonance. JOANNA: Trying to go deeper on that— It's the “show, don't tell” idea, isn't it? If you'd said, “I felt very sad about leaving my house” or “I felt very sad about the prospect of leaving my house,” that is not a whole book. ROZ: Yes. It's why you felt sad, how you felt sad, what it made you think of. That's a very good point about “show, don't tell,” which is a fundamental writing technique. It basically tells people exactly how you feel about a particular thing, which is not the same as the way anyone else would feel about it—but still, curiously, it can be universal and something that we can all tap into. Funnily enough, by being very specific, by saying, “I realised when we'd signed the contract to sell the house that it wasn't ours anymore, and it had been, and I felt like I was betraying it,” that starts to get really personal. People might think, “Yes, I felt like that too,” or “I hadn't thought you'd feel like that, but I can understand it.” Those specifics are what really let people into the journey that you're taking them on. JOANNA: And isn't this one of the challenges, that we're not even going to use a word like “sad,” basically. ROZ: Yes. It's like, who was it who said, “Don't tell me if they got wet—tell me how it felt to get wet in that particular situation.” Then the reader will think, “Oh yes, they got wet,” but they'll also have had an experience that took them somewhere interesting. JOANNA: Yes. Show me the raindrops on the umbrella and the splashing through the puddles. I think this is so important with big emotions. Also, when we say nostalgia—we've talked before about Stranger Things and Kate Bush and the way Stranger Things used songs and nostalgia. Oh, I was watching Derry Girls—have you seen Derry Girls? ROZ: No, I haven't yet. JOANNA: Oh, it's brilliant. It's so good. It's pretty old now, but it's a nineties soundtrack and I'm watching going, “Oh, they got this so right.” They just got it right with the songs. You feel nostalgic because you feel an emotion that is linked to that music. It makes you feel a certain way, but everyone feels these things in different ways. I think that is a challenge of fiction, and also memoir. Certainly with memoir and fiction, this is so important. ROZ: Yes, and I was just thinking with self-help books, it's even important there because self-help books have to show they understand how the reader is feeling. JOANNA: Yes, and sometimes you use anecdotes to do that. Another challenge with memoir—in this book, you're going round having a look at places, and they're real places and there are real people. This can be difficult. What are things that people need to be wary of if using real people in real places? Do you need permissions for things? ROZ: That book was particularly tricky because, as you said, I was going around real places and talking about real people. With most of them, they're not identifiable. Even though I was specific about particular aspects of particular houses, it would be very hard for anyone to know where those houses were. I think possibly the only way you would recognise it is if that happened to be your own house. The people, similarly—there's a lot about estate agents and other professionals. They were all real incidents and real things that happened, but no one is identifiable. A very important thing about writing a book like this is you're always going to have antagonists, because you have to have people who you're finding difficult, people who are making life a bit difficult for you. You have to present them in a way that understands what it's like to be them as well. If you're writing a book where your purpose is to expose wrongdoing or injustices, then you might be more forthright about just saying, “This is wrong, the way this person behaved was wrong.” You might identify villains if that's appropriate, although you'd have to be very careful legally. This kind of book is more nuanced. The antagonists were simply people who were trying to do the right thing for them. You have to understand what it's like to be them. Quite a lot of the time, I found that the real story was how ill-equipped I sometimes felt to deal with people who were maybe covering something up, or maybe not, but just not expressing themselves very clearly. Estate agents who had an agenda, and I was thinking, “Who are they acting for? Are they acting for me, or are they acting for someone else that we don't even know about?” There's a fair bit of conflict in the book, but it comes from people being people and doing what they have to do. I just wanted to find a good house in an area that was nice, a house I could trust and rely on, for a price that was right. The people who were selling to me just wanted to sell the house no matter what because that was what they needed to do. You always have to understand what the other person's point of view is. Often in this kind of memoir, even though you might be getting very frustrated, it's best to also see a bit of a ridiculous side to yourself—when you're getting grumpy, for instance. It's all just humans being humans in a situation where ultimately you're going to end up doing a life-changing and important thing. I found there's quite a lot of humour in that. We were shuffling things around and, as I said, we were eventually going to be making a cosmic change that would affect the place we called home. I found that quite amusing in a lot of ways. I think you've got to be very levelheaded about this, particularly about writing about other people. Sometimes you do have to ask for permission. I didn't have to do that very much in this book. There were people I wrote about who are actually friends, who would recognise themselves and their stories. I checked that they didn't mind me quoting particular things, and they were all fine with that. In my previous memoir, Not Quite Lost, I actually wrote about a group of people who were completely identifiable. They would definitely have known who they were, and other people would have known who they were. There was no hiding them. They were the people near Brighton who were cryonicists—preserving dead bodies, freezing them, in the hope that they could be revived at a much later date when science had solved the problem that killed them. I went to visit this group of cryonicists, and I'd written a diary about it at the time. Then I followed up when I was writing the book to find out what happened to them. I thought, I've simply got to contact them and tell them I'm going to write this. “I'll send it to you, you give me your comments,” and I did. They gave me some good comments and said, “Oh, please don't put that,” or “Let me clarify this.” Everything was fine. So there I did actually seek them out and check that what I was going to write was okay. JOANNA: Yes, in that situation, there can't be many cryonicists in that area. ROZ: They really were identifiable. JOANNA: There's probably only one group! But this is really interesting, because obviously memoir is a personal thing. You're curating who you are as well in the book, and your husband. I think it's interesting, because I had the problem of “Am I giving away too much about myself?” Do you feel like with everything you've written, you've already given away everything about yourself by now? Are you just completely relaxed about being personal, for yourself and for your husband? ROZ: I think I have become more relaxed about it. My first memoir wasn't nearly as personal as yours was. You were going to some quite difficult places. With Turn Right at the Rainbow, I was approaching some darker places, actually, and I had to consider how much to reveal and how much not to. But I found once I started writing, the honesty just took over. I thought, “This is fine. I have read plenty of books that have done this, and I've loved them. I've loved getting to know someone on that deeper level.” It was just something I took my example from—other writers I'd enjoyed. JOANNA: Yes. I think that's definitely the way memoir has to happen, because it can be very hard to know how to structure it. Let's come to the title. Turn Right at the Rainbow. Really great title, and obviously a subtitle which is important as well for theme. Talk about where the title came from and also the challenges of titling books of any genre. You've had some other great titles for your novels—at least titles I've thought, “Oh yes, that's perfect.” Titling can be really hard. ROZ: Oh, thank you for that. Yes, it is hard. Ever Rest, which was the title of my last novel, just came to me early on. I was very lucky with that. It fitted the themes and it fitted what was going on, but it was just a bolt from the blue. I found that also with Turn Right at the Rainbow, it was an accident. It slipped out. I was going to call it something else, and then this incident happened. “Turn Right at the Rainbow” is actually one of the stories in the book. I call it the title track, as if it's an album. We were going somewhere in the car and the sat nav said, “Turn right at the rainbow.” And Dave and I just fell about, “What did it just say?!” It also seemed to really sum up the journey we were on. We were looking for rainbows and pots of gold and completely at the mercy of chance. It just stayed with me. It seemed the right thing. I wrote the piece first and then I kept thinking, “Well, this sounds like a good title.” Dave said it sounded like a good title. And then a friend of mine who does a lot of beta reading for me said, “Oh, that is the title, isn't it?” When several people tell you that's the title, you've got to take notice. But how we find these things is more difficult, as you said. You just work and work at it, beating your head against the wall. I find they always come to me when I'm not looking. It really helps to do something like exercise, which will put you in a bit of a different mind state. Do you find this as well? JOANNA: Yes, I often like a title earlier on that then changes as the book goes. I mean, we're both discovery writers really, although you do reverse outlines and other things. You have a chaotic discovery phase. I feel like when I'm in that phase, it might be called something, and then I often find that's not what it ends up being, because the book has actually changed in the process. ROZ: Yes, very much. That's part of how we realise what we should be writing. I do have working titles and then something might come along and say, “This seems actually like what you should call it and what you've been working towards, what you've been discovering about it.” I think a good title has a real sense of emotional frisson as well. With memoir, it's easier because we can add a subtitle to explain what we mean. With fiction, it's more difficult. We've got to really hope that it all comes through those few words, and that's a bit harder. JOANNA: Let's talk about your next book. On your website it says it might be a novel, it might be narrative nonfiction, and you have a working title of Four. I wondered if you'd talk a bit more about this chaotic discovery writing phase when we just don't know what's coming. I feel like you and I have been doing this long enough—you longer than me—so maybe we're okay with it. But newer writers might find this stage really difficult. Where's the fun in it? Why is it so difficult? And how can people deal with it? ROZ: You've summed that up really well. It's fun and it's difficult, and I still find it difficult even after all these years. I have to remind myself, looking back at where Ever Rest started, because that was a particularly difficult one. It took me seven years to work out what to do with it, and I wrote three other books in the meantime. It just comes together in the end. What I find is that something takes root in my mind and it collects things. The title you just picked out there—the book with working title of Four—it's now two books. One possibly another memoir and one possibly fiction. It's evolving all the time. I'm just collecting what seems to go with it for now and thinking, “That belongs with it somehow. I don't yet know how, but my intuition is that the two work well together.” There's a harmony there that I see. In the very early stages, that's what I find something is. Then I might get a more concrete idea, say a piece of story or a character, and I'll have the feeling that they really fit together. Once I've got something concrete like that, I can start doing more active research to pursue the idea. But in the beginning, they're all just little twinkles in the eye and you just have to let them develop. If you want to get started on something because you feel you want to get started and you don't feel happy if you're not working on something, you could do a far more active kind of discovery. Writing lists. Lists are great for this. I find lists of what you don't want it to be are just as helpful as what you do want it to be because that certainly narrows down a lot and helps you make good choices. You've got a lot of choices to make at the beginning of a book. You've got to decide: What's it going to be about? What isn't it going to be about? What kind of characters am I interested in? What kind of situations am I interested in? What doesn't interest me about this situation? Very important—saves you a lot of time. What does interest me? If you can start by doing that kind of thing, you will find that you start gathering stuff that gets attracted to it. It's almost like the world starts giving it to you. This is discovery writing, but it's also chivvying it along a bit and getting going. It does work. Joanna: I like the idea of listing what you don't want it to be. I think that's very useful because often writers, especially in the early stages—or even not, I still struggle with this—it's knowing what genre it might actually be. With Bones of the