Rigid organs that constitute part of the endoskeleton of vertebrates
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Welcome back to SNL Stories, our interview podcast series where the Saturday Night Network catches up with SNL alumni from all eras of the show! Our next guest is Alex Moffat, who was a Saturday Night Live cast member from Seasons 42-47 (2016-2022). In this podcast, Alex joins us to discuss the most fascinating moments from his time as a cast member and promote his new film Love on Tap, available now in select theaters and via the ticket link below!Tickets: https://linktr.ee/loveontapmovieWe hope you enjoy this interview hosted by Jon Schneider & James Stephens!The video version of our interview is available here: https://youtu.be/QU5-79BU0XQ-------Welcome to the official Saturday Night Network podcast feed, where you will hear audio from our weekly roundtables discussing all things SNL. Podcast hosts, journalists, and superfans will look back at the entire history of Saturday Night Live and talk about how the legacy of Season 51 compares to all eras of the show.Make sure to follow us on Twitter and Instagram (@thesnlnetwork) and subscribe on YouTube thesnlnetwork to never miss an episode!Catch up on other interviews:aSNL Stories: Tim Kazurinsky (May 29, 2025)SNL Stories: Fred Armisen (May 22, 2025)SNL Stories: Jon Rudnitsky (Apr 21, 2025)SNL Stories: Joe Piscopo (Apr 10, 2025)SNL Stories: Mary Ellen Matthews (Mar 13, 2025)SNL Stories: Punkie Johnson (Dec 2, 2024)SNL Stories: Mary Gross (Sept 5, 2024)SNL Stories: Dan Aykroyd & Jim Belushi (Aug 29, 2024)SNL Stories: Denny Dillon & Gail Matthius (July 31, 2024)James Austin Johnson Season 49 Interview (June 6, 2024)SNL Stories: Bobby Moynihan Returns (Mar 25, 2024)SNL Stories: Christine Ebersole (Mar 20, 2024)Andrew Dismukes Season 49 Interview (Jan 23, 2024)Punkie Johnson Season 49 Interview (Oct 17, 2023)SNL Stories: Oz Rodriguez (August 16, 2023)SNL Stories: Connie Crawford (June 19, 2023)Heidi Gardner Season 48 Interview (June 12, 2023)SNL Stories: Aristotle Athari (May 22, 2023)Mikey Day Season 48 Interview (Apr 13, 2023)SNL Stories: Darrell Hammond (Mar 20, 2023)SNL Stories: Denny Dillon (Feb 15, 2023)SNL Stories: Neil Levy (Jan 19, 2023)SNL Stories: Bobby Moynihan (Dec 16, 2022)SNL Stories: Michael Streeter (Dec 9, 2022)SNL Stories: Paul Shaffer (Nov 23, 2022)SNL Stories: Jeffrey Gurian (Sept 1, 2022)SNL Stories: Tom "Bones" Malone (Aug 17, 2022)Chris Redd on Season 47 (June 24, 2022)SNL Stories: Mitchell Kriegman (June 15, 2022)SNL Stories: Keith Raywood (April 1, 2022)SNL Stories: Dean Edwards (Dec 1, 2021)SNL Stories: Judy Belushi Pisano (Nov 5, 2021)Siobhan Fallon Hogan (Aug 10, 2021)SNL Director Don Roy King (May 4, 2021)SNL Stats Roundtable with Gary Kroeger (Apr 6, 2021)
THE BONE ZONE! This week in bone collecting news, Zack Wheeler kept his rib in a closet - totally normal! Plus a serial pooper was finally caught in Wisconsin, an Olympic skier admits to cheating on live TV, an all-timer clip of the week, and a taste test of the brand new Coca-Cola Cherry Float. Want to stay up to date with the podcast? Give us a follow on our social media platforms, and check out the video version of this show on YouTube in the links below! Instagram: https://www.instagram.com/ittakesallkindspodcast/ Twitter: https://twitter.com/ITAKPodcast YouTube: https://youtube.com/playlist?list=PLSQ1H-tYJrxroyz82ygvJoI9splHke-Ez 00:00 Intro 16:53 Coca-Cola Cherry Float taste test 21:00 Serial Pooper 26:00 Olympic skier admits to cheating on live TV 33:30 Bone Collecting News 37:15 Clip of the Week 42:46 Adam Sandler x Deftones 59:40 Star Wars Trivia 01:00:58 Whatcha Listening To? 01:05:27 Outro
How do you stay audacious in a world that's noisier and more saturated than ever? How might the idea of creative rhythm change the way you write? Lara Bianca Pilcher gives her tips from a multi-passionate creative career. In the intro, becoming a better writer by being a better reader [The Indy Author]; How indie authors can market literary fiction [Self-Publishing with ALLi]; Viktor Wynd's Museum of Curiosities; Seneca's On the Shortness of Life; All Men are Mortal – Simone de Beauvoir; Surface Detail — Iain M. Banks; Bones of the Deep – J.F. Penn. 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 Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why self-doubt is a normal biological response — and how audacity means showing up anyway The difference between creative rhythm and rigid discipline, and why it matters for writers How to navigate a saturated world with intentional presence on social media Practical strategies for building a platform as a nonfiction author, including batch content creation The concept of a “parallel career” and why designing your life around your art beats waiting for a big break Getting your creative rhythm back after crisis or burnout through small, gentle steps You can find Lara at LaraBiancaPilcher.com. Transcript of the interview with Lara Bianca Pilcher Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. Welcome, Lara. Lara: Thank you for having me, Jo. Jo: It's exciting to talk to you today. First up— Tell us a bit more about you and how you got into writing. Lara: I'm going to call myself a greedy creative, because I started as a dancer, singer, and actress in musical theatre, which ultimately led me to London, the West End, and I was pursuing that in highly competitive performance circles. A lot of my future works come from that kind of place. But when I moved to America—which I did after my season in London and a little stint back in Australia, then to Atlanta, Georgia—I had a visa problem where I couldn't work legally, and it went on for about six months. Because I feel this urge to create, as so many of your listeners probably relate to, I was not okay with that. So that's actually where I started writing, in the quietness, with the limits and the restrictions. I've got two children and a husband, and they would go off to school and work and I'd be home thinking, ha. In that quietness, I just began to write. I love thinking of creativity as a mansion with many rooms, and you get to pick your rooms. I decided, okay, well the dance, acting, singing door is shut right now—I'm going to go into the writing room. So I did. Jo: I have had a few physical creatives on the show. Obviously one of your big rooms in your mansion is a physical room where you are actually performing and moving your body. I feel like this is something that those of us whose biggest area of creativity is writing really struggle with—the physical side. How do you think that physical practice of creativity has helped you in writing, which can be quite constrictive in that way? Lara: It's so good that you asked this because I feel what it trained me to do is ignore noise and show up. I don't like the word discipline—most of us get a bit uncomfortable with it, it's not a nice word. What being a dancer did was teach me the practice of what I like to call a rhythm, a creative rhythm, rather than a discipline, because rhythm ebbs and flows and works more with who we are as creatives, with the way creativity works in our body. That taught me: go to the barre over and over again—at the ballet barre, I'm talking about, not the pub. Go there over and over again. Warm up, do the work, show up when you don't feel like it. thaT naturally pivoted over to writing, so they're incredibly linked in the way that creativity works in our body. Jo: Do you find that you need to do physical practice still in order to get your creativity moving? I'm not a dancer. I do like to shake it around a bit, I guess. But I mainly walk. If I need to get my creativity going, I will walk. If people are stuck, do you think doing something physical is a good idea? Lara: It is, because the way that our body and our nervous system works—without going into too much boring science, although some people probably find it fascinating—is that when we shake off that lethargic feeling and we get blood flowing in our body, we naturally feel more awake. Often when you're walking or you're doing something like dance, your brain is not thinking about all of the big problems. You might be listening to music, taking in inspiration, taking in sunshine, taking in nature, getting those endorphins going, and that naturally leads to the brain being able to psychologically show up more as a creative. However, there are days, if I'm honest, where I wake up and the last thing I want to do is move. I want to be in a little blanket in the corner of the room with a hot cocoa or a coffee and just keep to myself. Those aren't always the most creative days, but sometimes I need that in my creative rhythm, and that's okay too. Jo: I agree. I don't like the word discipline, but as a dancer you certainly would've had to do that. I can't imagine how competitive it must be. I guess this is another thing about a career in dance or the physical arts. Does it age out? Is it really an ageist industry? Whereas I feel like with writing, it isn't so much about what your body can do anymore. Lara: That is true. There is a very real marketplace, a very real industry, and I'm careful because there's two sides to this coin. There is the fact that as we get older, our body has trouble keeping up at that level. There's more injuries, that sort of thing. There are some fit women performing in their sixties and seventies on Broadway that have been doing it for years, and they are fine. They'll probably say it's harder for some of them. Also, absolutely, I think there does feel in the professional sense like there can be a cap. A lot of casting in acting and in that world feels like there's fewer and fewer roles, particularly for women as we get older, but people are in that space all the time. There's a Broadway dancer I know who is 57, who's still trying to make it on Broadway and really open about that, and I think that's beautiful. So I'm careful with putting limits, because I think there are always outliers that step outside and go, “Hey, I'm not listening to that.” I think there's an audience for every age if you want there to be and you make the effort. But at the same time, yes, there is a reality in the industry. Totally. Jo: Obviously this show is not for dancers. I think it was more framing it as we are lucky in the writing industry, especially in the independent author community, because you can be any age. You can be writing on your deathbed. Most people don't have a clue what authors look like. Lara: I love that, actually. It's probably one of the reasons I maybe subconsciously went into writing, because I'm like, I want to still create and I'm getting older. It's fun. Jo: That's freeing. Lara: So freeing. It's a wonderful room in the mansion to stay in until the day I die, if I must put it that way. Jo: I also loved you mentioning that Broadway dancer. A lot of listeners write fiction—I write fiction as well as nonfiction—and it immediately makes me want to write her story. The story of a 57-year-old still trying to make it on Broadway. There's just so much in that story, and I feel like that's the other thing we can do: writing about the communities we come from, especially at different ages. Let's get into your book, Audacious Artistry. I want to start on this word audacity. You say audacity is the courage to take bold, intentional risks, even in the face of uncertainty. I read it and I was like, I love the sentiment, but I also know most authors are just full of self-doubt. Bold and audacious. These are difficult words. So what can you say to authors around those big words? Lara: Well, first of all, that self-doubt—a lot of us don't even know what it is in our body. We just feel it and go, ugh, and we read it as a lack of confidence. It's not that. It's actually natural. We all get it. What it is, is our body's natural ability to perceive threat and keep us safe. So we're like, oh, I don't know the outcome. Oh, I don't know if I'm going to get signed. Oh, I don't know if my work's going to matter. And we read that as self-doubt—”I don't have what it takes” and those sorts of things. That's where I say no. The reframe, as a coach, I would say, is that it's normal. Self-doubt is normal. Everyone has it. But audacity is saying, I have it, but I'm going to show up in the world anyway. There is this thing of believing, even in the doubt, that I have something to say. I like to think of it as a metaphor of a massive feasting table at Christmas, and there's heaps of different dishes. We get to bring a dish to the table rather than think we're going to bring the whole table. The audacity to say, “Hey, I have something to say and I'm going to put my dish on the table.” Jo: I feel like the “I have something to say” can also be really difficult for people, because, for example, you mentioned you have kids. Many people are like, I want to share this thing that happened to me with my kids, or a secret I learned, or a tip I think will help people. But there's so many people who've already done that before. When we feel like we have something to say but other people have said it before, how do you address that? Lara: I think everything I say, someone has already said, and I'm okay with that. But they haven't said it like me. They haven't said it in my exact way. They haven't written the sentence exactly the way—that's probably too narrow a point of view in terms of the sentence—maybe the story or the chapter. They haven't written it exactly like me, with my perspective, my point of view, my life experience, my lived experience. It matters. People have very short memories. You think of the last thing you watched on Netflix and most of us can't remember what happened. We'll watch the season again. So I think it's okay to be saying the same things as others, but recognise that the way you say it, your point of view, your stories, your metaphors, your incredible way of putting a sentence togethes, it still matters in that noise. Jo: I think you also talk in the book about rediscovering the joy of creation, as in you are doing it for you. One of the themes that I emphasise is the transformation that happens within you when you write a book. Forget all the people who might read it or not read it. Even just what transforms in you when you write is important enough to make it worthwhile. Lara: It really, really is. For me, talking about rediscovering the joy of creation is important because I've lost it at times in my career, both as a performing artist and as an author, in a different kind of way. When we get so caught up in the industry and the noise and the trends, it's easy to just feel overwhelmed. Overwhelm is made up of a lot of emotions like fear and sadness and grief and all sorts of things. A lot of us don't realise that that's what overwhelm is. When we start to go, “Hey, I'm losing my voice in all this noise because comparison is taking over and I'm feeling all that self-doubt,” it can feel just crazy. So for me, rediscovering the joy of creation is vital to survival as an author, as an artist. A classic example, if you don't mind me sharing my author story really quickly, is that when I first wrote the first version of my book, I was writing very much for me, not realising it. This is hindsight. My first version was a little more self-indulgent. I like to think of it like an arrowhead. I was trying to say too much. The concept was good enough that I got picked up by a literary agent and worked with an editor through that for an entire year. At the end of that time, they dropped me. I felt like, through that time, I learned a lot. It was wonderful. Their reason for dropping me was saying, “I don't think we have enough of a unique point of view to really sell this.” That was hard. I lay on my bed, stared at the ceiling, felt grief. The reality is it's so competitive. What happened for me in that year is that I was trying to please. If you're a new author, this is really important. You are so desperately trying to please the editor, trying to do all the right things, that you can easily lose your joy and your unique point of view because you are trying to show up for what you think they all need and want. What cut through the noise for me is I got off that bed after my three hours of grief—it was probably longer, to be fair—but I booked myself a writing coach. I went back to the drawing board. I threw a lot of the book away. I took some good concepts out that I already knew were good from the editor, then I rewrote the entire thing. It's completely different to the first version. That's the book that got a traditional publishing deal. That book was my unique point of view. That book was my belief, from that grief, that I still have something to say. Instead of trusting what the literary agent and the editor were giving me in those red marks all over that first version, I was like, this is what I want to say. That became the arrowhead that's cut into the industry, rather than the semi-trailer truck that I was trying to bulldoze in with no clear point of view. So rediscovering the joy of creation is very much about coming back to you. Why do I write? What do I want to say? That unique point of view will cut through the noise a lot of the time. I don't want to speak in absolutes, but a lot of the time it will cut through the noise better than you trying to please the industry. Jo: I can't remember who said it, but somebody talked about how you've got your stone, and your stone is rough and it has random colours and all this. Then you start polishing the stone, which you have to do to a point. But if you keep polishing the stone, it looks like every other stone. What's the point? That fits with what you were saying about trying to please everyone, you end up pleasing no one. I also think the reality of what you just said about the book is a lot of people's experience with writing in general. Certainly for me, I don't write in order. I chuck out a lot. I'm a discovery writer. People think you sit down and start A and finish Z, and that's it. It's kind of messy, isn't it? Was that the same in your physical creative life? Lara: Yes. Everything's a mess. In the book I actually talk about learning to embrace the cringe, because we all want to show up perfect. Just as you shared, we think, because we read perfect and look at perfect or near-perfect work—that's debatable all the time—we want to arrive there, and I guess that's natural. But what we don't often see on social media or other places is the mess. I love the behind the scenes of films. I want to see the messy creative process. The reality is we have to learn to embrace the messy cringe because that's completely normal. My first version was so messy, and it's about being able to refine it and recognise that that is normal. So yes, embrace it. That's my quote for the day. Embrace the cringe, show up messy. It's all right. Jo: You mentioned the social media, and the subtitle of the book mentions a “saturated world.” The other problem is there are millions of books out there now. AI is generating more content than humans do, and it is extremely hard to break through. How are we to deal with this saturated world? When do we join in and when do we step away? Lara: I think it's really important not to have black and white thinking about it, because trust me, every day I meet an artist that will say, “I hate that I have to show up online.” To be honest with you, there's a big part of me that does also. But the saturation of the world is something that I recognise, and for me, it's like I'm in the world but not of it. That saturation can cause so much overwhelm and nervous system threat and comparison. What I've personally decided to do is have intentional showing up. That looks like checking in intentionally with a design, not a randomness, and then checking out. When push comes to shove, at the end of the day, I really believe that what sells books is people's trust in us as a person. They might go through an airport and not know us at all and pick up the book because it's a bestseller and they just trust the reputation, but so much of what I'm finding as an artist is that personal relationship, that personal trust. Whether that's through people knowing you via your podcast or people meeting you in a room. Especially in nonfiction, I think that's really big. Intentional presence from a place where we've regulated ourselves, being aware that it's saturated, but my job's not to be focused on the saturation. My job is to find my unique voice and say I have something to bring. Be intentional with that. Shoot your arrow, and then step out of the noise, because it's just overwhelming if you choose to live there and scroll without any intentionality at all. Jo: So how do people do that intentionality in a practical way around, first of all, choosing a platform, and then secondly, how they create content and share content and engage? What are some actual practical tips for intentionality? Lara: I can only speak from my experience, but I'm going to be honest, every single application I sent asked for my platform stats. Every single one. Platform stats as in how many followers, how many people listening to your podcast, how many people are reading your blog. That came up in every single literary agent application. So I would be a fool today to say you've got to ignore that, because that's just the brass tacks, unless you're already like a famous footballer or something. Raising and building a platform of my own audience has been a part of why I was able to get a publishing deal. In doing that, I've learned a lot of hard lessons. Embrace the cringe with marketing and social media as well, because it's its own beast. Algorithms are not what I worry about. They're not going to do the creativity for you. What social media's great at is saying, “Hey, I'm here”—it's awareness. It's not where I sell stuff. It's where I say, I'm here, this is what I'm doing, and people become aware of me and I can build that relationship. People do sell through social media, but it's more about awareness statistically. I am on a lot of platforms, but not all of them work for every author or every style of book. I've done a lot of training. I've really had to upskill in this space and get good at it. I've put myself through courses because I feel like, yes, we can ignore it if we want to, but for me it's an intentional opting in because the data shows that it's been a big part of being able to get published. That's overwhelming to hear for some people. They don't want to hear that. But that's kind of the world that we are in, isn't it? Jo: I think the main point is that you can't do everything and you shouldn't even try to do everything. The best thing to do is pick a couple of things, or pick one thing, and focus on that. For example, I barely ever do video, so I definitely don't do TikTok. I don't do any kind of video stuff. But I have this podcast. Audio is my happy place, and as you said, long-form audio builds trust. That is one way you can sell, but it's also very slow—very, very slow to build an audio platform. Then I guess my main social media would be Instagram, but I don't engage a lot there. So do you have one or two main things that you do, and any thoughts on using those for book marketing? Lara: I do a lot of cross-posting. I am on Instagram and I do a lot of creation there, and I'm super intentional about this. I actually do 30 days at a time, and then it's like my intentional opt-in. I'll create over about two days, edit and plan. It's really, really planned—shoot everything, edit everything, put it all together, and then upload everything. That will be 30 days' worth. Then I back myself right out of there, because I don't want to stay in that space. I want to be in the creative space, but I do put those two days a month aside to do that on Instagram. Then I tweak things for YouTube and what works on LinkedIn, which is completely different to Instagram. As I'm designing my content, I have in mind that this one will go over here and this one can go on here, because different platforms push different things. I am on Threads, but Threads is not statistically where you sell books, it's just awareness. Pinterest I don't think has been very good for my type of work, to be honest. For others it might. It's a search engine, it's where people go to get a recipe. I don't necessarily feel like that's the best place, this is just my point of view. For someone else it might be brilliant if you're doing a cookbook or something like that. I am on a lot of platforms. My podcast, however, I feel is where I'm having the most success, and also my blog. Those things as a writer are very fulfilling. I've pushed growing a platform really hard, and I am on probably almost every platform except for TikTok, but I'm very intentional with each one. Jo: I guess the other thing is the business model. The fiction business model is very, very different to nonfiction. You've got a book, but your higher-cost and higher-value offerings are things that a certain number of people come through to you and pay you more money than the price of a book. Could talk about how the book leads into different parts of your business? Because some people are like, “Am I going to make a living wage from book sales of a nonfiction book?” And usually people have multiple streams of income. Lara: I think it's smart to have multiple streams of income. A lot of people, as you would know, would say that a book is a funnel. For those who haven't heard of it, a way that people come into your bigger offerings. They don't have to be, but very much I do see it that way. It's also credibility. When you have a published book, there's a sense of credibility. I do have other things. I have courses, I have coaching, I have a lot of things that I call my parallel career that chug alongside my artist work and actually help stabilise that freelance income. Having a book is brilliant for that. I think it's a wonderful way to get out there in the world. No matter what's happening in all the online stuff, when you're on an aeroplane, so often someone still wants to read a book. When you're on the beach, they don't want to be there with a laptop. If you're on the sand, you want to be reading a beautiful paper book. The smell of it, the visceral experience of it. Books aren't going anywhere, to me. I still feel like there are always going to be people that want to pick it up and dig in and learn so much of your entire life experience quickly. Jo: We all love books here. I think it's important, as you do talk about career design and you mentioned there the parallel career—I get a lot of questions from people. They may just be writing their first book and they want to get to the point of making money so they could leave their day job or whatever. But it takes time, doesn't it? So how can we be more strategic about this sort of career design? Lara: For me, this has been a big one because lived experience here is that I know artists in many different areas, whether they're Broadway performers or music artists. Some of them are on almost everything I watch on TV. I'm like, oh, they're that guy again. I know that actor is on almost everything. I'll apply this over to writers. The reality is that these high-end performers that I see all the time showing up, even on Broadway in lead roles, all have another thing that they do, because they can still have, even at the highest level, six months between a contract. Applying that over to writing is the same thing, in that books and the money from them will ebb and flow. What so often artists are taught—and authors fit into this—is that we ultimately want art to make us money. So often that becomes “may my art rescue me from this horrible life that I'm living,” and we don't design the life around the art. We hope, hope, hope that our art will provide. I think it's a beautiful hope and a valid one. Some people do get that. I'm all for hoping our art will be our main source of income. But the reality is for the majority of people, they have something else. What I see over and over again is these audacious dreams, which are wonderful, and everything pointing towards them in terms of work. But then I'll see the actor in Hollywood that has a café job and I'm like, how long are you going to just work at that café job? They're like, “Well, I'm goint to get a big break and then everything's going to change.” I think we can think the same way. My big break will come, I'll get the publishing deal, and then everything will change. The reframe in our thinking is: what if we looked at this differently? Instead of side hustle, fallback career, instead of “my day job,” we say parallel career. How do I design a life that supports my art? And if I get to live off my art, wonderful. For me, that's looked like teaching and directing musical theatre. It's looked like being able to coach other artists. It's looked like writing and being able to pivot my creativity in the seasons where I've needed to. All of that is still creativity and energising, and all of it feeds the great big passion I have to show up in the world as an artist. None of it is actually pulling me away or draining me. I mean, you have bad days, of course, but it's not draining my art. When we are in this way of thinking—one day, one day, one day—we are not designing intentionally. What does it look like to maybe upskill and train in something that would be more energising for my parallel career that will chug alongside us as an artist? We all hope our art can totally 100% provide for us, which is the dream and a wonderful dream, and one that I still have. Jo: It's hard, isn't it? Because I also think that, personally, I need a lot of input in order to create. I call myself more of a binge writer. I just finished the edits on my next novel and I worked really hard on that. Now I won't be writing fiction for, I don't know, maybe six months or something, because now I need to input for the next one. I have friends who will write 10,000 words a day because they don't need that. They have something internal, or they're just writing a different kind of book that doesn't need that. Your book is a result of years of experience, and you can't write another book like that every year. You just can't, because you don't have enough new stuff to put in a book like that every single year. I feel like that's the other thing. People don't anticipate the input time and the time it takes for the ideas to come together. It is not just the production of the book. Lara: That's completely true. It goes back to this metaphor that creativity in the body is not a machine, it's a rhythm. I like to say rhythm over consistency, which allows us to say, “Hey, I'm going to be all in.” I was all in on writing. I went into a vortex for days on end, weeks on end, months and probably years on end. But even within that, there were ebbs and flows of input versus “I can't go near it today.” Recognising that that's actually normal is fine. There are those people that are outliers, and they will be out of that box. A lot of people will push that as the only way. “I am going to write every morning at 10am regardless.” That can work for some people, and that's wonderful. For those of us who don't like that—and I'm one of those people, that's not me as an artist—I accept the rhythm of creativity and that sometimes I need to do something completely different to feed my soul. I'm a big believer that a lot of creative block is because we need an adventure. We need to go out and see some art. To do good art, you've got to see good art, read good art, get outside, do something else for the input so that we have the inspiration to get out of the block. I know a screenwriter who was writing a really hard scene of a daughter's death—her mum's death. It's not easy to just write that in your living room when you've never gone through it. So she took herself out—I mean, it sounds morbid, but as a writer you'll understand the visceral nature of this—and sat at somebody's tombstone that day and just let that inform her mind and her heart. She was able to write a really powerful scene because she got out of the house and allowed herself to do something different. All that to say that creativity, the natural process, is an in-and-out thing. It ebbs and flows as a rhythm. People are different, and that's fine. But it is a rhythm in the way it works scientifically in the body. Jo: On graveyards—we love graveyards around here. Lara: I was like, sorry everyone, this isn't very nice. Jo: Oh, no. People are well used to it on this show. Let's come back to rhythm. When you are in a good rhythm, or when your body's warmed up and you are in the flow and everything's great, that feels good. But what if some people listening have found their rhythm is broken in some way, or it's come to a stop? That can be a real problem, getting moving again if you stop for too long. What are some ways we can get that rhythm back into something that feels right again? Lara: First of all, for people going through that, it's because our body actually will prioritise survival when we're going through crisis or too much stress. Creativity in the brain will go, well, that's not in that survival nature. When we are going through change—like me moving countries—it would disconnect us a lot from not only ourselves and our sense of identity, but creativity ultimately reconnects you back into life. I feel like to be at our optimum creative self, once we get through the crisis and the stress, is to gently nudge ourselves back in by little micro things. Whether it's “I'm just going to have the rhythm of writing one sentence a day.” As we do that, those little baby steps build momentum and allow us to come back in. Creativity is a life force. It's not about production, it's actually how we get to any unique contribution we're going to bring to the world. As we start to nudge ourselves back in, there's healing in that and there's joy in that. Then momentum comes. I know momentum comes from those little steps, rather than the overwhelming “I've got to write a novel this week” mindset. It's not going to happen, most of the time, when we are nudging our way back in. Little baby steps, kindness with ourselves. Staying connected to yourself through change or through crisis is one of the kindest things we can offer ourselves, and allowing ourselves to come into that rhythm—like that musical song of coming back in with maybe one line of the song instead of the entire masterpiece, which hopefully it will be one day. Jo: I was also thinking of the dancing world again, and one thing that is very different with writers is that so much of what we do is alone. In a lot of the performance art space, there's a lot more collaboration and groups of people creating things together. Is that something you've kept hold of, this kind of collaborative energy? How do you think we can bring that collaborative energy more into writing? Lara: Writing is very much alone. Obviously some people, depending on the project, will write in groups, but generally speaking, it's alone. For me, what that looks like is going out. I do this, and I know for some writers this is like, I don't want to go and talk to people. There are a lot of introverts in writing, as you are aware. I do go to creative mixers. I do get out there. I'm planning right now my book launch with a local bookstore, one in Australia and one here in America. Those things are scary, but I know that it matters to say I'm not in this alone. I want to bring my friends in. I want to have others part of this journey. I want to say, hey, I did this. And of course, I want to sell books. That's important too. It's so easy to hide, because it's scary to get out there and be with others. Yet I know that after a creative mixer or a meetup with all different artists, no matter their discipline, I feel very energised by that. Writers will come, dancers will come, filmmakers will come. It's that creative force that really energises my work. Of course, you can always meet with other writers. There's one person I know that runs this thing where all they do is they all get on Zoom together and they all write. Their audio's off, but they're just writing. It's just the feeling of, we're all writing but we're doing it together. It's a discipline for them, but because there's a room of creatives all on Zoom, they're like, I'm here, I've showed up, there's others. There's a sense of accountability. I think that's beautiful. I personally don't want to work that way, but some people do, and I think that's gorgeous too. Jo: Whatever sustains you. I think one of the important things is to realise you are not alone. I get really confused when people say this now. They're like, “Writing's such a lonely life, how do you manage?” I'm like, it is so not lonely. Lara: Yes. Jo: I'm sure you do too. Especially as a podcaster, a lot of people want to have conversations. We are having a conversation today, so that fulfils my conversation quota for the day. Lara: Exactly. Real human connection. It matters. Jo: Exactly. So maybe there's a tip for people. I'm an introvert, so this actually does fulfil it. It's still one-on-one, it's still you and me one-on-one, which is good for introverts. But it's going out to a lot more people at some point who will listen in to our conversation. There are some ways to do this. It's really interesting hearing your thoughts. Tell people where they can find you and your books and your podcast online. Lara: The book is called Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World, and it's everywhere. The easiest thing to do would be to visit my website, LaraBiancaPilcher.com/book, and you'll find all the links there. My podcast is called Healthy Wealthy Wise Artist, and it's on all the podcast platforms. I do short coaching for artists on a lot of the things we've been talking about today. Jo: Brilliant. Well, thanks so much for your time, Lara. That was great. Lara: Thank you.The post Audacious Artistry: Reclaiming Your Creative Identity And Thriving In A Saturated World With Lara Bianca Pilcher first appeared on The Creative Penn.
This week we're talking about the fine art of delving into comic long boxes, finding forgotten gems, flipping books and then chronicling the odd, wild ride of it all - and who better than the creator of 'Grixly', the one and only Nate McDonough! From filling backpacks to using a spare room for stock and also the great journey in his own slice of life comics, its a fascinating discussion into another side of comics not talked about too often. All that and talk of bootleg comics, Transformers, Marvel UK and saucy comics with little to no substance. Thats right listeners, expect another corker of an episode again! Great stuff to check out: Nate McDonough, Grixly Comics, Long Boxes, 2001, The Eternals, Copacetic Comics, American Nature, The Santos Sisters, Adam Falp, Smoking Bedrooms, The Mary Boys: All Stitched Up, Legacy: Idols and Bones, Britformers, Proper Comics, Blood and Thunder, The Cosplayer that Doomed the Earth, Dan Harris, Adventures of Tintin: Breaking Free, Nerve
Legacy Rising: Building Gods, Monsters & Myth with Gary SeawardA story carried since 2008 finally takes shape.This week on The USDN Podcast, we welcome creator and artist Gary Seaward to discuss Legacy: Idols & Bones — a new indie comic universe blending superhero mythology, sci-fi scale, and horror-driven consequences.We explore the origins of the world, the characters shaping its future, and the Kickstarter campaign launching Issues #1 and #2.From Eidolon and Carcass to Pulse, Widow-Maker, and Re'Ordain — this is a deep dive into building modern indie mythology from the ground up.
There are no two voices that taught preppers more about survival medicines than Dr. Bones and Nurse Amy. DoomandBloom.netBecome a supporter of this podcast: https://www.spreaker.com/podcast/prepper-broadcasting-network--3295097/support.BECOME A SUPPORTER FOR AD FREE PODCASTS, EARLY ACCESS & TONS OF MEMBERS ONLY CONTENT!Red Beacon Ready OUR PREPAREDNESS SHOPThe Prepper's Medical Handbook Build Your Medical Cache – Welcome PBN FamilySupport PBN with a Donation Join the Prepper Broadcasting Network for expert insights on #Survival, #Prepping, #SelfReliance, #OffGridLiving, #Homesteading, #Homestead building, #SelfSufficiency, #Permaculture, #OffGrid solutions, and #SHTF preparedness. With diverse hosts and shows, get practical tips to thrive independently – subscribe now!Newsletter – Welcome PBN FamilyGet Your Free Copy of 50 MUST READ BOOKS TO SURVIVE DOOMSDAY
So much of what changes after 40 can't be felt — it's invisible says todays guest Dr Vonda Wright. Bones quietly thin. The heart and blood vessels shift. Blood glucose and insulin creep up. And before we know it, we can drift toward osteoporosis, heart disease, and diabetes without realising… unless we track what matters. In this episode, Dr Vonda Wright breaks down the key “dashboard numbers” for us, including VO₂ max and the frailty line, resting heart rate the sit-to-rise test for strength and balance, and why DEXA scans matter for muscle and bone. Today's episode is practical, empowering, and designed to help you catch the drift early — and steer back on track.
Pod Crashing episode 443 with author Joe Lex from the podcast All Bones Considered… Laurel Hill Cemetery in Philadelphia is the final resting place for many notable men, including Declaration of Independence signer Thomas McKean, Civil War General George Meade, locomotive magnate Matthias Baldwin, astronomer David Rittenhouse, and Phillies broadcaster Harry Kalas, plus many Union generals and even fictional characters like Adrian Balboa. But it is also home to tens of thousands of unique and accomplished women of the past three centuries. One man, Joe Lex, a retired emergency medicine doctor of 45 years, was inspired to learn of the history behind who is buried at this historical cemetery that tells not just Philadelphia's history, but a history of the nation since its founding in 1836. He penned a book that highlights 52 interesting or accomplished women who are buried there, All Bones Considered: 52 Laurel Hill Women This book is a collection of dozens of amazing stories about unique individuals who are long gone. They are based on several years of research, originally developed for the podcasts All Bones Considered: Laurel Hill Stories and Biographical Bytes from Bala: Laurel Hill West Stories. “I encourage fellow taphophiles who have the time and interest to undertake similar projects with their local historic cemeteries,” says Lex. “Every cemetery is an outdoor people museum, ready to be discovered by new generations.”
Breaking Bones COMPLETE 2-15-26 by 1010 XL Jax Sports Radio
Taking a break from our vision series, John guides our church through the Lenten season - its history, meaning, and how we can live into it over these coming weeks leading up to Easter.