Deep, which is my next thriller, it was originally going to be horror and I was writing it, and then I realised one of the big differences between horror and thriller is the ending and how character arcs are resolved and the way things are written. I was just like, “Do you know what? I actually feel like this is more thriller than horror,” and that really shaped the direction. Even though so much of it was the same, it shaped a lot about the book. It's always hard talking about this stuff without giving spoilers, but I think deciding, “Okay, this is not a horror,” actually helped me find my way back to thriller. ROZ: Yes, I do know what you mean. That makes perfect sense to me, with no spoilers either. It's so interesting how a very broad-strokes picture like that can still be very helpful. Just trying to make something a bit different from the way you've been envisaging it can lead to massive breakthroughs. “Oh no, it's not a thriller—I don't have to be aiming for that kind of effect.” Or try changing the tone a little bit and see if that just makes you happier with what you're making, more comfortable with it. JOANNA: You mentioned the seven years that Ever Rest took. We should say the title is in two words—”Ever” and “Rest”—but it is also about Everest the mountain in many ways. That's why it's such a perfect title. If that took seven years and you were doing all this other stuff and writing other books along the way, how do you keep your research under control? How do you do that? I still use Scrivener projects as my main research place. How do you do your research and organisation? ROZ: A lot of scraps of paper. My desk is massive. It used to be a dining table with leaves in it. It's spread out to its fullest length, and it's got heaps of little pieces of paper. I know what's on them all, and there are different areas, different zones. I'm very much a paper writer because I like the tangibility of it. I also like the creativity of taking a piece of paper and tearing it into an odd shape and writing a note on that. It seems as sort of profound and lucky as the idea. I really like that. I do make text files and keep notes that way. Once something is starting to get to a phase where it's becoming serious, it will then be a folder with various files that discuss different aspects of it. I do a lot of discussing with myself while writing, and I don't necessarily look at it all again. The writing of it clarifies something or allows me to put something aside and say, “No, that doesn't quite belong.” Gradually I start to look at things, look at what I've gathered, and think, “How does this fit with this?” And it helps to look away as well. As I said with finding titles, sometimes the right thing is in your subconscious and it's waiting to just sail in if you look at it in a different way. There's a lot to be said for working on several ideas, not looking at some of them for a while, then going back and thinking, “Oh, I know what to do with this now.” JOANNA: Yes. My Writing the Shadow, I was talking about that when we met, and that definitely took about a decade. ROZ: Yes. JOANNA: I kept having to come back to that, and sometimes we're just not ready. Even as experienced writers, we're not ready for a particular book. With Bones of the Deep, I did the trip that it's based on in 1999. Since I became a writer, I've thought I have to use that trip in some way, and I never found the right way to use it. I came at it a couple of times and it just never sat right with me. Then something on this master's course I'm doing around human remains and indigenous cultures just suddenly all clicked. You can't really rush that, can you? ROZ: You absolutely can't. It's something you develop a sense for, the more you do—whether something's ready or whether you should just let it think about itself for a while whilst you work on something else. It really helps to have something else to work on because I panic a bit if I don't have something creative to do. I just have to create, I have to make things, particularly in writing. But I also like doing various little arty things as well. I need to always have something to be writing about or exploring in words. Sometimes a book isn't ready for that intense pressure of being properly written. So it helps to have several things that I can play with and then pick one and go, “Okay, now I'm going to really perform this on the page.” JOANNA: Do you find that nonfiction—because you have some craft books as well—do you find the nonfiction side is quite different? Can you almost just go and write a nonfiction book or work on someone else's project? Does that use a different kind of creativity? ROZ: Yes, it does. Creativity where you're trying to explain something to creative people is totally different from creativity where you're trying to involve them in emotions and a journey and nuances of meaning. They're very different, but they're still fun. So, yes, I am an editor as well, and that feeds my creativity in various unexpected ways. I'll see what someone has done and think, “Oh, that's very interesting that they did that.” It can make me think in different ways—different shapes for stories, different kinds of characters to have. It really opens your eyes, working with other creative people. JOANNA: I wanted to return to what you said at the beginning, that it is more difficult these days to get our work noticed. There's certainly a challenge in writing a travel memoir about home. What are you doing to market this book? What have you learned about book marketing for memoir in particular that might help other people? ROZ: Partly I realised it was quite a natural progression for me because in my newsletter I always write a couple of little pieces. I think they're called “life writing.” Just little things that have happened to me. That's sort of like memoir, creative nonfiction, personal essays. I was quite naturally writing that sort of thing to my newsletter readers, and I realised that was already good preparation for the kind of way that I would write in a memoir. As for the actual campaign, I actually came up with an idea which quite surprised me because I didn't think I was good at that. I'm making a collage of the word “home” written in lots of different handwriting, on lots of different things, in lots of different languages. I'm getting people to contribute these and send them to me, and I'm building them into a series of collages that's just got the word “home” everywhere. People have been contributing them by sending them by email or on Facebook Messenger, and I've been putting them up on my social platforms. They look stunning. It's amazing. People are writing the word “home” on a post-it or sticking it to a picture of their radiator. Someone wrote it in snow on her car when we had snow. Someone wrote it on a pottery shard she found in her drive when she bought the house. She thought it was mysterious. There are all these lovely stories that people are telling me as well. I'm making them into little artworks and putting them up every day as the book comes to launch. It's so much fun, and it also has a deeper purpose because it shows how home is different for all of us and how it builds as uniquely as our handwriting. Our handwriting has a story. I should do a book about that! JOANNA: That's a weird one. Handwriting always gets me, although it'd be interesting these days because so many people don't handwrite things anymore. You can probably tell the age of someone by how well-developed their handwriting is. ROZ: Except mine has just withered. I can barely write for more than a few minutes. JOANNA: Oh, I know what you mean. Your hand gets really tired. ROZ: We used to write three-hour exams. How did we do that? JOANNA: I really don't know. JOANNA: Just coming back on that. You mentioned mainly you're doing your newsletter and connecting with your own community. You've done podcasts with me and with other people. But I feel like in the indie community, the whole “you must build your newsletter” thing is described as something quite frantic. How have you built a newsletter in a sustainable manner? ROZ: I've built it by finding what suited me. To start with I thought, “What will I put in it? News, obviously.” But I wasn't doing that much that was newsworthy. Then I began to examine what news could actually be. The turning point really happened when I wrote the first memoir, Not Quite Lost: Travels Without a Sense of Direction. I thought, “I have to explain to people why I'm writing a memoir,” because it seemed like a very audacious thing to do—”Read about me!” I thought I had to explain myself. So I told the story of how I came to think about writing such an audacious book. I just found a natural way to tell stories about what I was doing creatively. I thought, “I like this. I like writing a newsletter like this.” And it's not all me, me, me. It's “I'm discovering this and it makes me think this,” and it just seems to be generally about life, about little questions that we might all face. From then, I found I really enjoyed writing a newsletter because I felt I had something to say. I couldn't put lists of where I was speaking, what I was teaching, what special offers I had, because that wasn't really how my creative life worked. Once I found something I could sustainably write about every month, it really helped. Oh, it also helps to have a pet, by the way. JOANNA: Yes, you have a horse! ROZ: I've got a horse. People absolutely love hearing the stories about my ongoing relationship with this horse. Even if they're not horsey, they write to me and say, “We just love your horse.” It helps to have a human interest thing going on like that. So that works for me. Everyone's got different things that will work for them. But for me, it builds just a sense of connection, human connection. I'm human, making things. JOANNA: In terms of actually getting people signed up—has it literally just been over time? People have read your book, signed up from the link at the back? Have you ever done any specific growth marketing around your newsletter? ROZ: I tried a little bit of growth marketing. I have a freebie version of one of my Nail Your Novel books and I put that on a promotion site. I got lots of newsletter signups, but they sort of dwindled away. When I get unsubscribes, it's usually from that list, because it wasn't really what they came for. They just came for a free book of writing tips. While I do writing tips on my blog—I'm still doing those—it wasn't really what my newsletter was about. What I found was that that wasn't going to get people who were going to be interested long-term in what I was writing about in my newsletter. Whatever you do, I found, has got to be true to what you are actually giving them. JOANNA: Yes, I think that's really key. I make sure I email once every couple of weeks. And you welcome the unsubscribes. You have to welcome them because those people are not right for you and they're not interested in what you're doing. At the end of the day, we're still trying to sell books. As much as you're enjoying the connection with your audience, you are still trying to sell Turn Right at the Rainbow and your other books, right? ROZ: Absolutely, yes. And as you say, someone who decides, “No, not for me anymore,” and that's good. There are still people who you are right for. JOANNA: Mm-hmm. ROZ: I do market my newsletter in a very low-key way. I make a graphic every month for the newsletter, it's like a magazine cover. “What's in it?” And I put that around all my social media. I change my Facebook page header so it's got that on it, my Bluesky header. People can see what it's like, what the vibe is, and they know where to find it if they're interested. I find that kind of low-key approach works quite well for what I'm offering. It's got to be true to what you offer. JOANNA: Yes, and true for a long-term career, I think. When I first met you and your husband Dave, it was like, “Oh, here are some people who are in this writing business, have already been in it for a while.” And both of you are still here. I just feel like— You have to do it in a sustainable way, whether it's writing or marketing or any of this. The only way to do it is to, as you said, live as a creative human and not make it all frantic and “must be now.” ROZ: Yes. I mean, I do have to-do lists that are quite long for every week, but I've learned to pace myself. I've learned how often I can write a good blog post. I could churn out blog posts that were far more frequent, but they wouldn't be as good. They wouldn't be as properly thought through. In the old days with blogs, you had an advantage if you were blogging very frequently, I think you got more noticed by Google because you were constantly putting up fresh content. But if that's not sustainable for you, it's not going to do you any good. Now there's so much content around that it's probably fine to post once a month if that is what you're going to do and how you're going to present the best of yourself. I see a lot on Substack—I've recently started Substack as well—I see people writing every other day. I think they're good, that's interesting, but I don't have time to read it. I would love to have the time, but I don't. So there's actually no sin in only posting once a month—one newsletter a month, one blog post a month, one Substack a month. That's plenty. People will still find that enough if they get you. JOANNA: Fantastic. So where can people find you and your books and everything you do online? ROZ: My website is probably the easiest place, RozMorris.org. JOANNA: Brilliant. Well, thank you so much for your time, Roz. As ever, that was great. ROZ: Thank you, Jo.The post Writing Emotion, Discovery Writing, And Slow Sustainable Book Marketing With Roz Morris first appeared on The Creative Penn.
What do you do when your faith feels lifeless and everything around you feels spiritually dry? In Ezekiel's vision of the valley of dry bones, God reveals that structure and effort alone can't bring life - only His Spirit can. This message traces the story from creation to new creation, showing how the same breath that formed humanity and raised Jesus now gives life to God's people today.
A SASQUAAATTCCHHHHHHHSomething new for our Monstrous March :)
The karmic burn is happening right now — and if you want a powerful space to clear what's surfacing, join us inside BONES. → Join BONES here This week's astrology is intense but incredibly revealing. The fog is lifting, the underworld is speaking, and many of us are experiencing a soul-level course correction. In this episode of ReWilding Weekly, we explore: • Why the “fire before the new forest” moment is happening • The karmic burn of the South Node eclipse • The shadow work window that is opening right now • Truth bombs and old wounds rising to be healed • The soul-level course correction unfolding this week • Why some people will collapse in this moment — and others will thrive This is a week of destiny. The more conscious we become about what's surfacing, the more powerful the path forward becomes. If you want to go deeper into the karmic clearing work discussed in this episode, you can journey the Burn the Karma, Walk the Destiny workshop inside BONES. → Join BONES here If you're feeling the call to step more deeply into service during this time of transformation, watch the 4 Pillars of Priestessing video here: → Watch the Priestess Training video Massive love to you for walking this path with me. Listen to “Something Major Is Shifting — Your Path Is Changing“ podcast here… Topics Explored in “Something Major Is Shifting — Your Path Is Changing” podcast: (Times based off audio version) (0:00) March 9–15 Weekly Astrology Forecast: Eclipse Energy, Mercury Retrograde & Clarity (1:48) Reflection Prompt: Where Is the Fog Lifting in Your Life? (3:06) Theme 1: Collapse, Burn & Rebirth — The Fire Before the New Forest (6:27) Theme 2: Reality Check — The Fog Lifts and You See Clearly (13:41) Theme 3: The Underworld Is Speaking — Karma, Shadow & Fate (17:39) Theme 4: Shadow Work Window — Deep Karmic Release & Freedom (21:02) Theme 5: Soul-Level Course Correction — Pivot, Thrive & Follow Destiny (37:32) Theme 6: Truth Bombs & Old Wounds — Healing Through Chaos (41:32) Theme 7: Masculine Evolution — Warrior Healing, Power & the Heart (46:22) Theme 8: Rise of the Lightworkers — Purpose, Service & Spiritual Calling (52:20) Final Transmission: The Seeds That Only Open Through Fire You can leave a comment or question for Sabrina on the YouTube version of this episode. Listen to after “Something Major Is Shifting — Your Path Is Changing”: This Full Moon Eclipse Ends Who You've Been What’s Done is Done Eclipse Portal Opens Leo Full Moon & Eclipse Portal STAY CONNECTED ReWilding Weekly (free, embodied astrology) IG Website Disclaimer: Educational/spiritual perspectives; not medical/mental-health advice. #2025Shift #NewHuman #SpiritualAwakening Welcome to ReWilding with Sabrina Lynn & ReWilding for Women! A gifted facilitator of revolutionary inner work and the world's leading archetypal embodiment expert, Sabrina Lynn is the creator of the groundbreaking ReWilding Way and founder of ReWilding For Women. Sabrina has led more than 100,000 people through programs based on the ReWilding Way, a modality of healing and awakening that strips away the false, the deep wounds from early life, and the fears that hold people back, to reveal their true and unique soul light and help them build their innate capacity to shine it in the world. Her work includes in-person retreats and events, the monthly ReWilding Membership, Living Close to the Bone, Priest/ess Trainings, Mystery Schools, the ReWilding with the Archetypes, and the wildly popular 6 Faces of the Feminine workshop series. Welcome to ReWilding! The post 368 – Something Major Is Shifting — Your Path Is Changing appeared first on Rewilding for Women.
Legend of the Bones is a hybrid of dark fantasy audio drama and old school solo Dungeons & Dragons. A story where the roll of the bones determines all. None shall escape the destiny of bone. Audio credits: Intro & Main Theme: Cold Northern Stars by imaginerum https://tunetank.com/tracks/2290-cold-northern-stars Part 1: Celestial by Scott Buckley https://www.scottbuckley.com.au/library/celestial Released under CC-BY 4.0 Part 2: The Summoning by Scott Buckley https://www.scottbuckley.com.au/library/the-summoning Released under CC-BY 4.0 Part 3: Decoherence by Scott Buckley https://www.scottbuckley.com.au/library/decoherence Released under CC-BY 4.0 Behind the Screen: Moving Picture Atmosphere 014 https://soundcloud.com/royaltyfreebackgroundmusic/creative-commons-music-4099/sets Incidental sound effects sourced from www.freesound.org & www.freesfx.co.uk & www.zapsplat.com & https://tabletopaudio.com/ Voice Actors Eadith was voiced by Chloe Elliott https://linktr.ee/clo_withtheflow Demelza was voiced by Ros Williams Post Roll Promo Realm of Rolls Resources https://legendofthebones.blogspot.com Transcript
It's Birthday Month for Mirandia, and you know what that means- she chooses the book! This month we are going back to one of Mirandia's favorite things, Halloween Town, and following Sally, the Ragdoll (now) Queen, as she struggles with becoming Pumpkin Queen and the duties that it involves. We also cover new book news and adaptations coming our way. Grab a charcuterie board and join us for #girldinner. Books Mentioned This Episode: Long Live the Pumpkin Queen by Shea Ernshaw The Hour of the Pumpkin Queen by Megan Shepherd City of Bones by Cassandra Clare Project Hail May by Andy Weir Dark Matter by Blake Crouch Reminders of Him by Colleen Hoover Wuthering Heights by Emily Bronte Atmosphere by Taylor Jenkins Reid Nothing Like the Movies by Lynn Painter A Good Girl's Guide to Murder by Holly Jackson Children of Virtue and Vengeance by Tomi Adeyemi The Medici Curse by Daco S. Auffenorde Middletide by Sarah Crouch The Storm by Rachel Hawkins Stray Dogs by Tony Fleecs Astrophysics for People Who Are In A Hurry by Neil DeGrasse Tyson
Orthopedic surgeon turned real estate investor Tyson Cobb joins me on the Legacy Podcast to break down the framework behind his book Wealth by Design and the BONES Method, a step-by-step approach high-income professionals can use to build wealth through real estate and alternative investments. Tyson built an incredibly successful career in orthopedic surgery but eventually realized that the traditional financial advice many professionals follow can lead to what he calls the "golden handcuffs"—high income, high taxes, and very little freedom. In this episode, Tyson and I talk about the mindset shifts that helped him transition into real estate investing, how networking and masterminds accelerate growth, why taking action is one of the most important steps for building real wealth, and how serving others often leads to even bigger opportunities. Tyson also shares his journey from working full-time as a surgeon to raising capital for real estate deals and building a scalable investment business. If you're a high-income professional, real estate investor, or entrepreneur looking for a framework to grow your wealth and create more freedom, this conversation will give you a lot to think about. Learn more about Smart Management here: https://smartmanagement.com //CONNECT WITH TYSON COBB Book: Wealth by Design https://www.amazon.com/Wealth-Design-High-Income-Professionals-Passive-ebook/dp/B0FXVP7WXQ Website: https://timberviewcapital.com Instagram: https://instagram.com/tyson.cobb.54 Mobile: 563-209-8488 Email: tyson@timberviewcapital.com
What does it really take to have healthy bones for life?In this episode of Smart Women Talk, Katana Abbott sits down with physical therapist, integrative health coach, happiness trainer, and author Margie Bissinger, MS, PT, CHC to talk about bone health, osteoporosis, osteopenia, and the lifestyle choices that can make a real difference.Margie explains the difference between osteopenia and osteoporosis, what bone density scores really mean, and why bone health is about much more than a diagnosis or a number on a test. She also shares practical guidance on nutrition, calcium, vitamin D, magnesium, vitamin K2, protein, stress, and the types of exercise that can help support strong bones over time.Katana also opens up about her own experience with osteopenia, fractures, bone density testing, and choosing a more proactive path through diet, exercise, and research. In this conversation, you'll learn:The difference between osteopenia and osteoporosisWhat a bone density test can — and cannot — tell youWhy leafy greens, minerals, and protein matter for bone healthThe role of stress in bone lossWhat an osteoporosis exercise program should includeWhy strength training, weight-bearing exercise, and balance work are so importantWhat to know before taking supplementsThis is an empowering conversation for women who want to better understand their bone health and take practical steps to stay strong, active, and independent for years to come.Margie Bissinger, MS, PT, CHC is a physical therapist, integrative health coach, happiness trainer, and author. She teaches an online program to give people the tools to naturally achieve optimal bone health. Margie is the host of the Happy Bones, Happy Life Podcast. Margie created The Happy Me, Happy Life online program to help people increase their happiness level, energy, and overall health. She has been featured in the New York Times, Menopause Management, OB GYN News and contributed to numerous health and fitness books.Disclaimer: The information shared in this episode of Smart Women Talk is for educational and informational purposes only and is not intended as medical advice. Always consult your physician or qualified healthcare provider regarding any questions you may have about a medical condition, treatment options, or before starting any new health regimen. Never disregard professional medical advice or delay seeking it because of something you heard in this program.