Seek out the Lord and discover joy. -------- Thank you for listening! Your support of Joni and Friends helps make this show possible. Joni and Friends envisions a world where every person with a disability finds hope, dignity, and their place in the body of Christ. Become part of the global movement today at www.joniandfriends.org Find more encouragement on Instagram, TikTok, Facebook, and YouTube.
00.00.00: What'd You Inherit? 00.09.18: Wild News - Bears and Pepsi Pres 00.16.29: Mitch's Lose-saders and Mel's Sail GP Sea-mean 00.20.19: Genetic Inheritance 00.30.44: Compound Fractures 00.38.47: Mastermind Monday - Mulls v Mitch 00.43.01: Runs on the Run 00.52.48: Eden Park CEO to Chat State of Origin
Preacher: Clay Deveau
Blades ’68 is an official 450-page expansion for the TTRPG Blades in the Dark. This supplement advances the timeline 100 years to the “Swinging Sixties” in the city of Doskvol, an age of electroplasmic fusion and “Bluetime” spy games. The expansion introduces new playbooks, crews, and a revamped setting, alongside new rules for Harm, Resistance, Keys, Deadlocks, and an adapted Trouble Engine. The campaign has been overwhelmingly funded, with an expected delivery date of August 2026. Paizo, the publisher of Pathfinder, announced the new Pathfinder Beginner Box: Secrets of the Unlit Star, an all-inclusive entry point to Pathfinder Second Edition set for release on May 6th, 2026. The box set features a solo adventure, a 72-page Hero’s Handbook, an 88-page Game Master’s Guide, and updated rules for character options and adventure scenarios. Additionally, Paizo confirmed its commitment to the Pathfinder 2E Remaster with the release of Dark Archive Remastered and the announcement of Season of Ghosts Remastered. The company also partnered with One Page Rules to launch Paizo Printables, a new line of 3D printable wargaming miniature STLs compatible with the Age of Fantasy system, starting in Spring 2026. Maestro Media unveiled Avatar: Pandora's Power, a two-player asymmetric lane-battling card game based on the Avatar films. The game pits the resource-extractive RDA against the adaptive, land-rooted Na'vi factions, with the goal of reaching 30 points to decide Pandora’s fate. CEO Javon Frazier emphasized that the core experience is the asymmetry, with each faction playing a distinctly different game. Designed for ages 12 and up, the game plays in approximately 20-45 minutes and includes 170 Faction Cards, 18 Location Cards, and various tokens. Hasbro CEO Chris Cocks touted the company’s AI integration as a “clear success” during a recent earnings call, though he primarily referred to its deployment in non-creative, operational workflows such as financial planning, supply chains, and general productivity. Cocks stated that AI, in partnership with platforms like Google Gemini and OpenAI, is expected to free up over 1 million hours of lower-value work within the year. While he maintains a “human-centric creator-led approach,” Wizards of the Coast (WotC) has an explicit policy prohibiting its artists and writers from using generative AI for final D&D products, a stance that aligns with a user survey indicating over 60% of consumers would not buy D&D products made with AI. #blades68 #pathfinder #paizo #hasbro Blades ‘68 on Backerkit: https://www.backerkit.com/c/projects/evil-hat/blades-68 40-page Preview on DTRPG: https://www.drivethrurpg.com/ja/product/553040/blades-68-preview?affiliate_id=2081746 Empire of Bones on Kickstarter: https://www.kickstarter.com/projects/thepaintedwastelands/empire-of-bones Preview: https://www.drivethrurpg.com/en/product/554430?affiliate_id=2081746 Call of Cthulhu Bundle: https://humblebundleinc.sjv.io/Xmz13G Warmachine on MyMiniFactory: https://mmf.io/upturned Mantic Companion App: https://companion.manticgames.com/ Use our Referral code: MCTXEE Support us by Shopping at Miniature Market (afilliate link): https://miniature-market.sjv.io/K0yj7n Support Us by Shopping on DTRPG (afilliate link): https://www.drivethrurpg.com?affiliate_id=2081746 Matt’s DriveThruRPG Publications: https://www.drivethrurpg.com/browse.php?author=Matthew%20Robinson https://substack.com/@matthewrobinson3 Chris on social media: https://hyvemynd.itch.io/ Jeremy's Links: http://www.abusecartoons.com/ http://www.rcharvey.com Support Us on Patreon: https://www.patreon.com/upturnedtable Give us a tip on our livestream: https://streamlabs.com/upturnedtabletop/tip Donate or give us a tip on Paypal: https://www.paypal.com/ncp/payment/2754JZFW2QZU4 Intro song is “Chips” by KokoroNoMe https://kokoronome.bandcamp.com/
In Xbox Kompakt werfen wir jeden Samstag einen Blick zurück auf die vergangene Woche und fassen für euch die News-Highlights rund um unsere Lieblingskonsole zusammen - eigentlich bei YouTube, doch jetzt bekommt ihr alle Infos auch hier auf die Ohren!Inhalte dieser Folge im Detail:00:00 Hey Leute00:45 Rayman - https://t.co/Db4Rk1cgwF01:21 Sands of Aura - https://t.co/K73CMpo7dg01:40 Legacy of Kain - https://t.co/TnMR44XZ6W01:59 Terrinoth - https://t.co/YUrF6HT8AA02:25 Dead or Alive 6 - https://t.co/6j4inUdXtZ02:57 Metal Gear Solid - https://t.co/Q8nbkjfROQ03:38 Castlevania - https://t.co/Kxc0WY9XZd03:54 Project Windless - https://t.co/ZdSMrgzGix04:33 John Wick - https://t.co/jiA6FTIIXz05:20 Diablo II - https://t.co/DNfidj6mZj06:02 Free Play Days - https://t.co/eWoRG6xUQG06:26 Starship Troopers - https://t.co/h5FOLWNEog06:36 Dragonkin - https://t.co/xm8pafA9FA06:41 Directive 8020 - https://t.co/WBbSMP9gUF06:51 Gothic Remake - https://t.co/dO3wsOKGNy07:03 Mistfall Hunter - https://t.co/q6ky1mZaJe07:28 Beast of Reincarnation - https://t.co/G0ZSOtaNkj07:46 Echo Generation 2 - https://t.co/uHitsxm5OZ07:59 Darwin's Paradox - https://t.co/nD5ebZSxet08:10 Marathon - https://t.co/X4Si8l2gMK08:36 Skull and Bones - https://t.co/gKxG4XNOd408:49 Tormented Souls 2 - https://t.co/6vacnTuPal09:01 Battlefield 6 - https://t.co/GtE2lakuIo09:17 Neva - https://t.co/Sf0GKiIAJg09:35 Age of Wonders 4 - https://t.co/br6rJsAkPW09:51 Xbox Highlights - https://t.co/aNSjMvBAIG10:01 Reanimal - https://t.co/o4HR1K7eNK11:40 Vorschau12:01 Ciao ciao!
The Losers untie another big ol' Bag of Bones and answer your questions. Questions like: ""What's Stephen King's strongest six-book stretch?"; "What's Stephen King's most overrated character and most underrated?"; "Which Stephen King movie adaptation would have been MOST improved by a different actor or director?"; "In "N.," what do you think the n stands for?"; and more. They're also asked about the Club's origins, the bird annoying the hell out of Mike, and which King ka-tet would make for the most nightmarish blunt rotation. Good stuff, great fun, Losers' Club. Want to ask them a question on the next Bag of Bones episode? Become a patron at www.patreon.com/thebarrens. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.
In this episode, Dr. Rena Malik, MD is joined by orthopedic surgeon Dr. Vonda Wright to explore the essentials of musculoskeletal health and longevity. They discuss the surprising role of bones as endocrine organs, practical steps to optimize bone and joint health through lifestyle, exercise, and hormones, and strategies to prevent debilitating fractures as we age. With actionable insights and evidence-based recommendations, listeners will gain the tools to maintain strength, mobility, and independence throughout life. Become a Member to Receive Exclusive Content: renamalik.supercast.com Schedule an appointment with me: https://www.renamalikmd.com/appointments ▶️Chapters: 00:00:00 Introduction 00:05:10 What Makes Bones Healthy 00:11:05 Hormones & Bone Loss 00:15:49 Fractures & Real Risks 00:19:46 Jumping, Lifting & Impact 00:26:54 Training Mistakes & Recovery 00:34:31 Strength, Mobility & Longevity 00:41:17 Young People & Bone Health 00:53:14 Joints, Arthritis & Running 01:00:18 PRP & Modern Treatments 01:12:47 Hips, Pelvic Floor & Function 01:19:49 Future of Orthopedics 01:24:00 Closing Questions & Takeaways Stay connected with Dr. Vonda Wright on social media for daily insights and updates. Don't miss out—follow her now and check out these links! INSTAGRAM - https://www.instagram.com/drvondawright/?hl=en FACEBOOK - https://www.facebook.com/DrVonda/ YOUTUBE - https://www.youtube.com/user/vondawright X - https://twitter.com/drvondawright WEBSITE - https://www.drvondawright.com/ Unbreakable: A Woman's Guide to Aging with Power By Vonda Wright, MD - https://www.penguinrandomhouse.com/books/777365/unbreakable-by-vonda-wright-md/ Let's Connect!: WEBSITE: http://www.renamalikmd.com YOUTUBE: https://www.youtube.com/@RenaMalikMD INSTAGRAM: http://www.instagram.com/RenaMalikMD TWITTER: http://twitter.com/RenaMalikMD FACEBOOK: https://www.facebook.com/RenaMalikMD/ LINKEDIN: https://www.linkedin.com/in/renadmalik PINTEREST: https://www.pinterest.com/renamalikmd/ TIKTOK: https://www.tiktok.com/RenaMalikMD ------------------------------------------------------ DISCLAIMER: This podcast is purely educational and does not constitute medical advice. The content of this podcast is my personal opinion, and not that of my employer(s). Use of this information is at your own risk. Rena Malik, M.D. will not assume any liability for any direct or indirect losses or damages that may result from the use of information contained in this podcast including but not limited to economic loss, injury, illness or death. Learn more about your ad choices. Visit megaphone.fm/adchoices
"The earth could explode tomorrow and we're still gonna get more Shadowhunters books."The wait is OVER! We're back from hiatus with one of our most highly-anticipated episodes of all time, City of Bones by Cassandra Clare. Daphne and Kellie are joined by special guests Katie and Mara to share their expertise on and lore with The Mortal Instruments and the larger Shadowhunters universe. Longtime fans and newcomers alike are in for a treat with one of our longest episodes ever. So get ready for us to endlessly make fun of Clary Fray and Jace Wayland, ship Magnus and Alec, discuss the movie and TV adaptations, and yes...talk about the sibling thing.Visit us on Patreon for the bonus episode on Cassandra Clare: https://www.patreon.com/posts/150532656Follow us on social media @rereadingtherevolution for updates and bonus content! Hosted on Acast. See acast.com/privacy for more information.
This week, Brian from Rolling Bones Outdoors is in the WCB Studio. We talk about the history of Rolling Bones, the benefits for hunters setting goals, and setting up opportunities for hunters to access their dream hunts. Enjoy! Check out Rolling Bones Outdoors by clicking this WCB exclusive link here: NEW PARTNERSHIP ANNOUNCEMENT! ALP NICOTINE POUCHES CODE WCB: Watch the NEW WCB UNHINGED HUNT SERIES HERE! __________________________________________________________________ Find WCB On Social: FaceBook | Instagram | TikTok For Video podcasts, hunts, Vlogs, and more check out the WCB YouTube by clicking here! ________________________________________________________ THE WCB Podcast is PRESENTED by Grizzly Coolers! Click Here and use Code: WCB to save! The WCB Podcast is supported by these awesome companies: Big Tine - Attract - Develop - Grow Code: WCB2025 Old Barn Taxidermy Latitude Outdoors - saddles & accessories code WCB Huntworth Gear Code: WCB15 Victory Archery Leupold Optics Dialed Archery Free Shipping Code WORKINGCLASS Black Gate Hunting Products Code WCB10 DeerCast - Save on your yearly description by clicking here! Aluma Trailers - Built in the USA, ALL aluminum welded construction! Rack-Hub Code WCB: https://www.rack-hub.com/wcb Hoyt - Code WCB for Hoy Merch & Branded items - see your local dealer for bows! Evolution Outdoors & Broadheads - Code: WCB AAE - Archery Accessories, Code WCB MTN-OPS : CODE: WCB MaxCam7 Bow Mounted Camera! _________________________________________________________________________ **Check Out the other Podcasts on the WCB Podcast Network!** Victory Drive - Our Firearms, tactical, Military Podcast Tackle & Tacos - A fishing podcast! Hunting The Mason Dixon Learn more about your ad choices. Visit megaphone.fm/adchoices
Watch all of our Epstein videos here: • Epstein Kris's book Fleshing Out Skull & BonesUK link: https://www.amazon.co.uk/Fleshing-Out...USA link: https://www.amazon.com/-/he/Fleshing-...our podcast with Sarah McCarthy https://youtube.com/live/KG-qVt7cvkgDavid I on epstein files: • David I on Epstein Files! Kris Millegan is a writer & researcher and the publisher of Trine Day Books Publishing House, which has been in business for over 20 years and has a catalog of over 130 published books, to include One Nation Under Blackmail, Barry & ‘the Boys', The True Story of the Bildergerg Group, The Franklin Scandal, and The Last Circle, which was also made into a Netflix series. Millegan's father was in the Office of Strategic Services (OSS), Military Intelligence (G2), and later was in the CIA, rising to Branch Chief, Head of Intelligence Analysis for East Asia. His father told Kris some things that he didn't understand in the late 60's. These revelations led to over thirty years of research into the subjects of CIA-drugs, clandestine operations, conspiracy theory and secret societies. Millegan is also an author himself, having published Fleshing Out Skull & Bones: Investigations into America's Most Powerful Secret Society. www.trineday.com Buy Fleshing Out Skull & Bones: Investigations into America's Most Powerful Secret SocietyGet this book! Bitly link: https://bit.ly/4a2bIV7Watch Who Is Ghislaine Maxwell? From Prince Andrew to Epstein's Baby Farm - John Sweeney - Podcast • Who Is Ghislaine Maxwell? From Prince Andr... WATCH King Charles' Mentor Lord Mountbatten Exposed Andrew Lownie Podcast 780 • King Charles' Mentor Lord Mountbatten Expo... Watch full EPSTEIN Was INTELLIGENCE! Ari Ben Menashe podcast: • EPSTEIN Was ISRAELI INTELLIGENCE! Ari Ben ... UNTOUCHABLE - Jimmy S documentary • UNTOUCHABLE - Jimmy Savile documentary by ... ADOPTED KID'S CA HORROR STORY & BOYS TOWN! PASTOR Eddie https://youtube.com/live/vD3SGWpnfyMWatch Used By ELITES From Age 6 - Survivor Kelly Patterson https://youtube.com/live/nkKkIfLkRx0KELLY'S 2 HOUR VIDEO ON VIRGINIA • Video Watch all of Shaun's True Crime podcasts: • Shaun Attwood's True Crime Podcast Watch all of Shaun's Attwood Unleashed episodes: • Attwood Unleashed BOOK LINKS: Who Killed Epstein? Prince Andrew or Bill Clinton by Shaun Attwood UK: https://www.amazon.co.uk/dp/B093QK1GS1 USA: https://www.amazon.com/dp/B093QK1GS1 Worldwide: https://books2read.com/u/bQjGQD All of Shaun's books on Amazon UK: https://www.amazon.co.uk/stores/Shaun...All of Shaun's books on Amazon USA: https://www.amazon.com/stores/Shaun-A...——————————Shaun Attwood's social media:TikTok: / shaunattwood1 Instagram: https://www.instagram.com/shaunattwoo...Twitter: / shaunattwood Facebook: / shaunattwood1 Patreon: / shaunattwood Odysee: https://odysee.com/@ShaunAttwood:a#podcast #truecrime #news #usa #youtube #people #uk #princeandrew #royal #royalfamily
Before every team has even reported for Spring Training, one injury is dominating headlines. It's a broken hamate, a small bone in the hand, and Francisco Lindor, Corbin Carroll & Jackson Holliday are all sidelined. Plus, the latest signings & deals. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
(February 10, 2026 - Hour Two)10:14pm - Mark Anderson from "The Grill Dads" joins me in the 2nd hour. We will talk about the killer rib roast method that I am in love with, the new show they just sold to a "no names please" network, their best bites of 2025 and much more.10:35pm -OpenThe BBQ Central Show SponsorsPrimo GrillsBig Poppa Smokers – Use promo code “REMPE15” for 15% off your entire purchase!FireboardPit Barrel CookerMicallef Cigars – Premium Hand Rolled Cigars
Listen here for this week's edition of Life Advice with The Hammer. Someone wants to know if it is weird to keep your own bones when they are removed during surgery. Joe DeCamara offers advice to anyone who is going through this situation! DeCamara also continues to say that he thinks the Eagles will have a tough 2026 season.
In this week's episode of The Bones Booth, Andrew, Maggie and Taryn discuss season eleven episode six of Bones, "The Senator in the Street Sweeper."
On today's show, Jase puts himself in danger, Mike has a bone to pick from Christmas and Keyzie has a brand new segment. STIMELAMPS:(00:00) Intro: Curtain Shirt Keyzie(04:47) Chicken Chat(10:55) LAMB DAY(14:38) Limey J(19:27) TV TIME(25:00) Intro: Jase is a klepto(27:40) Mogey's Bone To Pick(32:31) KEYZIE's Bone to pick(35:52) WHO WANTS REBURGER(39:34) THE BOAT'S CLOSE(43:24) Intro: The new video() Winter Olympics Update Follow The Big Show on Instagram Subscribe to the podcast now on iHeartRadio, YouTube, or wherever you get your podcasts!Featuring Jason Hoyte, Mike Minogue, and Keyzie, "The Big Show" drive you home weekdays from 4pm on Radio Hauraki.Providing a hilarious escape from reality for those ‘backbone’ New Zealanders with plenty of laughs and out-the-gate yarns.Download the full podcast here:iHeartRadioAppleSpotify Follow The Big Show on InstagramSee omnystudio.com/listener for privacy information.
Pod Crashing episode 443 with author Joe Lex from the podcast All Bones Considered… Laurel Hill Cemetery in Philadelphia is the final resting place for many notable men, including Declaration of Independence signer Thomas McKean, Civil War General George Meade, locomotive magnate Matthias Baldwin, astronomer David Rittenhouse, and Phillies broadcaster Harry Kalas, plus many Union generals and even fictional characters like Adrian Balboa. But it is also home to tens of thousands of unique and accomplished women of the past three centuries. One man, Joe Lex, a retired emergency medicine doctor of 45 years, was inspired to learn of the history behind who is buried at this historical cemetery that tells not just Philadelphia's history, but a history of the nation since its founding in 1836. He penned a book that highlights 52 interesting or accomplished women who are buried there, All Bones Considered: 52 Laurel Hill Women This book is a collection of dozens of amazing stories about unique individuals who are long gone. They are based on several years of research, originally developed for the podcasts All Bones Considered: Laurel Hill Stories and Biographical Bytes from Bala: Laurel Hill West Stories. “I encourage fellow taphophiles who have the time and interest to undertake similar projects with their local historic cemeteries,” says Lex. “Every cemetery is an outdoor people museum, ready to be discovered by new generations.”Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.
This week on Pizza Bones, The Bone Brigade discuss the true story of Dennis Nilsen, the Muswell Hill murderer…as portrayed by Doctor who…I mean.. David Tennant in the hit mini-series Des.
Love is in the air… and it just might kill you. We're celebrating Valentine's Day early with a trio of unconventional love stories from the horror-romance genre.The twisted sisters are back at it again. Special guest Jessica McLaughlin joins co-host Bella Efstratis to gush over some of our favorite monster love stories—films about obsession, intimacy, and connection that push romance to its most extreme ends. From vampires to werewolves to cannibals, there's truly something—or someone—for everyone in this episode.Up first, Jess introduces Bill Gunn's influential cult classic Ganja & Hess (1973), a hypnotic, genre-defying vampire love story unlike anything else.Next up is Good Manners (2017), a Brazilian dark fairytale about romance, motherhood, and what it really means to embrace your inner wolf.Finally, Bella brings us home with Luca Guadagnino's Bones and All (2022), starring Taylor Russell and Timothée Chalamet as two star-crossed cannibals willing to fight for their love or die trying.It's a Valentine's Day episode for anyone who likes their romance a little messy, a little dangerous, and very memorable. What's your go-to Valentine's Day movie? ❤︎❗️SEND US A TEXT MESSAGE ❗️Support the showSign up for our Patreon for exclusive Bonus Content.Follow the podcast on Instagram @gimmethreepodcastYou can keep up with Bella on Instagram @portraitofacinephile or Letterboxd You can keep up with Nick: on Instagram @nicholasybarra, on Twitter (X) @nicholaspybarra, or on LetterboxdShout out to contributor and producer Sonja Mereu. A special thanks to Anselm Kennedy for creating Gimme Three's theme music. And another special thanks to Zoe Baumann for creating our exceptional cover art.
Signals From Mars – Episode 440On Episode 440 of Signals From Mars, Victor is joined by Bones and Rhea of UK heavy metal band Tailgunner to talk about their new album Midnight Blitz and the road that led them there.The conversation explores the band's collaboration with legendary guitarist KK Downing, how that relationship came together naturally, and what it was like having such a hands-on presence involved in shaping the album. Bones and Rhea also discuss the evolution of Tailgunner since their debut Guns For Hire, balancing classic heavy metal influences with their own identity, and the challenges of building a lineup that truly shares the same vision.The episode also touches on touring, recent shows with Hammerfall, upcoming festival appearances, and what fans can expect when they see Tailgunner live — without giving too much away. It's a great look at a modern British metal band focused on longevity, growth, and staying true to heavy metal.
How do you juggle multiple book projects, a university teaching role, Kickstarter campaigns, and rock albums—all without burning out? What does it take to build a writing career that spans decades, through industry upheavals and personal setbacks? Kevin J. Anderson shares hard-won lessons from his 40+ year career writing over 190 books. In the intro, Draft2Digital partners with Bookshop.org for ebooks; Spotify announces PageMatch and print partnership with Bookshop.org; Eleven Audiobooks; Indie author non-fiction books Kickstarter; 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 Kevin J. Anderson is the multi-award-winning and internationally bestselling author of over 190 books across different genres, with over 24 million copies in print across 34 languages. He's also the director of publishing at Western Colorado University, as well as a publisher at WordFire Press, an editor and rock album lyricist, and he's co-written Dune books and worked on the recent Dune movies and TV show. 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 Managing multiple projects at different stages to maximise productivity without burning out Building financial buffers and multiple income streams for a sustainable long-term career Adapting when life disrupts your creative process, from illness to injury Lessons learned from transitioning between traditional publishing, indie, and Kickstarter Why realistic expectations and continuously reinventing yourself are essential for longevity The hands-on publishing master's program at Western Colorado University You can find Kevin at WordFire.com and buy his books direct at WordFireShop.com. Transcript of Interview with Kevin J. Anderson Jo: Kevin J. Anderson is the multi award-winning and internationally bestselling author of over 190 books across different genres, with over 24 million copies in print across 34 languages. He's also the Director of Publishing at Western Colorado University, as well as a publisher at WordFire Press, an editor, a rock album lyricist, and he's co-written Dune books and worked on the recent Dune movies and TV show. Welcome back to the show, Kevin. Kevin: Well, thanks, Joanna. I always love being on the show. Jo: And we're probably on like 200 books and like 50 million copies in print. I mean, how hard is it to keep up with all that? Kevin: Well, it was one of those where we actually did have to do a list because my wife was like, we really should know the exact number. And I said, well, who can keep track because that one went out of print and that's an omnibus. So does it count as something else? Well, she counted them. But that was a while ago and I didn't keep track, so… Jo: Right. Kevin: I'm busy and I like to write. That's how I've had a long-term career. It's because I don't hate what I'm doing. I've got the best job in the world. I love it. Jo: So that is where I wanted to start. You've been on the show multiple times. People can go back and have a listen to some of the other things we've talked about. I did want to talk to you today about managing multiple priorities. You are a director of publishing at Western Colorado University. I am currently doing a full-time master's degree as well as writing a novel, doing this podcast, my Patreon, all the admin of running a business, and I feel like I'm busy. Then I look at what you do and I'm like, this is crazy. People listening are also busy. We're all busy, right. But I feel like it can't just be writing and one job—you do so much. So how do you manage your time, juggle priorities, your calendar, and all that? Kevin: I do it brilliantly. Is that the answer you want? I do it brilliantly. It is all different things. If I were just working on one project at a time, like, okay, I'm going to start a new novel today and I've got nothing else on my plate. Well, that would take me however long to do the research and the plot. I'm a full-on plotter outliner, so it would take me all the while to do—say it's a medieval fantasy set during the Crusades. Well, then I'd have to spend months reading about the Crusades and researching them and maybe doing some travel. Then get to the point where I know the characters enough that I can outline the book and then I start writing the book, and then I start editing the book, which is a part that I hate. I love doing the writing, I hate doing the editing. Then you edit a whole bunch. To me, there are parts of that that are like going to the dentist—I don't like it—and other parts of it are fun. So by having numerous different projects at different stages, all of which require different skill sets or different levels of intensity— I can be constantly switching from one thing to another and basically be working at a hundred percent capacity on everything all the time. And I love doing this. So I'll be maybe writing a presentation, which is what I was doing before we got on this call this morning, because I'm giving a new keynote presentation at Superstars, which is in a couple of weeks. That's another thing that was on our list—I helped run Superstars. I founded that 15 years ago and it's been going on. So I'll be giving that talk. Then we just started classes for my publishing grad students last week. So I'm running those classes, which meant I had to write all of the classes before they started, and I did that. I've got a Kickstarter that will launch in about a month. I'm getting the cover art for that new book and I've got to write up the Kickstarter campaign. And I have to write the book. I like to have the book at least drafted before I run a Kickstarter for it. So I'm working on that. A Kickstarter pre-launch page should be up a month before the Kickstarter launches, and the Kickstarter has to launch in early March, so that means early February I have to get the pre-launch page up. So there's all these dominoes. One thing has to go before the next thing can go. During the semester break between fall semester—we had about a month off—I had a book for Blackstone Publishing and Weird Tales Presents that I had to write, and I had plotted it and I thought if I don't get this written during the break, I'm going to get distracted and I won't finish it. So I just buckled down and I wrote the 80,000-word book during the month of break. This is like Little House on the Prairie with dinosaurs. It's an Amish community that wants to go to simpler times. So they go back to the Pleistocene era where they're setting up farms and the brontosaurus gets into the cornfield all the time. Jo: That sounds like a lot of fun. Kevin: That's fun. So with the grad students that I have every week, we do all kinds of lectures. Just to reassure people, I am not at all an academic. I could not stand my English classes where you had to write papers analysing this and that. My grad program is all hands-on, pragmatic. You actually learn how to be a publisher when you go through it. You learn how to design covers, you learn how to lay things out, you learn how to edit, you learn how to do fonts. One of the things that I do among the lectures every week or every other week, I just give them something that I call the real world updates. Like, okay, this is the stuff that I, Kevin, am working on in my real world career because the academic career isn't like the real world. So I just go listing about, oh, I designed these covers this week, and I wrote the draft of this dinosaur homestead book, and then I did two comic scripts, and then I had to edit two comic scripts. We just released my third rock album that's based on my fantasy trilogy. And I have to write a keynote speech for Superstars. And I was on Joanna Penn's podcast. And here's what I'm doing. Sometimes it's a little scary because I read it and I go, holy crap, I did a lot of stuff this week. Jo: So I manage everything on Google Calendar. Do you have systems for managing all this? Because you also have external publishers, you have actual dates when things actually have to happen. Do you manage that yourself or does Rebecca, your wife and business partner, do that? How do you manage your calendar? Kevin: Well, Rebecca does most of the business stuff, like right now we have to do a bunch of taxes stuff because it's the new year and things. She does that and I do the social interaction and the creating and the writing and stuff. My assistant Marie Whittaker, she's a big project management person and she's got all these apps on how to do project managing and all these sorts of things. She tried to teach me how to use these apps, but it takes so much time and organisation to fill the damn things out. So it's all in my head. I just sort of know what I have to do. I just put it together and work on it and just sort of know this thing happens next and this thing happens next. I guess one of the ways is when I was in college, I put myself through the university by being a waiter and a bartender. As a waiter and a bartender, you have to juggle a million different things at once. This guy wants a beer and that lady wants a martini, and that person needs to pay, and this person's dinner is up on the hot shelf so you've got to deliver it before it gets cold. It's like I learned how to do millions of things and keep them all organised, and that's the way it worked. And I've kept that as a skill all the way through and it has done me good, I think. Jo: I think that there is a difference between people's brains, right? So I'm pretty chaotic in terms of my creative process. I'm not a plotter like you. I'm pretty chaotic, basically. But I come across— Kevin: I've met you. Yes. Jo: I know. But I'm also extremely organised and I plan everything. That's part of, I think, being an introvert and part of dealing with the anxiety of the world is having a plan or a schedule. So I think the first thing to say to people listening is they don't have to be like you, and they don't have to be like me. It's kind of a personal thing. I guess one thing that goes beyond both of us is, earlier you said you basically work at a hundred percent capacity. So let's say there's somebody listening and they're like, well, I'm at a hundred percent capacity too, and it might be kids, it might be a day job, as well as writing and all that. And then something happens, right? You mentioned the real world. I seem to remember that you broke your leg or something. Kevin: Yes. Jo: And the world comes crashing down through all your plans, whether they're written or in your head. So how do you deal with a buffer of something happening, or you're sick, or Rebecca's sick, or the cat needs to go to the vet? Real life—how do you deal with that? Kevin: Well, that really does cause problems. We had, in fact, just recently—so I'm always working at, well, let's be realistic, like 95% of Kevin capacity. Well, my wife, who does some of the stuff here around the house and she does the business things, she just went through 15 days of the worst crippling migraine string that she's had in 30 years. So she was curled up in a foetal position on the bed for 15 days and she couldn't do any of her normal things. I mean, even unloading the dishwasher and stuff like that. So if I'm at 95% capacity and suddenly I have to pick up an extra 50%, that causes real problems. So I drink lots of coffee, and I get less sleep, and you try to bring in some help. I mean, we have Rebecca's assistant and the assistant has a 20-year-old daughter who came in to help us do some of the dishes and laundry and housework stuff. You mentioned before, it was a year ago. I always go out hiking and mountain climbing and that's where I write. I dictate. I have a digital recorder that I go off of, and that's how I'm so productive. I go out, I walk in the forest and I come home with 5,000 words done in a couple of hours, and I always do that. That's how I write. Well, I was out on a mountain and I fell off the mountain and I broke my ankle and had to limp a mile back to my car. So that sort of put a damper on me hiking. I had a book that I had to write and I couldn't go walking while I was dictating it. It has been a very long time since I had to sit at a keyboard and create chapters that way. Jo: Mm-hmm. Kevin: And my brain doesn't really work like that. It works in an audio—I speak this stuff instead. So I ended up training myself because I had a big boot on my foot. I would sit on the back porch and I would look out at the mountains here in Colorado and I would put my foot up on another chair and I'd sit in the lawn chair and I'd kind of close my eyes and I would dictate my chapters that way. It was not as effective, but it was plan B. So that's how I got it done. I did want to mention something. When I'm telling the students this every week—this is what I did and here's the million different things—one of the students just yesterday made a comment that she summarised what I'm doing and it kind of crystallised things for me. She said that to get so much done requires, and I'm quoting now, “a balance of planning, sprinting, and being flexible, while also making incremental forward progress to keep everything moving together.” So there's short-term projects like fires and emergencies that have to be done. You've got to keep moving forward on the novel, which is a long-term project, but that short story is due in a week. So I've got to spend some time doing that one. Like I said, this Kickstarter's coming up, so I have to put in the order for the cover art, because the cover art needs to be done so I can put it on the pre-launch page for the Kickstarter. It is a balance of the long-term projects and the short-term projects. And I'm a workaholic, I guess, and you are too. Jo: Yes. Kevin: You totally are. Yes. Jo: I get that you're a workaholic, but as you said before, you enjoy it too. So you enjoy doing all these things. It's just sometimes life just gets in the way, as you said. One of the other things that I think is interesting—so sometimes physical stuff gets in the way, but in your many decades now of the successful author business, there's also the business side. You've had massive success with some of your books, and I'm sure that some of them have just kind of shrivelled into nothing. There have been good years and bad years. So how do we, as people who want a long-term career, think about making sure we have a buffer in the business for bad years and then making the most of good years? Kevin: Well, that's one thing—to realise that if you're having a great year, you might not always have a great year. That's kind of like the rockstar mentality—I've got a big hit now, so I'm always going to have a big hit. So I buy mansions and jets, and then of course the next album flops. So when you do have a good year, you plan for the long term. You set money aside. You build up plan B and you do other things. I have long been a big advocate for making sure that you have multiple income streams. You don't just write romantic epic fantasies and that's all you do. That might be what makes your money now, but the reading taste could change next year. They might want something entirely different. So while one thing is really riding high, make sure that you're planting a bunch of other stuff, because that might be the thing that goes really, really well the next year. I made my big stuff back in the early nineties—that was when I started writing for Star Wars and X-Files, and that's when I had my New York Times bestselling run. I had 11 New York Times bestsellers in one year, and I was selling like millions of copies. Now, to be honest, when you have a Star Wars bestseller, George Lucas