In this episode, Matt and Chris turn their attention to Blindboy Boatclub, the Irish podcaster, satirist, and former member of the Rubberbandits. Blindboy is recognisable for his plastic-bag headwear, which has transitioned from a comedy prop into something a bit deeper and more philosophical. His podcast blends ASMR-style delivery, stream-of-consciousness storytelling, and cultural and political commentary, drifting between reflections on mental health, colonialism, Irish history, and the origins of the month of February. It is a distinctive format: whispered monologues over gentle piano where poetic association, personal reflection, and narrative intuition take precedence. For many listeners, that unique mixture of introspection, politics, and storytelling is exactly the appeal. As you might imagine, it is not entirely our bag, but to each their own.However, when Blindboy turns his attention to the recent Epstein document releases, the narrative becomes considerably darker and drifts into some familiar gurusphere territory. Blindboy describes this as a “phone call episode”, an unscripted stream-of-consciousness riff with minimal fact-checking, and then proceeds to expound for over an hour on a sprawling narrative connecting elite conspiracies to the hidden psychological forces shaping modern politics. Along the way we encounter a parade of lurid spectacles, including necrophilic Hell's Angels, secret society members masturbating in coffins, murdered women buried on Trump's golf course, potentially cannibalistic elites, and healthcare CEOs who delight in causing pain and misery. We also discover the crucial, if previously underappreciated, role that Jeffrey Epstein apparently played in the creation of the modern culture wars.As usual, the goal is not to adjudicate the politics involved but to examine the rhetorical and epistemic patterns at play. What happens when a charismatic storyteller combines emotionally compelling narratives with speculative leaps? How do strategic disclaimers like “I'm not saying it's true” interact with extended conjecture? And why do some conspiracy frameworks feel persuasive when wrapped in an appealing ideological package? Matt and Chris listen through Blindboy's riff to see how well the arguments hold up once the plinky-plonk piano fades and the claims are examined in the cold light of day.LinksBlindboy: A Deep Dive into Jeffrey EpsteinBlindboy: Butter Melting Down The Neck Of A Warm HorseThe Guardian: ‘I have a bag on my head. Deal with it!' Is Blindboy the perfect podcaster?The Rubberbandits: Horse OutsideBobby Fingers' performance art on YouTubeJake Tapper shared the removed DOJ documents that contain allegations against TrumpA detailed debunking of the claim that Ghislaine Maxwell was a Reddit Mod2013 article covering approval for Trump's family cemetery2016 New Yorker Article about Trump wanting to be buried at his golf courseThe Verge: Christopher Pool ‘moot' rejects the claims about Epstein creating the 4chanRon Rosenbaum's 1977 article on the Skull and Bones society initiationsAmerica's Secret Establishment: An Introduction to the Order of Skull & Bones (Sutton, 1986)Atlantic Article from 2000 that mentions the coffin masturbation rumourArticle from the NYT: How The Times Is Digging Into Millions of Pages of Epstein FilesThe Rest is Classified: Was Epstein a Russian Spy?Epstein Files Declassified: Mossad, Israel, and Ghislaine MaxwellEpstein Files Declassified: Was he a Spy?Le Monde: Some consequences for the Sultan who Epstein messaged about the torture videoBBC: Luigi Mangione will not face the death penalty if convicted, judge rulesAn in-depth critical review of Whitney Webb's book (by an academic who might be a little conspiracy prone themselves)2022 Podcast featuring Brian Thompson (United Healthcare CEO) discussing his views on healthcareCritical examination of the headline denial rate of UnitedHealthcare2024 US Senate Report on Insurance Denials under Medicare Advantage Insurers
For the next few weeks, the guys will be re-airing some of their favourite episodes from our archives.Today, Ali and Asif discuss the career of comedian Anthony Jeselnik and his special ‘Bones and All' (1:54). They discuss his early life, when they first saw him (Ali actually met him person!) and an insightful interview with Jeselnik in ‘Cracked Magazine'. They discuss Jeselnik's success as well as his admiration for Norm MacDonald. The guys then discuss (31:31) psychopathy and antisocial personality disorder (ASPD) (NB Jeselnik does a dark character on stage, but does not have psychopathy or ASPD). Asif starts off with ASPD and discusses what it is and about how conduct disorder in childhood is related. Asif talks about how common it is and the prevalence in the prison population. Asif goes over the diagnostic criteria as well as the treatment and prognosis. Asif then briefly discusses how psychopathy is slightly different and also discusses the concept of ‘corporate psychopaths'. The opinions expressed are those of the hosts, and do not reflect those of any other organizations. This podcast and website represents the opinions of the hosts. The content here should not be taken as medical advice. The content here is for entertainment and informational purposes only, and because each person is so unique, please consult your healthcare professional for any medical questions.Music courtesy of Wataboi and 8er41 from PixabayContact us at doctorvcomedian@gmail.comFollow us on Social media:Twitter: @doctorvcomedianInstagram: doctorvcomedianShow Notes:Anthony Jeselnik Is Evolving. But He's Not Losing His Edge: https://www.cracked.com/article_44517_anthony-jeselnik-is-evolving-but-hes-not-losing-his-edge.htmlAnthony Jeselnik Attacks Modern Comedians: https://www.youtube.com/shorts/3W-VCMzXhM8?feature=shareAntisocial Personality Disorder: https://www.ncbi.nlm.nih.gov/books/NBK546673/What is the difference between sociopathy and psychopathy? https://www.medicalnewstoday.com/articles/psychopath-vs-sociopath#psychopathyPsychopathic, Sociopathic, or Antisocial Personality? https://www.psychologytoday.com/ca/blog/tyrannical-minds/201907/psychopathic-sociopathic-or-antisocial-personality Hosted on Acast. See acast.com/privacy for more information.
CW dismemberment; mentions of stabbing.The Tall Girls are granted an audience with MSVO. But what answers- if any- will they discover?Morgan quizzes a deity. Toz loses something. Raina gets a stomachache. Delphi lends a hand.Today's promo is for Little But Fierce by DC Bradshaw. Their kickstarter is live NOW with a special Deck of Many Aces stretch goal allowing us to make a new Splitting the Deck!Music by Chloe Elliott: A New World Dawns (Main Theme) A Temporary Setback (Morgan's Theme)Eyes of the VoidA Fracture in the Glass (Delphi's Theme)Seth's LullabyArtwork by Eiriol Evans.Sound Effects from Zapsplat.Support us by becoming a patron on Patreon.Check out the full original soundtrack here. Music from the main campaign can be found on music streaming platforms.Other projects:Watch Am and Chloe GM as part of TTRPGirls on EUphoriaAP: Am runs Slugblaster on Monday 16th March at 7pm GMT and Chloe runs Shiver on Friday 13th March at 7pm GMT.Listen to Am and Chloe on RWD. You can find them on Twitter and Instagram @RWD_Pod.Listen to Chloe voice Quinn/ Cynthia in C4DAC3U5.Listen to Chloe voice Eadith in Legend of the Bones.Find out what Ellie's up to at elliewebster.co.uk and sign up to their mailing list here to keep updated on all their creative projects.Asexuality and Aromantic Resources:The Asexual Visibility and Education NetworkThe Aromantic-spectrum Union for Recognition, Education, and AdvocacyDeck of Many Aces is unofficial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards of the Coast. Portions of the materials used are property of Wizards of the Coast. ©Wizards of the Coast LLC. All the characters in this podcast are fictitious, and any resemblance to actual persons, living or dead, is purely coincidental.Support this show http://supporter.acast.com/deck-of-many-aces. Hosted on Acast. See acast.com/privacy for more information.
With St. Patrick's Day just around the corner, Chris and Ed chase the legend of the leprechaun from the cereal mascots of today to the cruel tricksters of the ancient past. Plus: the weirdest modern “sightings,” and the story of how these Irish folklore fae became protected by the EU. Get early release + ad-free + bonus show New Fear Unlocked: patreon.com/scaredallthetimeDon't love every word we say? Ok, weirdo. Here's some "chapters" to find what you DO love:00:00:00 - Intro00:01:58 - Housekeeping00:05:32 - We're Talking Leprechauns00:12:14 - Basic Leprechaun History00:24:47 - Tracing The Rise Of The Leprechaun00:30:00 - Earliest Leprechaun Legend00:39:19 - Clurichaun00:44:45 - The Far Darrig01:00:12 - Evolution Of The Leprechaun01:15:31 - Modern Leprechaun01:23:57 - The Carlingford Leprechauns01:32:35 - The Fear TierNOTE: Ads out of our control may affect chapter timing.Visit this episode's show notes for links and references.Want even more out of SATT? Now you can SUPPORT THE SHOW and get NEW SATT content EVERY WEEK for as little as 5 BONES — which includes our bonus video show New Fear Unlocked — by joining CLUB SATT
TTO-243 Gandalf the Mushroom, Jerky Your Nipples, Epstein Files Library, Meme Mean Girls, Aliens Cabal of Cannibals Shapeshifting Lizard People, McDonalds Product, Popeyes Chicken Neck and Bones, Bird law, Names in Open Senate, Conspiracy Elite trafficking, Warren Buffet Mob in Omaha Cowboy mayor, grandpa murderer, Seal of Solomon, Demons Coming Back through AI, Church Of Molt, Art, Modern Lord of the Rings, Mahomes Hair, Cobain Shotgun, Gag Noise, DMT Puma Pipe, Jaguar Religion, Bill Gates, Johns Boss Calls, X Wife Charity, Mouth of Saroun, Sinkhole Pacific Street Omaha, Horizontal Pee Hole, Sword Fight, Terry Carly Caller, Boneless Lawsuit Wings Nuggets,
In this edition of Edgar, Your Trends Hanging Off Your Bones, Jack and Miles discuss the results of Primary Day, the insane amount of misinformation coming out of the war with Iran (feat. Arma 3 & War Thunder), the upcoming 'Game of Thrones' movie and much more!See omnystudio.com/listener for privacy information.
Join the Movement - Immersion ExperienceToday's transcript. We depend on donations from exceptional listeners like you. To donate, click here.The Daily Rosary Meditations is now an app! Click here for more info.To find out more about The Movement and enroll: https://www.schooloffaith.com/membershipPrayer requests | Subscribe by email | Download our app | Donate
In this week's episode of The Bones Booth, Andrew, Taryn and Maggie discuss season eleven episode nine of Bones, "The Cowboy in the Contest."