keeps almost all of that. You don't keep that much of it. But little bits add up when you're selling millions of copies. So it opened a lot of doors for me. So I kept writing my own books and I built up my own fans who liked the Star Wars books and they read some of my other things. If you were a bestselling trad author, you could keep writing the same kind of book and they would keep throwing big advances at you. It was great. And then that whole world changed and they stopped paying those big advances, and paperback, mass market paperback books just kind of went away. A lot of people probably remember that there was a time for almost every movie that came out, every big movie that came out, you could go into the store and buy a paperback book of it—whether it was an Avengers movie or a Star Trek movie or whatever, there was a paperback book. I did a bunch of those and that was really good work. They would pay me like $15,000 to take the script and turn it into a book, and it was done in three weeks. They don't do that anymore. I remember I was on a panel at some point, like, what would you tell your younger self? What advice would you give your younger self? I remember when I was in the nineties, I was turning down all kinds of stuff because I had too many book projects and I was never going to quit writing. I was a bestselling author, so I had it made. Well, never, ever assume you have it made because the world changes under you. They might not like what you're doing or publishing goes in a completely different direction. So I always try to keep my radar up and look at new things coming up. I still write some novels for trad publishers. This dinosaur homestead one is for Blackstone and Weird Tales. They're a trad publisher. I still publish all kinds of stuff as an indie for WordFire Press. I'm reissuing a bunch of my trad books that I got the rights back and now they're getting brand new life as I run Kickstarters. One of my favourite series is “Dan Shamble, Zombie P.I.” It's like the Addams Family meets The Naked Gun. It's very funny. It's a private detective who solves crimes with monsters and mummies and werewolves and things. I sold the first one to a trad publisher, and actually, they bought three. I said, okay, these are fast, they're fun, they're like 65,000 words. You laugh all the way through it, and you want the next one right away. So let's get these out like every six months, which is like lightning speed for trad publishing. They just didn't think that was a good idea. They brought them out a year and a half apart. It was impossible to build up momentum that way. They wanted to drop the series after the third book, and I just begged them—please give it one more chance. So they bought one more book for half as much money and they brought it out again a year and a half later. And also, it was a trad paperback at $15. And the ebook was—Joanna, can you guess what their ebook was priced at? Jo: $15. Kevin: $15. And they said, gee, your ebook sales are disappointing. I said, well, no, duh. I mean, I am jumping around—I'm going like, but you should have brought these out six months apart. You should have had the ebook, like the first one at $4. Jo: But you're still working with traditional publishers, Kevin? Kevin: I'm still working with them on some, and I'm a hybrid. There are some projects that I feel are better served as trad books, like the big Dune books and stuff. I want those all over the place and they can cash in on the movie momentum and stuff. But I got the rights back to the Dan Shamble stuff. The fans kept wanting me to do more, and so I published a couple of story collections and they did fine. But I was making way more money writing Dune books and things. Then they wanted a new novel. So I went, oh, okay. I did a new novel, which I just published at WordFire. But again, it did okay, but it wasn't great. I thought, well, I better just focus on writing these big ticket things. But I really liked writing Dan Shamble. Somebody suggested, well, if the fans want it so much, why don't you run a Kickstarter? I had never run a Kickstarter before, and I kind of had this wrong attitude. I thought Kickstarters were for, “I'm a starving author, please give me money.” And that's not it at all. It's like, hey, if you're a fan, why don't you join the VIP club and you get the books faster than anybody else? So I ran a Kickstarter for my first Dan Shamble book, and it made three times what the trad publisher was paying me. And I went, oh, I kind of like this model. So I have since done like four other Dan Shamble novels through Kickstarters, made way more money that way. And we just sold—we can't give any details yet—but we have just sold it. It will be a TV show. There's a European studio that is developing it as a TV show, and I'm writing the pilot and I will be the executive producer. Jo: Fantastic. Kevin: So I kept that zombie detective alive because I loved it so much. Jo: And it's going to be all over the place years later, I guess. Just in terms of—given I've been in this now, I guess 2008 really was when I got into indie—and over the time I've been doing this, I've seen people rise and then disappear. A lot of people have disappeared. There are reasons, burnout or maybe they were just done. Kevin: Yes. Jo: But in terms of the people that you've seen, the characteristics, I guess, of people who don't make it versus people who do make it for years. And we are not saying that everyone should be a writer for decades at all. Some people do just have maybe one or two books. What do you think are the characteristics of those people who do make it long-term? Kevin: Well, I think it's realistic expectations. Like, again, this was trad, but my first book I sold for $4,000, and I thought, well, that's just $4,000, but we're going to sell book club rights, and we're goingn to sell foreign rights, and it's going to be optioned for movies. And the $4,000 will be like, that's just the start. I was planning out all this extra money coming from it, and it didn't even earn its $4,000 advance back and nothing else happened with it. Well, it has since, because I've since reissued it myself, pushed it and I made more money that way. But it's a slow burn. You build your career. You start building your fan base and then your next one will sell maybe better than the first one did. Then you keep writing it, and then you make connections, and then you get more readers and you learn how to expand your stuff better. You've got to prepare for the long haul. I would suggest that if you publish your very first book on KU, don't quit your day job the next day. Not everybody can or should be a full-time writer. We here in America need to have something that pays our health insurance. That is one of the big reasons why I am running this graduate program at Western Colorado University—because as a university professor, I get wonderful healthcare. I'm teaching something that I love, and I'm frankly doing a very good job at it because our graduates—something like 60% of them are now working as writers or publishers or working in the publishing world. So that's another thing. I guess what I do when I'm working on it is I kind of always say yes to the stuff that's coming in. If an opportunity comes—hey, would you like a graphic novel on this?—and I go, yes, I'd love to do that. Could you write a short story for this anthology? Sure, I'd love to do that. I always say yes, and I get overloaded sometimes. But I learned my lesson. It was quite a few years ago where I was really busy. I had all kinds of book deadlines and I was turning down books that they were offering me. Again, this was trad—book contracts that had big advances on them. And anthology editors were asking me. I was really busy and everybody was nagging me—Kevin, you work too hard. And my wife Rebecca was saying, Kevin, you work too hard. So I thought, I had it made. I had all these bestsellers, everything was going on. So I thought, alright, I've got a lot of books under contract. I'll just take a sabbatical. I'll say no for a year. I'll just catch up. I'll finish all these things that I've got. I'll just take a breather and finish things. So for that year, anybody who asked me—hey, do you want to do this book project?—well, I'd love to, but I'm just saying no. And would you do this short story for an anthology? Well, I'd love to, but not right now. Thanks. And I just kind of put them off. So I had a year where I could catch up and catch my breath and finish the stuff. And after that, I went, okay, I am back in the game again. Let's start taking these book offers. And nothing. Just crickets. And I went, well, okay. Well, you were always asking before—where are all these book deals that you kept offering me? Oh, we gave them to somebody else. Jo: This is really difficult though, because on the one hand—well, first of all, it's difficult because I wanted to take a bit of a break. So I'm doing this full-time master's and you are also teaching people in a master's program, right. So I have had to say no to a lot of things in order to do this course. And I imagine the people on your course would have to do the same thing. There's a lot of rewards, but they're different rewards and it kind of represents almost a midlife pivot for many of us. So how do we balance that then—the stepping away with what might lead us into something new? I mean, obviously this is a big deal. I presume most of the people on your course, they're older like me. People have to give stuff up to do this kind of thing. So how do we manage saying yes and saying no? Kevin: Well, I hate to say this, but you just have to drink more coffee and work harder for that time. Yes, you can say no to some things. My thing was I kind of shut the door and I just said, I'm just going to take a break and I'm going to relax. I could have pushed my capacity and taken some things so that I wasn't completely off the game board. One of the things I talk about is to avoid burnout. If you want a long-term career, and if you're working at 120% of your capacity, then you're going to burn out. I actually want to mention something. Johnny B. Truant just has a new book out called The Artisan Author. I think you've had him on the show, have you? Jo: Yes, absolutely. Kevin: He says a whole bunch of the stuff in there that I've been saying for a long time. He's analysing these rapid release authors that are a book every three weeks. And they're writing every three weeks, every four weeks, and that's their business model. I'm just like, you can't do that for any length of time. I mean, I'm a prolific writer. I can't write that fast. That's a recipe for burnout, I think. I love everything that I'm doing, and even with this graduate program that I'm teaching, I love teaching it. I mean, I'm talking about subjects that I love, because I love publishing. I love writing. I love cover design. I love marketing. I love setting up your newsletters. I mean, this isn't like taking an engineering course for me. This is something that I really, really love doing. And quite honestly, it comes across with the students. They're all fired up too because they see how much I love doing it and they love doing it. One of the projects that they do—we get a grant from Draft2Digital every year for $5,000 so that we do an anthology, an original anthology that we pay professional rates for. So they put out their call for submissions. This year it was Into the Deep Dark Woods. And we commissioned a couple stories for it, but otherwise it was open to submissions. And because we're paying professional rates, they get a lot of submissions. I have 12 students in the program right now. They got 998 stories in that they had to read. Jo: Wow. Kevin: They were broken up into teams so they could go through it, but that's just overwhelming. They had to read, whatever that turns out to be, 50 stories a week that come in. Then they write the rejections, and then they argue over which ones they're going to accept, and then they send the contracts, and then they edit them. And they really love it. I guess that's the most important thing about a career—you've got to have an attitude that you love what you're doing. If you don't love this, please find a more stable career, because this is not something you would recommend for the faint of heart. Jo: Yes, indeed. I guess one of the other considerations, even if we love it, the industry can shift. Obviously you mentioned the nineties there—things were very different in the nineties in many, many ways. Especially, let's say, pre-internet times, and when trad pub was really the only way forward. But you mentioned the rapid release, the sort of book every month. Let's say we are now entering a time where AI is bringing positives and negatives in the same way that the internet brought positives and negatives. We're not going to talk about using it, but what is definitely happening is a change. Industry-wise—for example, people can do a book a day if they want to generate books. That is now possible. There are translations, you know. Our KDP dashboard in America, you have a button now to translate everything into Spanish if you want. You can do another button that makes it an audiobook. So we are definitely entering a time of challenge, but if you look back over your career, there have been many times of challenge. So is this time different? Or do you face the same challenges every time things shift? Kevin: It's always different. I've always had to take a breath and step back and then reinvent myself and come back as something else. One of the things with a long-term career is you can't have a long-term career being the hot new thing. You can start out that way—like, this is the brand new author and he gets a big boost as the best first novel or something like that—but that doesn't work for 20 years. I mean, you've got to do something else. If you're the sexy young actress, well, you don't have a 50-year career as the sexy young actress. One of the ones I'm loving right now is Linda Hamilton, who was the sexy young actress in Terminator, and then a little more mature in the TV show Beauty and the Beast, where she was this huge star. Then she's just come back now. I think she's in her mid-fifties. She's in Stranger Things and she was in Resident Alien and she's now this tough military lady who's getting parts all over the place. She's reinvented herself. So I like to say that for my career, I've crashed and burned and resurrected myself. You might as well call me the Doctor because I've just come back in so many different ways. You can't teach an old dog new tricks, but— If you want to stay around, no matter how old of a dog you are, you've got to learn new tricks. And you've got to keep learning, and you've got to keep trying new things. I started doing indie publishing probably around the time you did—2009, something like that. I was in one of these great positions where I was a trad author and I had a dozen books that I wrote that were all out of print. I got the rights back to them because back then they let books go out of print and they gave the rights back without a fight. So I suddenly found myself with like 12 titles that I could just put up. I went, oh, okay, let's try this. I was kind of blown away that that first novel that they paid me $4,000 for that never even earned it back—well, I just put it up on Kindle and within one year I made more than $4,000. I went, I like this, I've got to figure this out. That's how I launched WordFire Press. Then I learned how to do everything. I mean, back in those days, you could do a pretty clunky job and people would still buy it. Then I learned how to do it better. Jo: That time is gone. Kevin: Yes. I learned how to do it better, and then I learned how to market it. Then I learned how to do print on demand books. Then I learned how to do box sets and different kinds of marketing. I dove headfirst into my newsletter to build my fan base because I had all the Star Wars stuff and X-Files stuff and later it was the Dune stuff. I had this huge fan base, but I wanted that fan base to read the Kevin Anderson books, the Dan Shamble books and everything. The only way to get that is if you give them a personal touch to say, hey buddy, if you liked that one, try this one. And the way to do that is you have to have access to them. So I started doing social media stuff before most people were doing social media stuff. I killed it on MySpace. I can tell you that. I had a newsletter that we literally printed on paper and we stuck mailing labels on. It went out to 1,200 people that we put in the mailbox. Jo: Now you're doing that again with Kickstarter, I guess. But I guess for people listening, what are you learning now? How are you reinventing yourself now in this new phase we are entering? Kevin: Well, I guess the new thing that I'm doing now is expanding my Kickstarters into more. So last year, the biggest Kickstarter that I've ever had, I ran last year. It was this epic fantasy trilogy that I had trad published and I got the rights back. They had only published it in trade paperback. So, yes, I reissued the books in nice new hardcovers, but I also upped the game to do these fancy bespoke editions with leather embossed covers and end papers and tipped in ribbons and slip cases and all kinds of stuff and building that. I did three rock albums as companions to it, and just building that kind of fan base that will support that. Then I started a Patreon last year, which isn't as big as yours. I wish my Patreon would get bigger, but I'm pushing it and I'm still working on that. So it's trying new things. Because if I had really devoted myself and continued to keep my MySpace page up to date, I would be wasting my time. You have to figure out new things. Part of me is disappointed because I really liked in the nineties where they just kept throwing book contracts at me with big advances. And I wrote the book and sent it in and they did all the work. But that went away and I didn't want to go away. So I had to learn how to do it different. After a good extended career, one of the things you do is you pay it forward. I mentor a lot of writers and that evolved into me creating this master's program in publishing. I can gush about it because to my knowledge, it is the only master's degree that really focuses on indie publishing and new model publishing instead of just teaching you how to get a job as an assistant editor in Manhattan for one of the Big Five publishers. Jo: It's certainly a lot more practical than my master's in death. Kevin: Well, that's an acquired taste, I think. When they hired me to do this—and as I said earlier, I'm not an academic—and I said if I'm going to teach this, it's a one year program. They get done with it in one year. It's all online except for one week in person in the summer. They're going to learn how to do things. They're not going to get esoteric, analysing this poem for something. When they graduate from this program, they walk out with this anthology that they edited, that their name is on. The other project that they do is they reissue a really fancy, fine edition of some classic work, whether it's H.G. Wells or Jules Verne or something. They choose a book that they want to bring back and they do it all from start to finish. They come out of it—rather than just theoretical learning—they know how to do things. Surprise, I've been around in the business a long time, so I know everybody who works in the business. So the heads of publishing houses and the head of Draft2Digital or Audible—and we've got Blackstone Audio coming on in a couple weeks. We've got the head of Kickstarter coming on as guest speakers. I have all kinds of guest speakers. Joanna, I think you're coming on— Jo: I'm coming on as well, I think. Kevin: You're coming on as a guest speaker. It's just like they really get plugged in. I'm in my seventh cohort now and I just love doing it. The students love it and we've got a pretty high success rate. So there's your plug. We are open for applications now. It starts in July. And my own website is WordFire.com, and there's a section on there on the graduate program if anybody wants to take a look at it. Again, not everybody needs to have a master's degree to be an indie publisher, but there is something to be said for having all of this stuff put into an organised fashion so that you learn how to do all the things. It also gives you a resource and a support system so that they come out of it knowing a whole lot of people. Jo: Brilliant. Well, thanks so much for your time, Kevin. That was great. Kevin: Thanks. It's a great show. The post Managing Multiple Projects And The Art of the Long-Term Author Career with Kevin J. Anderson first appeared on The Creative Penn.