Join Liz Cruz M.D. and Tina Nunziato, Certified Holistic Nutrition Consultant, as they discuss how long different chemicals / toxins that we are exposed to stay in your bodies. Also learn where certain chemicals are stored long-term (like the bones) and what happens to those chemicals when our bones start breaking down. Mid-podcast commercial was on the Delicate Detox. Please check out this link for more information: https://drlizcruz.com/collections/supplements/products/dr-liz-cruz-delicate-detoxWatch us on YouTube: https://youtu.be/pL_sOFE4vUgDr. Cruz is a Board Certified Gastroenterologist who practices in Phoenix, AZ. Along with her wife Tina Nunziato, a Certified Holistic Nutritionist, they have helped tens of thousands of individuals get well from a more holistic standpoint. They focus on issues such as constipation, diarrhea, acid reflux, heartburn, gas, bloating, food sensitivities, IBS, Crohn's disease, and diverticulitis in addition to a person's general overall health. They do this by teaching about real food, water, digestive enzymes, probiotics, detox, greens, electrolytes, food sensitivity testing, and so much more. If you're struggling with finding the answers to your issues, tired of not feeling well, and sick of taking over the counter and prescription medicines, schedule a FREE 30 minute phone consult at www.drlizcruz.com.For more information visit www.digestthispodcast.com or www.drlizcruz.com. Enjoy the show! Dr. Liz Cruz and Tina Nunziato, CHNC
This week, Liberty and Danika discuss That's What Friends Are For, Strange Buildings, Just Friends, and more great books! Subscribe to All the Books! using RSS, Apple Podcasts, or Spotify and never miss a beat book. Sign up for the weekly New Books! newsletter for even more new book news. Keep track of new releases with Book Riot's New Release Index, now included with an All Access membership. Click here to get started today! This content contains affiliate links. When you buy through these links, we may earn an affiliate commission. Books Discussed On the Show: That's What Friends Are For by Wade Rouse The Primrose Murder Society by Stacy Hackney Just Friends by Haley Pham Star Shipped by Cat Sebastian When I Was Death by Alexis Henderson Black as Diamond by U.M. Agoawike Good Woman: A Reckoning by Savala Nolan The Valley of Vengeful Ghosts by Kim Fu Strange Buildings by Uketsu, Jim Rion (translator) Medium Rare by A. Natasha Joukovsky Night Night Fawn by Jordy Rosenberg 200 Monas by Jan Saenz Wait for Me by Amy Jo Burns River of Bones and Other Stories by Rebecca Roanhorse You with the Sad Eyes: A Memoir by Christina Applegate Want to Know a Secret? by Freida McFadden Learn more about your ad choices. Visit megaphone.fm/adchoices
Did you know that your posture plays a crucial role in your overall health? In case you missed it, we're bringing back one of our most popular episodes with Dr. Claudia Tamas, an expert in bone health and movement. We cover some surprising facts, including the impact of posture and kyphosis on your vital organs and how certain postural changes are linked to decreased bone density. Dr. Claudia explains how a simple yet powerful exercise can actually increase bone density and prevent fractures, especially in the hip and femoral neck. You'll also learn about key exercises, such as the squat and chin retraction, that can help you strengthen your muscles and improve posture. These exercises are not only simple to perform but also offer immense benefits in maintaining bone health as we age. Whether you're new to this episode or want to refresh your memory, now's the perfect time to check it out in full on YouTube. Watch The Best Exercises to Prevent Fractures and Strengthen Bones | Dr. Claudia Tamas & Margie Bissinger - https://www.youtube.com/watch?v=_FLlEykJ1kg "For patients with osteoporosis, posture and postural architecture collapse are a matter of life and death." ~ Dr. Claudia Tamas In this episode: [02:08] - The consequences of poor posture: kyphosis and its effects on bones and vital organs [07:02] - The importance of posture analysis and working with a physical therapist [09:43] - How bad posture impacts lung capacity and recovery from fractures [12:33] - Case studies showing the impact of posture correction on bone density [15:54] - Recommended support for nursing home residents [17:04] - The three most important exercises for recovery [21:23] - How squats can strengthen bones, especially the femoral neck [24:05] - Demonstration of proper squat form and its benefits for bone health Resources - Mastering Core Activation for Weight Training and Life - https://www.happyboneshappylife.com/mastering-core-activation-for-weight-training-and-life - Join Dr. Claudia's On-Demand Classes: New Ways to Strengthen Your Foot and Ankle to Prevent Falls - https://www.happyboneshappylife.com/new-ways-to-strengthen-your-foot-and-ankle-to-prevent-on-demand-class Core, Posture & Gym Equipment for Osteoporosis-Safe Exercise - https://www.happyboneshappylife.com/core-posture-gym-equipment-for-osteoporosis-safe-exercise-on-demand Osteoporosis Home Exercise Fundamentals On-Demand Class - https://www.happyboneshappylife.com/osteoporosis-home-exercise-fundamentals-on-demand-class - Osteoporosis ONERO™ Program in Somerset, NJ - https://www.nmrnj.com/our-services/osteoporosis-onero-program/ Fullscript supplements at a discounted price - https://tinyurl.com/supplementsforless - Happy Bones Club (Margie's membership) - https://www.happyboneshappylife.com/bones-club - MORE Natural Approaches To Osteoporosis and Bone Health Summit (free 8 day access) - https://www.happyboneshappylife.com/osteoporosis-bone-health-summit More about Margie - Website - https://margiebissinger.com/ - Facebook - https://www.facebook.com/p/Margie-Bissinger-MS-PT-CHC-100063542905332/ - Instagram - https://www.instagram.com/margiebissinger/?hl=en DISCLAIMER – The information presented on this podcast should not be construed as medical advice. It is not intended to replace consultation with your physician or healthcare provider. The ideas shared on this podcast are the expressed opinions of the guests and do not always reflect those of Margie Bissinger and Happy Bones, Happy Life Podcast. *In compliance with the FTC guidelines, please assume the following about links on this site: Some of the links going to products are affiliate links of which I receive a small commission from sales of certain items, but the price is the same for you (sometimes, I even get to share a unique discount with you). If I post an affiliate link to a product, it is something that I personally use, support, and would recommend. I personally vet each and every product. My first priority is providing valuable information and resources to help you create positive changes in your health and bring more happiness into your life. I will only ever link to products or resources (affiliate or otherwise) that fit within this purpose.
We're closer than ever to living on Mars — but evolution won't wait for us to get there. Sponsored By: Shopify: Start your $1/month trial at shopify.com/daily Notion: Try Custom Agents now at notion.com/daily
Written by August Wilson Directed by Cheyenne Barboza Set in 1904 Pittsburgh, Gem of the Ocean begins at the home of Aunt Ester, a 285-year-old spiritual healer and former slave believed to carry the memory of the African diaspora. When Citizen Barlow, a newcomer from the South, arrives haunted by guilt, Aunt Ester sends him on a spiritual journey to the mythical City of Bones to confront his past and ancestry. As the community wrestles with protest, injustice, and the cost of resistance, Citizen must choose the legacy he'll carry forward. The first in The American Century Cycle, Gem of the Ocean is a lyrical story of reckoning and the path to freedom.
Let me ask you a question, do we need to let God operate today on some of our bones? God is the perfect orthopedic surgeon.
How do you build a creative life that spans music, writing, film, and spiritual practice? Alicia Jo Rabins talks about weaving multiple creative strands into a sustainable career and why the best advice for any creator might simply be: just make the thing. In the intro, backlist promotion strategy [Written Word Media]; Successful author business [Novel Marketing Podcast]; Alliance of Independent Authors Indie Author Bookstore; Bones of the Deep – J.F. Penn 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 Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. 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 Building a sustainable multi-disciplinary creative career through teaching, performance, grants, and donations Trusting instinct in the early generative stages of creativity and separating generation from editing Adapting and reimagining religious and cultural source material through music, writing, and performance The challenges of transitioning from poetry to long-form prose memoir, including choosing a lens for your story Making an independent film on a shoestring budget without waiting for Hollywood's permission Finding your creative voice and building confidence by leaning into vulnerability and returning to the practice of making You can find Alicia at AliciaJo.com. Transcript of the interview with Alicia Jo Rabins Joanna: Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. So welcome to the show, Alicia. Alicia: Thank you so much. I'm delighted to be here. Joanna: There is so much we could talk about. But first up— Tell us a bit more about you and how you've woven so many strands of creativity into your life and career. Alicia: Yes, well, I am a maximalist. What happened in terms of my early life is that I started writing on my own, just extremely young. I'm one of those people who always loved writing, always processed the world and managed my emotions and came to understand myself through writing. So from a very young age, I felt really committed to writing. Then I had the good fortune that my mother saw a talk show about the Suzuki method of learning violin—when you start really young and learn by ear, which is modelled after language learning. It's so much less intellectual and much more instinctual, learning by copying. She was like, that looks like a cool thing. I was three years old at the time and she found out that there was a little local branch of our music conservatory that had a Suzuki violin programme. So when I was three and a half, getting close to four, she took me down and I started playing an extremely tiny violin. Joanna: Oh, cute! Alicia: Yes, and because it was part of this conservatory that was downtown, and we were just starting at the suburban branch where we lived, there was this path that I was able to follow. As I got more and more interested in violin, I could continue basically up through the conservatory level during high school. So I had a really fantastic music education without any pressure, without any expectations or professional goals. I just kept taking these classes and one thing led to another. I grew up being very immersed in both creative writing and music, and I think just having the gift of those two parts of my brain trained and stimulated and delighted so young really changed my brain in some ways. I'll always see the world through this creative lens, which I think I'm also just set up to do personally. Then the last step of my multi-practice career is that in college I got very interested in Jewish spirituality. I'm Jewish, but I didn't grow up very religious. I didn't grow up in a Jewish community really. So I knew some basics, but not a ton. In college I started to study it and also informally learned from other people I met. I ended up going on a pretty intense spiritual quest, going to Jerusalem and immersing myself after college for two years in traditional Jewish study and practice. So that became the third strand of the braid that had already been started with music and writing. Torah study, spiritual study, and teaching became the third, and they all interweave. The last thing I'll say is that because I work in both words and music, and naturally performance because of music, it began to branch a little bit into plays, theatre, and film, just because that's where the intersection of words, performance, and music is. So that's really what brought me into that, as opposed to any specific desire to work in film. It all happened very organically. Joanna: I love this. This is so cool. We are going to circle back to a lot of this, but I have to ask you— What about work for money at any point? How did this turn into more than just hobbies and lifestyle? Alicia: Yes, absolutely. Well, I'm very fortunate that I did not graduate college with loans because my parents were able to pay for college. That was a big privilege that I just want to name, because in the States that's often not the case. So that allowed me to need to support myself, but not also pay loans, which was a real gift. What happened was I went straight from college to that school in Jerusalem, and there I was on loans and scholarship, so I didn't have to worry yet about supporting myself. Then when I came back to the States, I actually found on Craigslist a job teaching remedial Hebrew. It was essentially teaching kids at a Jewish elementary school who either had learning differences or had just entered the school late and needed to be in a different Hebrew class than the other kids in their grade. That was my first experience of really teaching, and I just absolutely