We're closing the book on this year's unfinished business with a look at the romance of Stuart Hazeldine's 2017 faith film The Shack, based on the smash novel(?) by Wm. Paul Young. Join in as we discuss the film's racially diverse godhead, Sam Worthington's struggling performance, and our own experiences attempting to parse the book's bizarre theology. Plus: Why was this movie such a hit in Brazil? Why does it have a rom com score? Is having the faith of a child actually a good idea? And, most importantly, could Bones have solved this murder more quickly than Officer Tommy and the FBI? Make sure to rate, review, and subscribe! Next week: It (2017)
Scott Interrante of Big White Elephants and This is the Greatest Song I've Ever Heard in My Entire Life joins Nicole Barlow and Ryan Pak to discuss the soundtrack to the 2024 Luca Guadagnino film, Challengers. The film was scored by the team of Trent Reznor and Atticus Ross (Nine Inch Nails) who have worked with Guadagnino multiple times before (Queer, Bones and All, After the Hunt). The soundtrack was also accompanied by a remix album from Boys Noize. The score won the Golden Globe for Best Original Score but it was not even nominated for the Best Original Score Oscar. Hot takes, hot actors, and phallic food is all discussed on this Valentine's Day episode of Soundtrack Your Life. Scott's Socials: Big White Elephants Instagram This is the Greatest Song... Instagram Take the 90 day Just Thrive Probiotic Challenge Today: (Save 20% on your 1st Order) https://justthrivehealth.com/CX Thank you for listening! We would love it if you would join our Patreon membership, where you will get quarterly bonus episodes, access to our ad-free episode feed and more! Soundtrack Your Life Socials Patreon membership Bluesky Instagram Writing Site YouTube Learn more about your ad choices. Visit megaphone.fm/adchoices
Steve Lafler is a veteran indie and underground comics with a fantastic catalogue of books, and with another two books releasing in 2026 we had a good fortune to chat to him about those, his work process, influences and career from student comic strips to original graphic novels. Its a wonderful look into the world of a cartooning greats. Along with that there's great comic books to check out in the weeks ahead and add to your growing wishlists! Great stuff to check out: Steve Lafler, Crazy for You, Nikki and Ramona, Paul Theroux, Fantagraphics Books, Aluminum Foil, Dogboy, Mean Cat, Death Plays a Mean Harmonica, Roger Crumb, Weirdo Magazine, Dave Sim, Cerebus, J R Williams, Mary Fleener, 1956, Bughouse, Ice Cream Expo, Mission Comics, Permanent Damage, Earth 2 Podcast, Adam Falp, Smoking Bedroom, Mary Boys, Blam and Glam, Britformers, Yo! Comics Con, Legacy: Idols and Bones, Lawless Comic Con 2026, Jay Horner, Republic, Broken Lenses, Richard Starzecki, Catrinas Caravan, Chispa Comics, Junji Ito, Deserter, The Hunger and the Dusk, IDW, Absolute Wonder Woman, Beetlemoses
Breaking Bones 2-8-26 by 1010 XL Jax Sports Radio
As always, the Coode Street Motel Six bestrides continents, so after briefly comparing notes on the weather in Perth and Chicago, Gary and Jonathan get down to it and chat about the subjects of the moment. How do you talk about books and what was the weather like? The importance of settings in fiction, especially regarding climate and weather, and the broader question of whether readers can ever fully appreciate a setting dissimilar to their own and how book reviewers might take this into account. This includes a brief discussion of translated fiction—a welcome new category in this year's Locus Awards. Anthologies and activism The significance of advocacy anthologies that may reflect anything from feminist SF (as in Vonda McIntyre and Susan Janice Anderson's Aurora: Beyond Equality (1976) to antiwar works to promoting the New Wave. Books we're looking forward to In a new segment, we list a few books that we are looking forward to that will be published in the coming weeks. Jonathan talks about A.G. Slatter's A Forest, Darkly, Adrian Tchaikovsky's Pretenders to the Throne of God, Paul McAuley's Loss Protocol, and A.D Sui's debut The Iron Garden Sutra. Gary's list includes Rebecca Roanhorse's River of Bones and Other Stories and The Best of Adrian Tchaikovsky, a novella by Ian McDonald, Boy, with Accidental Dinosaur, and nonfiction study of SFF by Ada Palmer and Jo Walton, Trace Elements: Conversations on the Project of Science Fiction and Fantasy.
Send us a textThyroid Talk with Dr. Angela Mazza, DOShow Notes Episode 46; Recorded: 1-23-2026Part 2: Stronger Bones, Stronger Hormones: The Thyroid and Bone ConnectionHost: Dr. Angela Mazza, DOCo-host: Dawn Sheffield I'm Dr. Angela Mazza, D.O., a thyroid, endocrine, and metabolism specialist with a private practice in Central Florida. My goal for this podcast is to define and demystify the thyroid gland, and thyroid-related medical conditions. By providing information in an easy-to-understand format, we hope to help patients better understand the ways in which their bodies work, and to help them thrive. My goal is to help us live more fulfilling lives by taking control of our health, to feel our best. Here's some of what we covered in episodes 45 and 46 on bone health, not necessarily in this order:· The thyroid-bone connection.· Osteopenia vs. Osteoporosis.· What healthy bones do NOT look like. · Our bones are not passive structures.· Screening, Stabilizing, and Synergizing.· The best time to start caring for our bones is right now.· An Integrative Endocrine Approach to Bone Health is best.· Dangers of NOT preventing, diagnosing, and treating early on.· With early detection and an integrative plan, our bones can become stronger at any age. · And best of all we learned that we CAN impact our thyroid health! My book, Thyroid Talk: An Integrative Guide to Optimal Thyroid Health, is available on Amazon. For information on the related Webinar and online master course, see thrivethyroid.com. Or forward your name and email to thyroidtalk.mazza@gmail.com or to our website: metaboliccenterforwellness.com The webinar coordinates with the online master class. The master class has modules that cover topics like diagnosis of thyroid issues, personalized treatment, gut healing, and much more--plus some bonuses. Visit the Wellness Store at metaboliccenterforwellness.com regarding supplements mentioned in various episodes of this podcast. Please stay in touch! Send your comments, show ideas, and questions to thyroidtalk.mazza@gmail.com We may disclose your general location on air (the city or town, for example), but we will not read your name nor your address on the show. We reserve the right to edit your input as necessary. See the website at metaboliccenterforwellness.com; our YouTube channel (Dr. Angela Mazza), Facebook, and Instagram. The topic of our next episode, number 47, is Peptide Therapies.Citations, references, additional information:Mazza, A. Thyroid Talk: An Integrative Guide to Optimal Thyroid Health. Available now on Amazon.Ask your healthcare provider about specific questions regarding your wellness. This podcast is meant for educational purposes only. Copyright 2026 Dr. Angela Mazza DO. Thyroid Talk with Dr. Angela Mazza, DO. All rights reserved. Check out our YouTube channel - Dr. Angela Mazza, our website at Metabolic Center for Wellness, our FaceBook and our Instagram page.
February 6, 2026; 8pm: Tonight, the unmistakable link between what Donald Trump is saying and what his government is doing. Then, the administration's latest push to deport five-year-old Liam Ramos after his return to Minnesota. Plus, the growing list of curious redactions in the Epstein files. And why last night's election in New Jersey could mean a political earthquake in November. 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.
Fluent Fiction - Norwegian: Secrets Beneath the Bones: Sigrid's Ancient Symbol Quest Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2026-02-07-08-38-20-no Story Transcript:No: Bak de store dørene til Naturhistorisk Museum lå det en verden full av fortidens hemmeligheter.En: Behind the large doors of the Naturhistorisk Museum lay a world full of secrets from the past.No: Den kalde vintervinden utenfor blåste gjennom de høye vinduene, mens Sigrid, museets entusiastiske guide, gikk rolig mellom de majestetiske dinosaur-skjelettene.En: The cold winter wind outside blew through the tall windows, while Sigrid, the museum's enthusiastic guide, walked calmly among the majestic dinosaur skeletons.No: Denne vinterdagen var grå og dyster, men Sigrid hadde fanget opp noe som satte sinnene i fyr og flamme.En: This winter day was gray and gloomy, but Sigrid had picked up something that set minds ablaze.No: Mens hun ledet en liten gruppe besøkende gjennom de gamle salene, hadde ett fossil tiltrukket hennes oppmerksomhet.En: As she led a small group of visitors through the old halls, one fossil had captured her attention.No: Det var et merkelig symbol, risset inn i steinen rundt et dinosaurben, et symbol ingen kunne forklare.En: There was a strange symbol etched into the stone around a dinosaur bone, a symbol no one could explain.No: Det var uunngåelig for Sigrid å undersøke dette mysteriet.En: It was inevitable for Sigrid to investigate this mystery.No: Leif, Sigrids kollega, var ikke overbevist.En: Leif, Sigrid's colleague, was not convinced.No: Han avfeide det som en enkel spøk fra en museumbesøkende.En: He dismissed it as a mere prank by a museum visitor.No: "Du overdriver," sa han mens de gikk bortover marmorgulvene.En: "You're exaggerating," he said as they walked across the marble floors.No: Men Sigrid visste at dette var noe mer.En: But Sigrid knew this was something more.No: Det var nesten som symbolet kalte på henne.En: It was almost as if the symbol was calling to her.No: En ny tilskuer kom inn i bildet - Kjell, en besøkende forsker med fascinasjon for gamle tegn.En: A new figure entered the scene - Kjell, a visiting researcher with a fascination for ancient signs.No: Han visste mer om slike symboler enn han lot til å vise.En: He knew more about such symbols than he let on.No: Sigrid følte et bånd til Kjell, men hun forsto også at han hadde en egen agenda.En: Sigrid felt a bond with Kjell, but she also understood that he had his own agenda.No: Sigrid valgte å trosse museets direktør.En: Sigrid chose to defy the museum's director.No: Han insisterte på at symbolet bare var en del av en tilfeldig flekk eller graffiti.En: He insisted that the symbol was merely part of a random stain or graffiti.No: Beskyttelsen av museets rykte sto på spill.En: The protection of the museum's reputation was at stake.No: Likevel, med Kjells hjelp, begynte Sigrid sin hemmelige reise for å avdekke sannheten.En: Nevertheless, with Kjell's help, Sigrid began her secret journey to uncover the truth.No: De søkte gjennom gamle bøker, fordypet seg i gamle tekster og besøkte skjulte arkiver.En: They searched through old books, delved into ancient texts, and visited hidden archives.No: Underveis lærte Sigrid at symbolet kunne være knyttet til en tapt sivilisasjon, en som verden lenge hadde glemt.En: Along the way, Sigrid learned that the symbol could be connected to a lost civilization, one that the world had long forgotten.No: I en dramatisk avsløring oppdaget de at Kjell planla å ta denne oppdagelsen og bruke den for egen vinning.En: In a dramatic revelation, they discovered that Kjell planned to take this discovery and use it for his own gain.No: Forferdet konfronterte Sigrid Kjell.En: Horrified, Sigrid confronted Kjell.No: Hun samlet bevisene og tok dem med til museumskomiteen.En: She gathered the evidence and took it to the museum committee.No: Resultatet var fantastisk.En: The result was amazing.No: Symbolets ekte betydning ble avslørt.En: The true meaning of the symbol was revealed.No: Det var en ubrutt kobling til en gammel kultur, og det skulle beskyttes og bevares.En: It was an unbroken link to an ancient culture, and it was to be protected and preserved.No: Med Kjells planer avdekket, tok Sigrid et skritt inn i lyset.En: With Kjell's plans uncovered, Sigrid stepped into the light.No: Hun fikk anerkjennelse for viktigheten av sitt arbeid, og hun lærte å stole på sine instinkter.En: She received recognition for the importance of her work, and she learned to trust her instincts.No: Hun hadde endret seg - mer selvsikker og viljesterk.En: She had changed - more confident and determined.No: I museet ved de stille dinosaurene, i den kjølige urgamle stillheten, fortsatte historiene å hviske gjennom tidene.En: In the museum by the silent dinosaurs, in the cool ancient stillness, stories continued to whisper through the ages.No: Sigrid, nå anerkjent, gikk videre med sin nye styrke, klar til å møte fremtidens mysterier.En: Sigrid, now recognized, moved forward with her newfound strength, ready to face the mysteries of the future. Vocabulary Words:enthusiastic: entusiastiskemajestic: majestetiskeeternal: evigeetched: rissetmystery: mysteriumprank: spøkexaggerating: overdrivercolleague: kollegaagenda: agendadefy: trossestain: flekkgraffiti: graffitidelve: fordypearchives: arkivercivilization: sivilisasjonforgotten: glemtrevelation: avsløringhorrified: forferdetconfronted: konfronterteevidence: beviscommittee: komiteenunbroken: ubruttpreserved: bevaresuncover: avdekkerecognition: anerkjennelseinstincts: instinkterdetermined: viljesterkancient: urgamlestrength: styrkefascination: fascinasjon
Fluent Fiction - Catalan: Finding Strength in Ancient Bones: A Journey of Resilience Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ca/episode/2026-02-07-23-34-01-ca Story Transcript:Ca: Al Museu de Ciències Naturals de Barcelona, els matins d'hivern són tranquils.En: At the Museu de Ciències Naturals de Barcelona, winter mornings are peaceful.Ca: Els passos suaus de Núria ressonen delicadament als passadissos amples.En: The soft steps of Núria echo gently in the wide hallways.Ca: L'aire és fred, i ella s'enfunda bé la bufanda abans d'entrar.En: The air is cold, and she wraps her scarf tightly before entering.Ca: Aquest lloc és el seu refugi, una fortalesa de saviesa i història, on el temps sembla aturar-se.En: This place is her refuge, a fortress of wisdom and history, where time seems to stand still.Ca: Núria és una enamorada de la història natural.En: Núria is a lover of natural history.Ca: Des de petita, ha quedat fascinada pels fòssils, els diorames d'animals prehistòrics i les maquetes dels ecosistemes antics.En: Since she was young, she has been fascinated by fossils, dioramas of prehistoric animals, and models of ancient ecosystems.Ca: Però avui no està aquí només per aprendre, sinó per cercar pau.En: But today, she is not here just to learn, but to seek peace.Ca: Acaba de rebre un diagnòstic mèdic inesperat, i la por i l'ansietat s'han instal·lat al seu cor.En: She has just received an unexpected medical diagnosis, and fear and anxiety have settled in her heart.Ca: Comença el seu recorregut habitual.En: She begins her usual route.Ca: Davant dels esquelets imponents de dinosaures, intenta desconnectar del seu món.En: In front of the imposing dinosaur skeletons, she tries to disconnect from her world.Ca: Les criatures gegants amb les seves històries de supervivència li han donat sempre una perspectiva diferent.En: The giant creatures with their survival stories have always given her a different perspective.Ca: Però avui, la seva ment fa viatges a paratges obscurs, on els pitjors escenaris semblen inevitables.En: But today, her mind travels to dark places, where the worst scenarios seem inevitable.Ca: Els records de la consulta mèdica la persegueixen.En: The memories of the medical consultation haunt her.Ca: Qué faré?En: What will I do?Ca: haurà de compartir-ho amb la família?En: Will she have to share it with the family?Ca: No vol ser una càrrega.En: She doesn't want to be a burden.Ca: Però a mesura que avança, Núria es troba davant un fòssil immens.En: But as she moves forward, Núria finds herself in front of a massive fossil.Ca: Un ammonit, una criatura marina antiga que va sobreviure a canvis dràstics durant milions d'anys.En: An ammonite, an ancient marine creature that survived drastic changes over millions of years.Ca: Aquí, de sobte, sent una connexió.En: Here, suddenly, she feels a connection.Ca: La resistència d'aquest organisme, que va viure en oceans turbulents i va adaptar-se a noves condicions, li parla.En: The resilience of this organism, which lived in turbulent oceans and adapted to new conditions, speaks to her.Ca: Recorda les històries que li explicava el seu pare sobre com les criatures més petites sovint són les més fortes.En: She remembers the stories her father used to tell her about how the smallest creatures are often the strongest.Ca: Després de moltes silent reflexions, s'adona que la seva situació no és diferent.En: After many silent reflections, she realizes that her situation is no different.Ca: Ella també pot ser resilient, pot aprendre a sobreviure i a adaptar-se.En: She too can be resilient, she can learn to survive and adapt.Ca: Podrà demanar ajuda quan ho necessiti.En: She will be able to ask for help when she needs it.Ca: Amb un nou sentiment d'alleujament, Núria es dirigeix a la sortida del museu.En: With a new sense of relief, Núria heads to the museum exit.Ca: Sap que la seva lluita interna no s'ha acabat, però ara té el coratge de compartir el que li passa.En: She knows that her internal struggle is not over, but now she has the courage to share what is happening with her.Ca: Entén que parlar amb la seva família no és un signe de debilitat, sinó d'enfortiment i de valentia.En: She understands that talking to her family is not a sign of weakness, but of empowerment and bravery.Ca: A les portes del museu, mentre el fred hivernal li infla les galtes, pren aire i somriu.En: At the museum's doors, as the winter cold fills her cheeks, she takes a deep breath and smiles.Ca: Ha arribat el moment d'enfrontar la vida amb valor i honestedat, amb la mateixa força que tenen els fòssils que tant admira.En: The time has come to face life with courage and honesty, with the same strength as the fossils she so admires.Ca: D'aquesta manera, torna a casa, més segura, disposada a compartir la seva història perquè sap que no està sola.En: In this way, she returns home, more confident, ready to share her story because she knows she is not alone. Vocabulary Words:the museum: el museuthe wisdom: la saviesathe fortress: la fortalesathe scarf: la bufandathe hallway: el passadísthe fossil: el fòssilthe diorama: el dioramathe ecosystem: l'ecosistemathe anxiety: l'ansietatthe diagnosis: el diagnòsticthe skeleton: l'esqueletthe perspective: la perspectivathe consultation: la consultathe burden: la càrregathe resilience: la resistènciathe creature: la criaturathe memory: el recordthe condition: la condicióthe relief: l'alleujamentthe struggle: la lluitathe courage: el coratgethe bravery: la valentiathe honesty: l'honestedatthe strength: la forçathe creature: la criaturathe silence: el silencithe empowerment: l'enfortimentthe reflection: la reflexióthe route: el recorregutthe reflection: la reflexió
In this episode of Metal Mayhem ROC, we're joined by Bones from the UK heavy metal band Tailgunner. Bones joins us as the band prepare to release their second album, Midnight Blitz, and reflects on a period of rapid growth and forward momentum. We discuss how Tailgunner developed a working relationship with KK Downing, how that connection evolved, and what it was like having KK involved as producer on the new record. The conversation also covers Tailgunner's role in the No Life 'Til Leather Metallica tribute album, including the exposure that came with kicking off the release, and how extensive touring helped sharpen the band both musically and professionally. Bones also looks back on discovering heavy metal growing up, the early influences that shaped his musical path, and what he's seeing from audiences today as Tailgunner continue touring in the UK with Fozzy and prepare for major European festival dates this summer, including Download. CHAPTERS 00:00 – Tease 02:08 – Why they call him Bones 02:30 – When KK Downing noticed Tailgunner 04:32 – Why KK got involved 05:41 – KK Downing as a producer 07:38 – How touring shaped the second album 10:08 – New songs: War In Heaven, Midnight Blitz, Eulogy 14:46 – Opening the No Life 'Til Leather Metallica tribute 17:52 – Discovering heavy metal growing up 19:08 – Who's in the crowd at Tailgunner shows 20:24 – Touring now and playing Download Festival Learn more about your ad choices. Visit megaphone.fm/adchoices
Join hosts Ed Voccola (Rick and Morty, Bless The Harts) and Chris Cullari (Blumhouse, The Aviary) for a wild trip through the world of what scares them.This week, the guys shine a light on stories of phrogging and phroggers: people who secretly live in the attics, basements, and walls of other people's homes. From beneath the floors of Chris' first apartment to the halls of Buckingham Palace, they are everywhere - and some of them are extremely dangerous. Don't love every word we say? Ok, weirdo. Here's some "chapters" to find what you DO love:00:00:00 - Intro00:01:28 - Housekeeping00:03:17 - We're talking Phrogging00:10.50 - What is Phrogging?00:22:21 - Boy Jones00:43:11 - Phrogging Hauntings00:53:44 - The Hinterkaifeck Murders01:07:21 - North Carolina College Phrogger01:14:08 - Surgeon Wannabe Phrogger01:23:16 - Pamela Anderson01:27:46 - George Michael01:30:00 - One More Ed Story01:31:53 - 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
Episode Description: With the Time Radio repaired, Max and Molly learn the location of the final POG server — hiding in plain sight at the London Science Museum. Joined by Charlene and Katrina, they must use algebra, fractions, and logical patterns to narrow their search and unlock a hidden server before time runs out. But when they realize they're being followed, solving Math problems becomes more urgent than ever. Math Concepts: Circumference, radius, diameter & Pi; Dividing by fractions (flip and multiply); Algebraic expressions and variables; Lattice multiplicationHistory/Geography Concepts: History of computing & calculation; Charles Babbage & the Difference Engine; Ada Lovelace & early programming; John Napier & Napier's Bones (1617); Early calculators & mechanical computation
Tailgunner is on the rise. Judas Priest guitar legend K.K. Downing has dubbed them “the next big thing" and produced their new album, "Midnight Blitz." We talk to Tom (aka Bones) and Rhea about their growth in the UK metal scene, Guns N' Roses fandom, and thoughts on the Grammys. Plus, "Shotgun News" with more talk about a potential new GN'R album and the Ozzy tribute with Slash and Duff. Guest appearance from Baby Brownstone. More info: https://linktr.ee/tailgunnerhq https://www.facebook.com/tailgunnerhq/ https://www.instagram.com/tailgunnerhq/ https://label.napalmrecords.com/tailgunner WEBSITE: www.afdpod.com
The Hume Health Body Pod is the smart health scale Nurse Doza uses daily — at home, in the clinic, and everywhere in between. With 8 multi-frequency sensors and accuracy within 2% of a DEXA scan, it measures 45+ health metrics including muscle mass, visceral fat, bone density, heart rate, and metabolic age in just 3-5 seconds. As discussed in this episode, putting real body composition data in your hands is the key to becoming your own health advocate.