fell in love with it. Although in the end, my passion is much more for teaching the text and rituals and the wrestling with the concepts, as opposed to teaching language. So all these years, while doing performance and writing and all these things, I have been teaching Jewish studies. That has essentially supported me, I would say, between 50 and 70 per cent. Then the rest has been paid gigs as a musician, whether as a front person leading a project or as what we call a sideman, playing in someone else's band. Sometimes doing theatre performances, sometimes teaching workshops. That's how I've cobbled it together. I have not had a full-time job all these years and I have supported myself through both earned income and also grants and donations. I've really tried to cultivate a little bit of a donor base, and I took some workshops early on about how to welcome donations. So I definitely try to always welcome that as well. Joanna: That is so interesting that you took a workshop on how to welcome donations. Way back in, I think 2013, I said on this show, I just don't know if I can accept people giving to support the show. Then someone on the podcast challenged me and said, but people want to support creatives. That's when I started Patreon in 2014. It was when The Art of Asking by Amanda Palmer came out and— It was this realisation that people do want to support people. So I love that you said that. Alicia: It's not easy. It's still not easy for me, and I have to grit my teeth every time I even put in my end-of-year newsletter. I just say, just a reminder that part of what makes this possible is your generous donations, and I'm so grateful to you. It's not easy. I think some people enjoy fundraising. I certainly don't instinctively enjoy it, but I have learned to think of it exactly the way that you're saying. I mean, I love donating to support other people's projects. Sometimes it's the highlight of my day. If I'm having a bad day and someone asks for help, either to feed a family or to complete a creative project, I just feel like, okay, at least I can give $36 or $25 and feel like I did something positive in the last hour, even if my project is going terribly and I'm in a fight with my kid or something. So I have to keep in mind that it is actually a privilege to give as well as a privilege to receive. Joanna: Absolutely. So let's get back into your various creative projects. The first thing I wanted to ask you, because you do have so many different formats and forms of your creativity—how do you know when an idea that comes to you should be a song, or something you want to do as a performance, or written, or a film? Tell us a bit about your creative process. Because a lot of your projects are also longer-term. Alicia: Yes. It's funny, I love planning and in some ways I'm an extreme planner. I really drive people in my family bonkers with planning, like family vacations a year in advance. In terms of my creativity, I'm very planful towards goals, but in that early generative state, I am actually pure instinct. I don't think I ever sit down and say, “I have this idea, which genre would it match with?” It's more like I sit on my bed and pick up my guitar, which is where I love to do songwriting, just sitting on my bed cross-legged, and I pick up my guitar and something starts coming out. Then I just work with that kernel. So it's very nebulous at first, very innate, and I just follow that creative spirit. Often I don't even know what a project is, sometimes if it's a larger project, until a year or two in. Once things emerge and take shape, then my planning brain and my strategy brain can jump on it and say, “Okay, we need three more songs to fill out the album, and we need to plan the fundraising and the scheduling.” Then I might take more of an outside-in approach. At the beginning it's just all instinct. Joanna: So if you pick up your guitar, does that mean it always starts in music and then goes into writing? Or is that you only pick up a guitar if it's going to be musical? Alicia: I think I'm responding to what's inside me. It's almost like a need, as opposed to, “I'm going to sit down and work.” I mean, obviously I sit down and work a lot, but I think in that early stage of anything, it's more like my fingers are itching to play something, and so I sit down and pick up my guitar. Sometimes nothing comes out and sometimes the kernel of a song comes out. Or I'm at a café, and I often like to write when I'm feeling a little bit discombobulated, just to go into the complexity of things or use challenging emotions as fuel. I really do use it as a—I don't know if therapeutic is the word, but I think it maybe is. I write often, as I always have, as I said before, to understand what I'm thinking. Like Joan Didion said—to process difficult emotions, to let go of stuck places. So I think I create almost more out of a sense of just what I need in the moment. Sometimes it's just for fun. Sometimes picking up a guitar, I just have a moment so I sit down and mess around. Sometimes it's to help me struggle with something. It doesn't always start in music. That was a random example. I might sit down to write because I have an hour and I think, I haven't written in a while. Or I do have an informal daily writing thing where I'll try to generate one loose draft of something a day, even if it's only ten pages. I mean, sorry, ten words. Joanna: I was going to say! Alicia: No, no. Ten words. I'm sorry. It's often poetry, so it feels like a lot when it's ten words. I'll just sit down with no pressure, no goal, no intention to make anything specific. Just open the floodgates and see what comes out. That's where every single project of mine has started. Joanna: Yes, I do love that. Obviously, I'm a discovery writer and intuitive, same as you. I think very much this idea of, especially when you said you feel discombobulated, that's when you write. I almost feel like I need that. I'm not someone who writes every day. I don't do ten lines or whatever. It's that I'll feel that sense of pressure building up into “this is going to be something.” I will really only write or journal when that spills over into— “I now need to write and figure out what this is.” Alicia: Yes. It's almost a form of hunger. It feels to me similar to when you eat a great meal and then you're good for a while. You're not really thinking of it, and then it builds up, like you said, and then there's a need—at least the first half of creativity. I really separate my generation and my editing. So my generative practice is all openness, no critique, just this maybe therapeutic, maybe curious, wandering and seeing what happens. Then once I have a draft, my incisive editing mind is welcome back in, which has been shut out from that early process. So that's a really different experience. Those early stages of creativity are almost out of need more than obligation. Joanna: Well, just staying with that generative practice. Obviously you've mentioned your study of and practice of Jewish tradition and Jewish spirituality. Steven Pressfield in his books has talked about his prayer to the muse, and I've got on my wall here—I don't talk about this very often, actually — I have a muse picture, a painting of what I think of as a muse spirit in some form. So do you have any spiritual practices around your generative practice and that phase of coming up with ideas? Alicia: I love that question, and I wish I had a beautiful, intentional answer. My answer is no. I think I experience creativity as its own spiritual practice itself. I do love individual prayer and meditation and things like that, but for me those are more to address my specifically spiritual health and happiness and connectedness. I'm just a dive-in kind of person. As a musician, I have friends who have elaborate backstage rituals. I have to do certain things to take care of my voice, but even that, it's mostly vocal rest as opposed to actively doing things. There's a bit of an on/off switch for me. Joanna: That's interesting. Well, I do want to ask you about one of your projects, this collaboration with a high school on a musical performance, I Was a Desert: Songs of the Matriarchs, and also your Girls in Trouble songs about women in the Torah. On your website, I had a look at the school, the high school, and the musical performance. It was extraordinary. I was watching you in the school there and it's just such extraordinary work. It very much inspired me—not to do it myself, but it was just so wonderful. I do urge people to go to your website and just watch a few minutes of it. I'm inspired by elements of religion, Christian and Jewish, but I wondered if you've come up against any issues with adaptation—respecting your heritage but also reinventing it. How has this gone for you. Any advice for people who want to incorporate aspects of religion they love but are worried about responses? Alicia: Well, I have to say, coming from the Jewish tradition, that is a core practice of Judaism—reinterpreting our texts and traditions, wrestling with them, arguing with them, reimagining them. I don't know if you're familiar with Midrash, but just in case some of your listeners aren't sure I'll explain it. There's essentially an ancient form of fanfic called Midrash, which was the ancient rabbis, and we still do it today, taking a biblical story that seems to have some kind of gap or inconsistency or question in it and writing a story to fill that gap or recast the story in an interestingly different light. So we have this whole body of literature over thousands of years that are these alternate or added-on adventures, side quests of the biblical characters. What I'm doing from a Jewish perspective is very much in line with a traditional way of interacting with text. I've certainly never gotten any pushback, especially as I work in progressive Jewish communities. I think if I were in an extremely fundamentalist community, there would be a lot of different issues around gender and things like that. The interpretive process, even in those communities, is part of how we show respect for the text. When I was working with the high school—and I just want to call out the choir director, Ethan Chen, who has an incredible project where he brings in a different artist every two years to work with the choir, and they tend to have a different cultural focus each time. He invited me specifically to integrate my songwriting about biblical women with his amazing high school choir. I was really worried at first because most of them are not Jewish—very few of them, if any. I wanted to respect their spiritual paths and their religious heritages and not impose mine on them. So I spent a lot of time at the beginning saying, this project has religious source material, but essentially it is a creative reinterpretive project. I am not coming to you to bring the religious material to you. I'm coming to take the shared Hebrew Bible myths and then reinterpret those myths through a lens of how they might reflect our own personal struggles, because that's always my approach to these ancient stories. I wanted to really make that clear to the students. It was such a joy to work with them. Joanna: It's such an interesting project. Also, I find with musicians in general this idea of performance. You've written this thing—or this thing specifically with the school—and it doesn't exist again, right? You're not selling CDs of that, I presume. Whereas compared to a book, when we write a book, we can sell it forever. It doesn't exist as a performance generally for an author of a memoir or a novel. It carries on existing. So how does that feel, the performance idea versus the longer-lasting thing? I mean, I guess the video's there, but the performance itself happened. Alicia: I do know what you mean. Absolutely. We did, for that reason, record it professionally. We had the sound person record it and mix it, so it is available to stream. I'm not selling CDs, but it's out there on all the streaming services, if people want to listen. I do also have the scores, so if a choir wanted to sing it. The main point that you're making is so true. I think there's actually something very sacred about live performance—that we're all in the moment together and then the moment is over. I love the artefacts of the writing life. I love writing books. I love buying and reading books and having them around, and there's piles of them everywhere in this room I'm standing in. I feel like being on stage, or even teaching, is a very spiritual practice for me, because it's in some ways the most in-the-moment I ever am. The only thing that matters is what's happening right then in that room. It's fleeting as it goes. I'm working with the energy in the room while we're there. It's different every time because I'm different, the atmosphere is different, the people are different. There's no way to plan it. The kind of micro precision that we all try to bring to our editing—you can't do that. You can practice all you want and you should, but in the moment, who knows? A string breaks or there's loud sound coming from the other room. It is just one of those things. I love being reminded over and over again of the truth that we really don't control what happens. The best that we can do is ride it, surf it, be in it, appreciate it, and then let it go. Joanna: I think maybe I get a glimpse of that when I speak professionally, but I'm far more in control in that situation than I guess you were with—I don't know how many—was it a hundred kids in that choir? It looked pretty big. Alicia: It was amazing. It was 130 kids. Yes. Joanna: 130 kids! I mean, it was magic listening to it. And yes, of course, showing my age there with buying a CD, aren't I? Alicia: Well, I do still sell some CDs of Girls in Trouble on tour, because I have a bunch of them and people still buy them. I'm always so grateful because it was an easier life for touring musicians when we could just bring CDs. Now we have to be very creative about our merch. Joanna: Yes, that's a good point because people are like, “Oh yes, I'll scan your QR code and stream it,” but you might not get the money for that for ages, and it might just be five cents or whatever. Alicia: Streaming is terrible for live musicians. I mean, I don't know if you know the site Bandcamp, but it's essentially self-publishing for musicians. Bandcamp is a great way around that, and a lot of independent musicians use it because that's a place you can upload your music and people can pay $8 for an album. They can stream it on there if they want, or they can download it and have it. But, yes, it's hard out there for touring musicians. Joanna: Yes, for sure. Well, let's come to the book then. Your memoir, When We Are Born We Forget Everything. Tell us about some of the challenges of a book as opposed to these other types of performances. Alicia: Well, I come out of poetry, so that was my first love. That's what I majored in in college. That's what my MFA is in. Poetry is famously short, and I'm not one of those long-form poets. I have been trained for many years to think in terms of a one-page arc, if at all. Arc isn't even really a word that we use in poetry. So to write a full-length prose book was really an incredible education. Writing it basically took ten years from writing to publication, so probably seven years of writing and editing. I felt like there was an MFA-equivalent process in the number of classes I took, books I read, and work that went into it. So that was one of my main joys and challenges, really learning on the job to write long-form prose coming out of poetry. How to keep the engine going, how to think about ending one chapter in a way that leaves you with some torque or momentum so that you want to go into the next chapter. How many characters is too many? Who gets names and who doesn't? Some of these things that are probably pretty basic for fiction writers were all very new to me. That was a big part of my process. Then, of course, poets don't usually have agents. So once it was done, I began to query agents. It was the normal sort of 39 rejections and then one agent who really understood what I was trying to do. She's incredible, and she was able to sell the book. The longevity of just working on something for that long—I have a lot of joy in that longevity—but it does sometimes feel like, is this ever going to happen, or am I on a fool's errand? Joanna: I guess, again, the difference with performance is you have a date for the performance and it's done then. I suppose once you get a contract, then for sure it has to be done. But memoir in particular, you do have to set boundaries, because of course your life continues, doesn't it? So what were the challenges in curating what went into the book? Because many people listening know memoir is very challenging in terms of how personal it can be. Alicia: Yes, and one thing I think is so fascinating about memoir is choosing which lens to put on your story, on your own story. I heard early on that the difference between autobiography and memoir is that autobiography tries to give a really comprehensive view of a life, and memoir is choosing one lens and telling the story of a life through that lens, which is such a beautiful creative concept. I knew early on that I wanted this to be primarily a spiritual memoir, and also somewhat of an artistic memoir, because my creativity and my spirituality are so intertwined. It started off being spiritual, and also about my musical life, and also about my writing life. In the end, I edited out the part about my writing life, because writing about writing was just too navel-gazing. So there's nothing in there about me coming of age as a writer, which used to be in there, but that whole thing got taken out. Now it's spiritual and musical. For me, it really helped to start with those focuses, because I knew there may be things that were hugely important in my life, absolutely foundational, that were not really going to be either mentioned or gone deeply into in the book. For example, my husband teases me a lot about how few pages and words he gets. He's very important in my life, but I actually met him when I was 29, and this book really mainly takes place in the years leading up to that. There's a little bit of winding down in the first few years of my thirties, but this is not a book about my life with him. He is mentioned in it. That story is in there. Having those kinds of limitations around the canvas—there's a quote, I forget if it was Miranda July, but somebody said something like, basically when you put a limitation on your project, that's when it starts to be a work of art. Whatever it is, if you say, “I'm taking this canvas and I'm using these colours,” that's when it really begins, that initial limitation. That was very helpful. Joanna: It's also the beauty of memoir, because of course you can write different memoirs at different times. You can write something about your writing life. You can write something else about your marriage and your family later on. That doesn't all have to be in one book. I think that's actually something I found interesting. And I would also say in my memoir, Pilgrimage, my husband is barely mentioned either. Alicia: Does he tease you too? Joanna: No, I think he's grateful. He is grateful for the privacy. Alicia: That's why I keep saying, you should be grateful! Joanna: Yes. You really should. Like, maybe stop talking now. Alicia: Yes, exactly. I know. Marriage, memoir—those words should strike fear into his heart. Joanna: They definitely should. But let's just come back. When I look at your career— You just seem such an independent creative, and so I wondered why you decided to work with a traditional publisher instead of being an independent. How are you finding it as someone who's not in charge of everything? Alicia: It's a great question. The origin story for this memoir is that I was actually reading poetry at a writing conference called Bread Loaf in the States. This was 16 years ago or something. I was giving a poetry reading and afterwards an agent, not my agent, came up to me and said, you know, you have a voice. You should try writing nonfiction because you could probably sell it. Back to your question about how I support myself, I am always really hustling to make a living. It's not like I have some separate well-paying job and the writing has no pressure on it. So my ears kind of perked up. I thought, wait, getting paid for writing? Because poetry is literally not in the world. It's just not a concept for poets. That's not why we write and it's not a possibility. So a little light turned on in my brain. I thought, wow, that could be a really interesting element to add to my income stream, and it would be flexible and it would be meaningful. For a few years I thought, what nonfiction could I write? And I came up with the idea of writing a book about biblical women from a more scholarly perspective, because I teach that material and I've studied it. I went to speak to another agent and she said, well, you could do that, but if you actually want to sell a book, it's going to have to be more of a trade book. So if you don't want an academic press, which wouldn't pay very much, you would have to have some kind of memoir-like stories in there to just sweeten it so it doesn't feel academic. So then I began writing a little bit of spiritual memoir. I thought, okay, well, I'll write about a few moments. Then once I started writing, I couldn't stop. The floodgates really opened. That's how it ended up being a spiritual memoir with interwoven stories of biblical women. It became a hybrid in that sense. I knew from the beginning that this project—for all my saying earlier that I never plan anything and only work on instinct, I was thinking as I said that, that cannot be true. This time, I actually thought, what if, instead of coming from this pure, heart-focused place of poetry, I began writing with the intention of potentially selling a book? The way my fiction writer friends talked about selling their books. So that was always in my mind. I knew I would continue writing poetry, continue publishing with small presses, continue putting my own music out there independently, but this was a bit of an experiment. What if I try to interface with the publishing world, in part for financial sustainability? And because I had a full draft before I queried, I never felt like anyone was telling me what to write. I can't imagine personally selling a book on proposal, because I do need that full capacity to just swerve, change directions, be responsive to what the project is teaching me. I can't imagine promising that I'll write something, because I never know what I'll write. But writing at least a very solid draft first, I'm always delighted to get notes and make polish and rewrite and make things better. I took care of that freedom in the first seven years of writing and then I interfaced with the agent and publisher. Joanna: I was going to say, given that it's taken you seven to ten years to do this and I can't imagine that you're suddenly a multimillionaire from this book. It probably hasn't fulfilled the hourly rate that perhaps you were thinking of in terms of being paid for your work. I think some people think that everyone's going to end up with the massive book deal that pays for the rest of their life. I guess this book does just fit into the rest of your portfolio career. Alicia: Yes. One of the benefits of these long arcs that I like to work on is, one of them—and probably the primary one—is that the project gets to unfold on its own time. I don't think I could have rushed it if I wanted. The other is that it never really stopped me from doing any of my other work. Joanna: Mm-hmm. Alicia: So it's not like, oh, I gave up months of my life and all I got was this advance or something. It's like, I was living my life and then when I had a little bit of writing time—and I will say, it impacted my poetry. I haven't written as much poetry because I was working on this. So it wasn't like I just added it on top of everything I was already doing, but it was a pleasure to just switch to prose for a while. It was just woven into my life. I appreciated having this side project where no one was waiting for it. There were no deadlines, there was no stress around it, because I always have performances to promote and due dates for all kinds of work. It was just this really lovely arena of slow growth and play. When I wanted a reader, I could do a swap with a writer friend, but no one was ever waiting for it on deadline. So there's actually a lot of pleasure in that. Then I will say, I think I've made more from selling this than my poetry. Probably close to ten times more than I've ever made from any of my poetry. So on a poetry scale, it's certainly not going to pay for my life, but it actually does make a true financial difference in a way that much of my other work is a little more bit by bit by bit. It's actually a different scale. Joanna: Well, that's really good. I'm glad to hear that. I also want to ask you, because you've done so many things, and— I'm fascinated by your independent film, A Kaddish for Bernie Madoff. I have only watched the trailer. You are in it, you wrote it, directed it, and it's also obviously got other people in, and it's fascinating. It's about this particular point in history. I've written quite a lot of screenplay adaptations of my novels, and I've had some various amounts of interest, but the whole film industry to me is just a complete nightmare, far bigger nightmare than the book industry. So I wonder if you could maybe talk about this, because it just seems like you made a film, which is so cool. Alicia: Oh yes, thank you. Joanna: And it won awards, yes, we should say. Alicia: Did we win awards? Yes. It really, for an extremely low-budget indie film, went far further than my team and I could ever have imagined. I will say I never intended to make a film. Like most of the best things in my life, it really happened by accident. When I was living in New York— I lived there for many years—the 2008 financial collapse happened and I happened to have an arts grant that gave a bunch of artists workspace, studio space, in essentially an abandoned building in the financial district. It was an empty floor of a building. The floor had been left by the previous tenant, and there's a nonprofit that takes unused real estate in the financial district and lets artists work in it for a while. So I was on Wall Street, which was very rare for me, but for this year I was working on Wall Street. Even though I was working on poems, the financial collapse happened around me, and I did get inspired by that to create a one-woman show, which was more of a theatre show. That was already a huge leap for me because I had no real theatre experience, but it was experimental and growing out of my poetry practice and my music. It was a musical