In this episode, Dr. Jeff Musgrave discusses the principles of training for older adults, particularly focusing on bone health and density. He presents a case study of a client with osteoporosis and osteopenia, detailing their training history and the program designed to improve their bone mineral density. The conversation covers the importance of strength and impact training, the results achieved over two years, and the ongoing adjustments to the training program to meet the client's evolving needs. 00:00 Introduction to Bone Health and Training Principles 02:59 Case Study: Assessing Bone Density and Training History 06:05 Program Design: Strength and Impact Training for Osteoporosis 08:52 Results and Progress: Tracking Bone Density Changes 12:02 Conclusion and Future Directions in Training
In this week's episode of The Bones Booth, Andrew, Maggie and Taryn discuss season eleven episode five of Bones, "The Resurrection in the Remains."
Send us a textDr. John Neustadt, ND, is the Founder and President of Nutritional Biochemistry, Inc. (NBI). Dr. Neustadt earned his naturopathic medical degree from Bastyr University where he was awarded the Founder's Award for academic and clinical excellence.Dr. Neustadt is a highly sought-out speaker at medical conferences, and has been recognized as one of the Top Ten Cited Authors in the world for his work. His research on integrative and functional medicine has been featured in the Natural Medicine Journal, Integrative Medicine: A Clinician's Journal, Holistic Primary Care, Molecular Nutrition & Food Research, and Experimental and Molecular Pathology.Dr. Neustadt has published more than 100 medical articles, written four health and wellness books and is now a #1 Amazon Best Selling Author in the field of Osteoporosis. His most recent book is, Fracture-Proof Your Bones: A Comprehensive Guide to Osteoporosis.Dr. Neustadt was also an editor of the textbook Laboratory Evaluations for Integrative and Functional Medicine, which was used across the United States to train and educate physicians on using functional medicine with their patients.Find Dr. Neustadt at-https://www.nbihealth.com/Find Boundless Body at- myboundlessbody.com Book a session with us here!
This is a FIRST for The Diary Of A CEO…a live snake on set, with jungle explorer PAUL ROSOLIE. After 20 years surviving jaguars, anacondas, cartels, and uncontacted tribes, he warns of a collapse that could end life on Earth! Paul Rosolie is an American conservationist who has spent over 2 decades living in the Amazon rainforest. He is the co-founder and director of Junglekeepers, a non-profit protecting areas of rainforest from logging and mining, and is the bestselling author of books such as, ‘Junglekeeper: What It Takes to Change the World'. He explains: ◼️What happens when a live snake is inches from your face ◼️Being surrounded by warriors with 7-foot bows and arrows ◼️Why humans living outside history don't suffer modern misery ◼️How the jungle keeps you alive when everything goes wrong ◼️The moment you realise this place is bigger than humanity itself (00:00) Intro (02:34) On a Mission to Save the Amazon (05:32) A Jungle Warning After 20 Years Off the Grid (11:25) How a Wild Adventure in Peru Changed Everything (15:34) What It's Like Meeting Uncontacted Tribes for the First Time (19:58) Why This Ancient Forest Could Disappear Forever (26:36) What Living in the Amazon for a Decade Does to You (28:56) How We Discovered the Uncontacted Tribes (42:04) Unseen Footage the World Wasn't Supposed to Watch (46:01) When Tribe Women Took Our Food—And What It Meant (47:06) Do Uncontacted Tribes Really Eat Humans? (54:20) How Many Hidden Tribes Still Exist? (59:13) Can These Tribes Actually Communicate With Monkeys? (01:01:39) What If They're Just Searching for Happiness? (01:03:25) Do Tribal People Still Live in Huts? (01:06:40) The Most Haunting Stories I've Heard in the Jungle (01:09:26) Why I Had to Stop Here (01:10:18) Would You Survive Living Like an Uncontacted Tribe? (01:11:35) Ads (01:13:53) How I Almost Got Crushed by a Snake (01:15:53) The Terrifying Reality of Being Eaten Alive (01:18:06) How Jane Goodall Saved My Life (01:22:09) The TV Show I Made to Help the Amazon (That Went Terribly Wrong) (01:29:36) The Truth About Handling Deadly Snakes (01:44:24) Should You Really Be Scared of Snakes? (01:46:18) Ads (01:47:41) What 20 Years in the Jungle Taught Me About Life (01:55:50) How Do You Know When It's Time to Quit? (02:12:17) Are Humans Really the Most Important Species? (02:16:06) AI, Robots, and the Jungle's View of Modern Tech (02:23:15) I Saw the Creation of the Universe on Ayahuasca (02:27:22) What Is the Jungle Keeper's Mission Really About? (02:30:20) Ancient Medicine Hidden in the Amazon (02:34:30) What It's Like Living in the Jungle With My Wife (02:41:42) What Still Scares Me After All These Years (02:44:14) If You Had 3 Years Left, What Would You Regret? Enjoyed the episode? Share this link and earn points for every referral - redeem them for exclusive prizes: https://doac-perks.com Follow Paul: Instagram - https://bit.ly/4t6fvIs TikTok - https://bit.ly/45F9xEx Facebook - https://bit.ly/4a2tV3E Junglekeepers - https://bit.ly/3NNDFre You can purchase ‘Junglekeeper: What It Takes to Change the World', here: https://amzn.to/4q8WK4u The Diary Of A CEO: ◼️Join DOAC circle here - https://doaccircle.com/ ◼️Buy The Diary Of A CEO book here - https://smarturl.it/DOACbook ◼️The 1% Diary is back - limited time only: https://bit.ly/3YFbJbt ◼️The Diary Of A CEO Conversation Cards (Second Edition): https://g2ul0.app.link/f31dsUttKKb ◼️Get email updates - https://bit.ly/diary-of-a-ceo-yt ◼️Follow Steven - https://g2ul0.app.link/gnGqL4IsKKb Sponsors: Intuit - If you want help getting out of the weeds of admin, https://intuitquickbooks.com Pipedrive - https://pipedrive.com/CEO Apple Card - https://Apple.co/get-daily-cash Apple Card issued by Goldman Sachs Bank USA, Salt Lake City Branch. Offer may not be available everywhere. Terms and limitations apply.
How can indie authors raise their game through academic-style rigour? How might AI tools fit into a thoughtful research process without replacing the joy of discovery? Melissa Addey explores the intersection of scholarly discipline, creative writing, and the practical realities of building an author career. In the intro, mystery and thriller tropes [Wish I'd Known Then]; The differences between trad and indie in 2026 [Productive Indie Fiction Writer]; Five phases of an author business [Becca Syme]; Bones of the Deep – J.F. Penn; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. 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 Making the leap from a corporate career to full-time writing with a young family Why Melissa pursued a PhD in creative writing and how it fuelled her author business What indie authors can learn from academic rigour when researching historical fiction The problems with academic publishing—pricing, accessibility, and creative restrictions Organising research notes, avoiding accidental plagiarism, and knowing when to stop researching Using AI tools effectively as part of the research process without losing your unique voice You can find Melissa at MelissaAddey.com. Transcript of the interview with Melissa Addey JOANNA: Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. Welcome back to the show, Melissa. MELISSA: Hello. Thank you for having me. JOANNA: It's great to have you back. You were on almost a decade ago, in December 2016, talking about merchandising for authors. That is really a long time ago. So tell us a bit more about you and how you got into writing and self-publishing. MELISSA: I had a regular job in business and I was writing on the side. I did a couple of writing courses, and then I started trying to get published, and that took seven years of jumping through hoops. There didn't seem to be much progress. At some point, I very nearly had a small publisher, but we clashed over the cover because there was a really quite hideous suggestion that was not going to work. I think by that point I was really tired of jumping through hoops, really trying to play the game traditional publishing-wise. I just went, you know what? I've had enough now. I've done everything that was asked of me and it's still not working. I'll just go my own way. I think at the time that would've been 2015-ish. Suddenly, self-publishing was around more. I could see people and hear people talking about it, and I thought, okay, let's read everything there is to know about this. I had a little baby at the time and I would literally print off stuff during the day to read—probably loads of your stuff—and read it at two o'clock in the morning breastfeeding babies. Then I'd go, okay, I think I understand that bit now, I'll understand the next bit, and so on. So I got into self-publishing and I really, really enjoyed it. I've been doing it ever since. I'm now up to 20 books in the last 10 or 11 years. As you say, I did the creative writing PhD along the way, working with ALLi and doing workshops for others—mixing and matching lots of different things. I really enjoy it. JOANNA: You mentioned you had a job before in business. Are you full-time in all these roles that you're doing now, or do you still have that job? MELISSA: No, I'm full-time now. I only do writing-related things. I left that in 2015, so I took a jump. I was on maternity leave and I started applying for jobs to go back to, and I suddenly felt like, oh, I really don't want to. I want to do the writing. I thought, I've got about one year's worth of savings. I could try and do the jump. I remember saying to my husband, “Do you think it would be possible if I tried to do the jump? Would that be okay?” There was this very long pause while he thought about it. But the longer the pause went on, the more I was thinking, ooh, he didn't say no, that is out of the question, financially we can't do that. I thought, ooh, it's going to work. So I did the jump. JOANNA: That's great. I did something similar and took a massive pay cut and downsized and everything back in the day. Having a supportive partner is so important. The other thing I did—and I wonder if you did too—I said to Jonathan, my husband, if within a year this is not going in a positive direction, then I'll get another job. How long did you think you would leave it before you just gave up? And how did that go? Because that beginning is so difficult, especially with a new baby. MELISSA: I thought, well, I'm at home anyway, so I do have more time than if I was in a full-time job. The baby sleeps sometimes—if you're lucky—so there are little gaps where you could really get into it. I had a year of savings/maternity pay going on, so I thought I've got a year. And the funny thing that happened was within a few months, I went back to my husband and I was like, I don't understand. I said, all these doors are opening—they weren't massive, but they were doors opening. I said, but I've wanted to be a writer for a long time and none of these doors have opened before. He said, “Well, it's because you really committed. It's because you jumped. And when you jump, sometimes the universe is on board and goes, yes, all right then, and opens some doors for you.” It really felt like that. Even little things—like Writing Magazine gave me a little slot to do an online writer-in-residence thing. Just little doors opened that felt like you were getting a nod, like, yes, come on then, try. Then the PhD was part of that. I applied to do that and it came with a studentship, which meant I had three years of funding coming in. That was one of the biggest creative gifts that's ever been given to me—three years of knowing you've got enough money coming in that you can just try and make it work. By the time that finished, the royalties had taken over from the studentship. That was such a gift. JOANNA: A couple of things there. I've got to ask about that funding. You're saying it was a gift, but that money didn't just magically appear. You worked really hard to get that funding, I presume. MELISSA: I did, yes. You do have to do the work for it, just to be clear. My sister had done a PhD in an entirely different subject. She said, “You should do a PhD in creative writing.” I said, “That'd be ridiculous. Nobody is going to fund that. Who's going to fund that?” She said, “Oh, they might. Try.” So I tried, and the deadline was something stupid like two weeks away. I tried and I got shortlisted, but I didn't get it. I thought, ah, but I got shortlisted with only two weeks to try. I'll try again next year then. So then I tried again the next year and that's when I got it. It does take work. You have to put in quite a lot of effort to make your case. But it's a very joyful thing if you get one. JOANNA: So let's go to the bigger question: why do a PhD in creative writing? Let's be clear to everyone—you don't need even a bachelor's degree to be a successful author. Stephen King is a great example of someone who isn't particularly educated in terms of degrees. He talks about writing his first book while working at a laundry. You can be very successful with no formal education. So why did you want to do a PhD? What drew you to academic research? MELISSA: Absolutely. I would briefly say, I often meet people who feel they must do a qualification before they're allowed to write. I say, do it if you'd like to, but you don't have to. You could just practise the writing. I fully agree with that. It was a combination of things. I do actually like studying. I do actually enjoy the research—that's why I do historical research. I like that kind of work. So that's one element. Another element was the funding. I thought, if I get that funding, I've got three years to build up a back catalogue of books, to build up the writing. It will give me more time. So that was a very practical financial issue. Also, children. My children were very little. I had a three-year-old and a baby, and everybody went, “Are you insane? Doing a PhD with a three-year-old and a baby?” But the thing about three-year-olds and babies is they're quite intellectually boring. Emotionally, very engaging—on a number of levels, good, bad, whatever—but they're not very intellectually stimulating. You're at home all day with two small children who think that hide and seek is the highlight of intellectual difficulty because they've hidden behind the curtains and they're shuffling and giggling. I felt I needed something else. I needed something for me that would be interesting. I've always enjoyed passing on knowledge. I've always enjoyed teaching people, workshops, in whatever field I was in. I thought, if I want to do that for writing at some point, it will sound more important if I've done a PhD. Not that you need that to explain how to do writing to someone if you do a lot of writing. But there were all these different elements that came together. JOANNA: So to summarise: you enjoy the research, it's an intellectual challenge, you've got the funding, and there is something around authority. In terms of a PhD—and just for listeners, I'm doing a master's at the moment in death, religion, and culture. MELISSA: Your topic sounds fascinating. JOANNA: It is interesting because, same as you, I enjoy research. Both of us love research as part of our fiction process and our nonfiction. I'm also enjoying the intellectual challenge, and I've also considered this idea of authority in an age of AI when it is increasingly easy to generate books—let's just say it, it's easy to generate books. So I was like, well, how do I look at this in a more authoritative way? I wanted to talk to you because even just a few months back into it—and I haven't done an academic qualification for like two decades—it struck me that the academic rigour is so different. What lessons can indie authors learn from this kind of academic rigour? What do you think of in terms of the rigour and what can we learn? MELISSA: I think there are a number of things. First of all, really making sure that you are going to the quality sources for things—the original sources, the high-quality versions of things. Not secondhand, but going back to those primary sources. Not “somebody said that somebody said something.” Well, let's go back to the original. Have a look at that, because you get a lot from that. I think you immerse yourself more deeply. Someone can tell you, “This is how they spoke in the 1800s.” If you go and read something that was written in the 1800s, you get a better sense of that than just reading a dictionary of slang that's been collated for you by somebody else. So I think that immerses you more deeply. Really sticking with that till you've found interesting things that spark creativity in you. I've seen people say, “I used to do all the historical research. Nowadays I just fact-check. I write what I want to write and I fact-check.” I think, well, that's okay, but you won't find the weird little things. I tend to call it “the footnotes of history.” You won't find the weird little things that really make something come alive, that really make a time and a place come alive. I've got a scene in one of my Regency romances—which actually I think are less full of historical emphasis than some of my other work—where a man gives a woman a gift. It's supposed to be a romantic gift and maybe slightly sensual. He could have given her a fan and I could have fact-checked and gone, “Are there fans? Yes, there are fans. Do they have pretty romantic poems on them? Yes, they do. Okay, that'll do.” Actually, if you go round and do more research than that, you discover they had things like ribbons that held up your stockings, on which they wrote quite smutty things in embroidery. That's a much more sexy and interesting gift to give in that scene. But you don't find that unless you go doing a bit of research. If I just fact-check, I'm not going to find that because it would never have occurred to me to fact-check it in the first place. JOANNA: I totally agree with you. One of the wonderful things about research—and I also like going to places—is you might be somewhere and see something that gives you an idea you never, ever would have found in a book or any other way. I used to call it “the serendipity of the stacks” in the physical library. You go looking for a particular book and then you're in that part of the shelf and you find several other books that you never would have looked for. I think it's encouraging people, as you're saying, but I also think you have to love it. MELISSA: Yes. I think some people find it a bit of a grind, or they're frightened by it and they think, “Have I done enough?” JOANNA: Mm-hmm. MELISSA: I get asked that a lot when I talk about writing historical fiction. People go, “But when do I stop? How do I know it's enough? How do I know there wasn't another book that would have been the book? Everyone will go, ‘Oh, how did you not read such-and-such?'” I always say there are two ways of finding out when you can stop. One is when you get to the bibliographies, you look through and you go, “Yep, read that, read that, read that. Nah, I know that one's not really what I wanted.” You're familiar with those bibliographies in a way that at the beginning you're not. At the beginning, every single bibliography, you haven't read any of it. So that's quite a good way of knowing when to stop. The other way is: can you write ordinary, everyday life? I don't start writing a book till I can write everyday life in that historical era without notes. I will obviously have notes if I'm doing a wedding or a funeral or a really specific battle or something. Everyday life, I need to be able to just write that out of my own head. You need to be confident