one-woman show about the financial collapse from a spiritual perspective, apparently. So I performed that. I documented it, and then a friend who lives in Portland, Oregon, where I now live, said, “I'm a theatre producer, I'd like to produce it here.” So then I rewrote it and did a run here in Portland of that show. Essentially, I started to tour it a little bit, but I got tired of it. It was too much work and it never really paid very much, and I thought, this is impacting my life negatively. I just want to do a really good documentation of the show. So I wanted to hire a theatre documentarian to just document the show so that it didn't disappear, like you were saying before about live performance. But one of the people I talked to actually ended up being an artistic filmmaker, as opposed to a documentarian. She watched the archival footage, just a single camera of the show, and said, “I don't think you should do this again and film it with three cameras. I think you should make it into a feature film. And in fact, I think maybe I should direct it, because there's all this music in it and I also direct music videos.” We had this kind of mind meld. Joanna: Mm. Alicia: I never intended to make a film, but she is a visionary director and I had this piece of IP essentially, and all the music and the writing. We adapted it together. We did it here in Portland. We did all the fundraising ourselves. We did not interface with Hollywood really. I think that would be, I just can't imagine. I love Hollywood, but I'm not really connected, and I can't imagine waiting for someone to give us permission or a green light to make this. It was experimental and indie, so we just really did it on the cheap. We had an amazing producer who helped us figure out how to do it with the budget that we had. We worked really hard fundraising, crowdfunding, asking for donations, having parties to raise money, and then we just did it and put it out there. I think my main advice—and I hear this a lot on screenwriting podcasts—is just make the thing. Make something, as opposed to trying to get permission to make something. Because unless you're already in that system, it's going to be really hard to get permission to make it. Once you make something, that leads to something else, which leads to something else. So even if it's a very short thing, or even if it's filmed on your phone, just actually make the thing. That turned out to be the right thing for us. Joanna: Yes, I mean, I feel like that is what underpins us as independent creatives in general. As an independent author, I feel the same way. I'm never asking permission to put a book in the world. No, thank you. Alicia: Exactly. We have a vision and we do it. It's harder in some ways, but that liberation of being able to really fully create our vision without having to compromise it or wait for permission, I think it's such a beautiful thing. Joanna: Well, we're almost out of time, but I do want to ask you about creative confidence. Alicia: Hmm. Joanna: I feel I'm getting a lot of sense about this at the moment, with all the AI stuff that's happening. When you've been creating a long time, like you and I have, we know our voice and we can lean into our voice. We are creatively confident. We'll fail a lot, but we'll just push on and try things and see what happens. Newer creators are struggling with this kind of confidence. How do I know what is my voice? How do I know what I like? How do I lean into this? So give us some thoughts about how to find your voice and how to find that creative confidence if you don't feel you have it. Alicia: I love that. One thing I will say is that I always think whatever is arising is powerful material to create from. So if a lack of confidence is arising, that's a really powerful feeling to directly explore and not just try to ignore. Although sometimes one has to just ignore those feelings. But to actually explore that feeling, because AI can't have that, right? AI can't really feel a crisis of confidence, and humans can. So that's a gift that we have, those kinds of sensitivities. I think to go really deep into whatever is arising, including the sense that we don't have the right to be creating, or we're not good enough, or whatever it is. Then I always do come back to a quote. I think it might have been John Berryman, but I'm forgetting which poet said it. A younger poet said, “How will I ever know if I'm any good?” And this famous poet said something like—I'm paraphrasing—”You'll never know if you're any good. If you have to know, don't write.” That has been really liberating to me, actually. It sounds a little harsh, but it's been really liberating to just let go of a sense of “good enough.” There is no good enough. The great writers never know if they're good enough. Coming back to this idea of just making without permission—the practice of doing the thing is being a writer. Caring and trying to improve our craft, that's the best that we can have. There's never going to be a moment where we're like, yes, I've nailed this. I am truly a hundred per cent a writer and I have found my voice. Everything's always changing anyway. I would say, either go into those feelings or let those feelings be there. Give them a little tea. Tell them, okay, you're welcome to be here, but you don't get to drive the boat. And then return to the practice of making. Joanna: Absolutely. Great. So where can people find you and your books and everything you do online? Alicia: Everything is on my website, which is AliciaJo.com, and also on Instagram at @ohaliciajo. I'd love to say hello to anyone who's interested in similar topics. Joanna: Brilliant. Well, thanks so much for your time, Alicia. That was great. Alicia: Thank you. I love your podcast. I'm so grateful for all that you've given the writing world, Jo.The post Creative Confidence, Portfolio Careers, And Making Without Permission with Alicia Jo Rabins first appeared on The Creative Penn.
The road to the outpost doesn't stay quiet for long.As the party breaks camp and pushes through the frozen woods, the echoes of Norvale still linger—howls in the distance, memories that refuse to fade. Hours into their journey, screaming cuts through the trees, pulling them off the road and straight into danger.
Chris "Bones" Burns - The BJJ Project, Rickson Gracie, Invisible Jiu Jitsu and Why Everyone Needs to Calm the F*ck Down
In an episode where they've never needed his bullshit X-Men knowledge more, Zammit's out sick. But never fear true believer as he's been replaced by our good friend Darcy Smith from Studio Folly! Who knows NOTHING about X-Men. He didn't even know Wolverine aka Logan aka James Howlett bones were coated in adamantium. You all better come for him in the comments. They didn't even mention the time after Wolverine got the adamantium ripped from his bones where he turned into a full on cave man, wore a bandana and had no nose. Nor do the mention the time of how he got his adamantium back. You see, at the time, and unbeknownst to the rest of the X-Men, Apocalypse had kidnapped (man-napped? mutant-napped?) Wolverine and pitted him up against Sabretooth (who had been enhanced with adamantium from the arms of the evil mutant Cyber (he had arms coated in adamantium)) to see who would become Death (one of the Horsemen of Apocalypse). Wolverine defeated Sabretooth believing that only bad would come out of Sabretooth becoming Death and so Apocalypse sucked off the adamantium from Sabretooth to give to Wolverine. Even his teeth were adamantium at this point, but that didn't last. He was then made to attack the X-Men and he was all wrapped up in a red headscarf thing and wielded a big scimitar for reasons that are unclear. Probably to hide the fact that no one was supposed to know he was Wolverine as there was another Wolverine on the team, but not like his clone or his son or his clone of a clone, this one was a Skrull (one of those shapeshifting aliens) who was pretending to be Wolverine for some reason that escapes me. Did Apocalypse put him on the team or was that just a sweet coincidence? This was during Apocalypse: The Twelve storyline, which was something that was teased for so long in the comics but ended up being just a terrible mess where Apocalypse wanted to get sucked off into the body of Nate Grey (an alternate reality and all powerful son of Jean Grey and Scott Summers who was kicking it sweet in the 616 universe who later went on to become a mutant shaman, then become a bit of everyone, then he made an alternate reality where sex was forbidden which makes sense as he was tricked by an evil Madelyne Pryor from a different alternate dimension to have sex, which is weird as Madelyne is a clone of Jean Grey, his mum) but Scott Summers pushed him out the way and took his spot, so Apocalypse ended up sucking off Cyclops and then they merged into one guy and then choofed off for a bit to finally come back to cheat on his wife. So you guys better come for them in the comments. Didn't even know their plane was called the Blackbird. IDIOTS.Links to everything at https://linktr.ee/plumbingthedeathstar including our terrible merch, social media garbage and where to become a subscriber to Bad Brain Boys+ Hosted on Acast. See acast.com/privacy for more information.
Some bones are only skin deep! In many species of reptiles, mammals, and amphibians, bones called osteoderms develop within the skin, serving as body armor, additional muscular support, display features, or any number of other functions. This episode, we explore the extraordinary diversity of osteoderm anatomy, we take a tour through the many and varied osteoderms of Earth history, and we investigate a long list of hypothesized functions for these unusual bones. In the news: reptile skin, dinosaur quills, dinosaur bites, and cannibal snakes. Time markers: Intro & Announcements: 00:00:00 News: 00:06:25 Main discussion, Part 1: 00:46:35 Main discussion, Part 2: 01:26:35 Patron question: 02:24:05 Check out our website for this episode's blog post and more: http://commondescentpodcast.com/ Join us on Patreon to support the podcast and enjoy bonus content: https://www.patreon.com/commondescentpodcast Got a topic you want to hear about? Submit your episode request here: https://commondescentpodcast.com/request-a-topic/ Lots more ways to connect with us: https://linktr.ee/common_descent The Intro and Outro music is “On the Origin of Species” by Protodome. More music like this at http://ocremix.org Musical Interludes are "Professor Umlaut" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0
Breaking Bones COMPLETE 3-1-26 by 1010 XL Jax Sports Radio
On this date, a Persian king was dethroned and executed by his own son — who had every brother killed to secure power and was himself dead of plague before the year ended — and that is just where February 25th gets started. | The Morning Weird Darkness*No AI Voices Are Used In The Narration Of This Podcast*WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.EPISODE PAGE: https://WeirdDarkness.com/MWD20260225NOTE: Some of this content may have been created with assistance from AI tools, but it has been reviewed, edited, narrated, produced, and approved by Darren Marlar, creator and host of #WeirdDarkness — who, despite popular conspiracy theories, is NOT an AI voice.
Tonight we have creepy crawlies, strange encounters in the woods, a terrifying boy with no eyes and much more. Thank you for your support! Keep it spooky and enjoy.Season 20 Episode 34 of Monsters Among Us Podcast, true paranormal stories of ghosts, cryptids, UFOs and more, told by the witnesses themselves.SHOW NOTES: Support the show! Get ad-free, extended & bonus episodes (and more) on Patreon - https://www.patreon.com/monstersamonguspodcastTonight's Sponsor - ButcherBox - Sustainably sourced meat delivered to your door - Get free protein in every box for a year + $20-off your first box at ButcherBox.com/mauMAU Merch Shop - https://www.monstersamonguspodcast.com/shopMAU Discord - https://discord.gg/2EaBq7f9JQWatch FREE - Shadows in the Desert: High Strangeness in the Borrego Triangle - https://www.borregotriangle.com/Monsters Among Us Junior on Apple Podcasts - https://podcasts.apple.com/us/podcast/monsters-among-us-junior/id1764989478Monsters Among Us Junior on Spotify -https://open.spotify.com/show/1bh5mWa4lDSqeMMX1mYxDZ?si=9ec6f4f74d61498bFull-eye, blackout contact lenses - https://www.pinkyparadise.com/products/princess-pinky-black-sclera?variant=39409523884090&country=US¤cy=USD&utm_medium=product_sync&utm_source=google&utm_content=sag_organic&utm_campaign=sag_organic&srsltid=AfmBOopPaY0LmbTueLWZhUbfhcnD9kKUG2T8gBDVjINAGTziBbmb8ZhkfE8Men in suits in the woods - https://www.reddit.com/r/HighStrangeness/comments/1b7dxb4/guys_in_suits_exploring_woods/Bones under Augusta, KY - https://www.youtube.com/watch?v=aPoM2ZzfProMr Ed grave in OK - https://www.youtube.com/watch?v=c1Paj4sx5AsAlp - https://en.wikipedia.org/wiki/Alp_(folklore)Holyrood Palace - https://en.wikipedia.org/wiki/Holyrood_PalaceAurora Project - https://www.youtube.com/watch?v=ZyTXCY78SwIMusic from tonight's episode:Music by Iron Cthulhu Apocalypse - https://www.youtube.com/c/IronCthulhuApocalypseCO.AG Music - https://www.youtube.com/channel/UCcavSftXHgxLBWwLDm_bNvAMusic By Karl Casey @ White Bat Audio - https://www.youtube.com/@WhiteBatAudioWhite Bat Audio Songs:NecromancerMalibuRunning with the WendigoLurkingAerialMonolithLuminous
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