enough to do that. JOANNA: One of the other problems I've heard from academics—people who've really come out of academia and want to write something more pop, even if it's pop nonfiction or fiction—they're also really struggling. It is a different game, isn't it? For people who might be immersed in academia, how can they release themselves into doing something like self-publishing? Because there's still a lot of stigma within academia. MELISSA: You're going to get me on the academic publishing rant now. I think academic publishing is horrendous. Academics are very badly treated. I know quite a lot of academics and they have to do all the work. Nobody's helping them with indexing or anything like that. The publisher will say things like, “Well, could you just cut 10,000 words out of that?” Just because of size. Out of somebody's argument that they're making over a whole work. No consideration for that. The royalties are basically zilch. I've seen people's royalty statements come in, and the way they price the books is insane. They'll price a book at 70 pounds. I actually want that book for my research and I'm hesitating because I can't be buying all of them at that price. That's ridiculous. I've got people who are friends or family who bring out a book, and I'm like, well, I would gladly buy your book and read it. It's priced crazy. It's priced only for institutions. I think actually, if academia was written a little more clearly and open to the lay person—which if you are good at your work, you should be able to do—and priced a bit more in line with other books, that would maybe open up people to reading more academia. You wouldn't have to make it “pop” as you say. I quite like pop nonfiction. But I don't think there would have to be such a gulf between those two. I think you could make academic work more readable generally. I read someone's thesis recently and they'd made a point at the beginning of saying—I can't remember who it was—that so-and-so academic's point of view was that it should be readable and they should be writing accordingly. I thought, wow, I really admired her for doing that. Next time I'm doing something like that, I should be putting that at the front as well. But the fact that she had to explain that at the beginning… It wasn't like words of one syllable throughout the whole thing. I thought it was a very quality piece of writing, but it was perfectly readable to someone who didn't know about the topic. JOANNA: I might have to get that name from you because I've got an essay on the Philosophy of Death. And as you can imagine, there's a heck of a lot of big words. MELISSA: I know. I've done a PhD, but I still used to tense up a little bit thinking they're going to pounce on me. They're going to say that I didn't talk academic enough, I didn't sound fancy enough. That's not what it should be about, really. In a way, you are locking people out of knowledge, and given that most academics are paid for by public funds, that knowledge really ought to be a little more publicly accessible. JOANNA: I agree on the book price. I'm also buying books for my course that aren't in the library. Some of them might be 70 pounds for the ebook, let alone the print book. What that means is that I end up looking for secondhand books, when of course the money doesn't go to the author or the publisher. The other thing that happens is it encourages piracy. There are people who openly talk about using pirate sites for academic works because it's just too expensive. If I'm buying 20 books for my home library, I can't be spending that kind of money. Why is it so bad? Why is it not being reinvented, especially as we have done with indie authors for the wider genres? Has this at all moved into academia? MELISSA: I think within academia there's a fear because there's the peer reviews and it must be proven to be absolutely correct and agreed upon by everybody. I get that. You don't want some complete rubbish in there. I do think there's space to come up with a different system where you could say, “So-and-so is professor of whatever at such-and-such a university. I imagine what they have to say might be interesting and well-researched.” You could have some sort of kite mark. You could have something that then allows for self-publishing to take over a bit. I do just think their system is really, really poor. They get really reined in on what they're allowed to write about. Alison Baverstock, who is a professor now at Kingston University and does stuff about publishing and master's programmes, started writing about self-publishing because she thought it was really interesting. This was way back. JOANNA: I remember. I did one of those surveys. MELISSA: She got told in no uncertain terms, “Do not write about this. You will ruin your career.” She stuck with it. She was right to stick with it. But she was told by senior academics, “Do not write about self-publishing. You're just embarrassing yourself. It's just vanity press.” They weren't even being allowed to write about really quite interesting phenomena that were happening. Just from a historical point of view, that was a really interesting rise of self-publishing, and she was being told not to write about it. JOANNA: It's funny, that delay as well. I'm looking to maybe do my thesis on how AI is impacting death and the death industry. And yet it's such a fast-moving thing. MELISSA: Yes. JOANNA: Sometimes it can take a year, two years or more to get a paper through the process. MELISSA: Oh, yes. It moves really, really fast. Like you say, by the time it comes out, people are going, “Huh? That's really old.” And you'll be going, “No, it's literally two years.” But yes, very, very slow. JOANNA: Let's come back to how we can help other people who might not want to be doing academic-level stuff. One of the things I've found is organising notes, sources, references. How do you manage that? Any tips for people? They might not need to do footnotes for their historical novel, but they might want to organise their research. What are your thoughts? MELISSA: I used to do great big enormous box files and print vast quantities of stuff. Each box file would be labelled according to servant life, or food, or seasons, or whatever. I've tried various different things. I'm moving more and more now towards a combination of books on the shelf, which I do like, and papers and other materials that are stored on my computer. They'll be classified according to different parts of daily life, essentially. Because when you write historical fiction, you have to basically build the whole world again for that era. You have to have everything that happens in daily life, everything that happens on special events, all of those things. So I'll have it organised by those sorts of topics. I'll read it and go through it until I'm comfortable with daily life. Then special things—I'll have special notes on that that can talk me through how you run a funeral or a wedding or whatever, because that's quite complicated to just remember in your head. MELISSA: I always do historical notes at the end. They really matter to me. When I read historical fiction, I really like to read that from the author. I'll say, “Right, these things are true”—especially things that I think people will go, “She made that up. That is not true.” I'll go, “No, no, these are true.” These other things I've fudged a little, or I've moved the timeline a bit to make the story work better. I try to be fairly clear about what I did to make it into a story, but also what is accurate, because I want people to get excited about that timeline. Occasionally if there's been a book that was really important, I'll mention it in there because I don't want to have a proper bibliography, but I do want to highlight certain books. If you got excited by this novel, you could go off and read that book and it would take you into the nonfiction side of it. JOANNA: I'm similar with my author's notes. I've just done the author's note for Bones of the Deep, which has some merfolk in it, and I've got a book on Merpeople. It's awesome. It's just a brilliant book. I'm like, this has to go in. You could question whether that is really nonfiction or something else. But I think that's really important. Just to be more practical: when you're actually writing, what tools do you use? I use Scrivener and I keep all my research there. I'm using EndNote for academic stuff. MELISSA: I've always just stuck to Word. I did get Scrivener and played with it for a while, but I felt like I've already got a way of doing it, so I'll just carry on with that. So I mostly just do Word. I have a lot of notes, so I'll have notepads that have got my notes on specific things, and they'll have page numbers that go back to specific books in case I need to go and double-check that again. You mentioned citations, and that's fascinating to me. Do you know the story about Angle of Repose by Wallace Stegner? It won the Pulitzer. It's a novel, but he used 10% of that novel—and it's a fairly slim novel—10% of it is actually letters written by somebody else, written by a woman before his time. He includes those and works with them in the story. He mentioned her very briefly, like, “Oh, and thanks to the relatives of so-and-so.” Very brief. He got accused of plagiarism for using that much of it by another part of her family who hadn't agreed to it. I've always thought it's because he didn't give enough credence to her. He didn't give her enough importance. If he'd said, “This was the woman who wrote this stuff. It's fascinating. I loved it. I wanted to creatively respond and engage with it”—I think that wouldn't have happened at all. That's why I think it's quite important when there are really big, important elements that you're using to acknowledge those. JOANNA: That's part of the academic rigour too— You can barely have a few of your own thoughts without referring to somebody else's work and crediting them. What's so interesting to me in the research process is, okay, I think this, but in order to say it, I'm going to have to go find someone else who thought this first and wrote a paper on it. MELISSA: I think you would love a PhD. When you've done a master's, go and do a PhD as well. Because it was the first time in academia that I genuinely felt I was allowed my own thoughts and to invent stuff of my own. I could go, “Oh no, I've invented this theory and it's this.” I didn't have to constantly go, “As somebody else said, as somebody else said.” I was like, no, no. This is me. I said this thing. I wasn't allowed to in my master's, and I found it annoying. I remember thinking, but I'm trying to have original thoughts here. I'm trying to bring something new to it. In a PhD, you're allowed to do that because you're supposed to be contributing to knowledge. You're supposed to be bringing a new thing into the world. That was a glorious thing to finally be allowed to do. JOANNA: I must say I couldn't help myself with that. I've definitely put my own opinion. But a part of why I mention it is the academic rigour—it's actually quite good practice to see who else has had these thoughts before. Speed is one of the biggest issues in the indie author community. Some of the stuff you were talking about—finding original sources, going to primary sources, the top-quality stuff, finding the weird little things—all of that takes more time than, for example, just running a deep research report on Gemini or Claude or ChatGPT. You can do both. You can use that as a starting point, which I definitely do. But then the point is to go back and read the original stuff. On this timeframe— Why do you think research is worth doing? It's important for academic reasons, but personal growth as well. MELISSA: Yes, I think there's a joy to be had in the research. When I go and stand in a location, by that point I'm not measuring things and taking photos—I've done all of that online. I'm literally standing there feeling what it is to be there. What does it smell like? What does it feel like? Does it feel very enclosed or very open? Is it a peaceful place or a horrible place? That sensory research becomes very important. All of the book research before that should lead you into the sensory research, which is then also a joy to do. There's great pleasure in it. As you say, it slows things down. What I tend to say to people if they want to speed things up again is: write in a series. Because once you've done all of that research and you just write one book and then walk away, that's a lot. That really slows you down. If you then go, “Okay, well now I'm going to write four books, five books, six books, still in that place and time”—obviously each book will need a little more research, but it won't need that level of starting-from-scratch research. That can help in terms of speeding it back up again. Recently I wrote some Regency romances to see what that was like. I'd done all my basic research, and then I thought, right, now I want to write a historical novel which could have been Victorian or could have been Regency. It had an openness to it. I thought, well, I've just done all the research for Regency, so I'll stick with that era. Why go and do a whole other piece of research when I've only written three books in it so far? I'll just take that era and work with that. So there are places to make up the time again a bit. But I do think there's a joy in it as well. JOANNA: I just want to come back to the plagiarism thing. I discovered that you can plagiarise yourself in academia, which is quite interesting. For example, my books How to Write a Novel and How to Write Nonfiction—they're aimed at different audiences. They have lots of chapters that are different, but there's a chapter on dictation. I thought, why would I need to write the same chapter again? I'm just going to put the same chapter in. It's the same process. Then I only recently learned that you can plagiarise yourself. I did not credit myself for that original chapter. MELISSA: How dare you not credit yourself! JOANNA: But can you talk a bit about that? Where are the lines here? I'm never going to credit myself. I think that's frankly ridiculous. MELISSA: No, that's silly. I mean, it depends what you're doing. In your case, that completely makes sense. It would be really peculiar of you to sit down and write a whole new chapter desperately trying not to copy what you'd said in a chapter about exactly the same topic. That doesn't make any sense. JOANNA: I guess more in the wider sense. Earlier you mentioned you keep notes and you put page numbers by them. I think the point is with research, a lot of people worry about accidental plagiarism. You write a load of notes on a book and then it just goes into your brain. Perhaps you didn't quote people properly. It's definitely more of an issue in nonfiction. You have to keep really careful notes. Sometimes I'm copying out a quote and I'll just naturally maybe rewrite that quote because the way they've put it didn't make sense, or I use a contraction or something. It's just the care in note-taking and then citing people. MELISSA: Yes. When I talk to people about nonfiction, I always say, you're basically joining a conversation. I mean, you are in fiction as well, but not as obviously. I say, well, why don't you read the conversation first? Find out what the conversation is in your area at the moment, and then what is it that you're bringing that's different? The most likely reason for you to end up writing something similar to someone else is that you haven't understood what the conversation was, and you need to be bringing your own thing to it. Then even if you're talking about the same topic, you might talk about it in a different way, and that takes you away from plagiarism because you're bringing your own view to it and your own direction to it. JOANNA: It's an interesting one. I think it's just the care. Taking more care is what I would like people to do. So let's talk about AI because AI tools can be incredible. I do deep research reports with Gemini and Claude and ChatGPT as a sort of “give me an overview and tell me some good places to start.” The university I'm with has a very hard line, which is: AI can be used as part of a research process, but not for writing. What are your thoughts on AI usage and tools? How can people balance that? MELISSA: Well, I'm very much a newbie compared to you. I follow you—the only person that describes how to use it with any sense at all, step by step. I'm very new to it, but I'm going to go back to the olden days. Sometimes I say to people, when I'm talking about how I do historical research, I start with Wikipedia. They look horrified. I'm like, no. That's where you have to get the overview from. I want an overview of how you dress in ancient Rome. I need a quick snapshot of that. Then I can go off and figure out the details of that more accurately and with more detail. I think AI is probably extremely good for that—getting the big picture of something and going, okay, this is what the field's looking like at the moment. These are the areas I'm going to need to burrow down into. It's doing that work for you quickly so that you're then in a position to pick up from that point. It gets you off to a quicker start and perhaps points you in the direction of the right people to start with. I'm trying to write a PhD proposal at the moment because I'm an idiot and want to do a second one. With that, I really did think, actually, AI should write this. Because the original concept is mine. I know nothing about it—why would I know anything about it? I haven't started researching it. This is where AI should go, “Well, in this field, there are these people. They've done these things.” Then you could quickly check that nobody's covered your thing. It would actually speed up all of that bit, which I think would be perfectly reasonable because you don't know anything about it yet. You're not an expert. You have the original idea, and then after that, then you should go off and do your own research and the in-depth quality of it. I think for a lot of things that waste authors' time—if you're applying for a grant or a writer-in-residence or things like that—it's a lot of time wasting filling in long, boring forms. “Could you make an artist statement and a something and a blah?” You're like, yes, yes, I could spend all day at my desk doing that. There's a moment where you start thinking, could you not just allow the AI to do this or much of it? JOANNA: Yes. Or at least, in that case, I'd say one of the very useful things is doing deep searches. As you were mentioning earlier about getting the funding—if I was to consider a PhD, which the thought has crossed my mind—I would use AI tools to do searches for potential sources of funding and that kind of research. In fact, I found this course at Winchester because I asked ChatGPT. It knows a lot about me because I chat with it all the time. I was talking about hitting 50 and these are the things I'm really interested in and what courses might interest me. Then it found it for me. That was quite amazing in itself. I'd encourage people to consider using it for part of the research process. But then all the papers it cites or whatever—then you have to go download those, go read them, do that work yourself. MELISSA: Yes, because that's when you bring your viewpoint to something. You and I could read the exact same paper and choose very different parts of it to write about and think about, because we're coming at it from different points of view and different journeys that we're trying to explore. That's where you need the individual to come in. It wouldn't be good enough to just have a generic overview from AI that we both try and slot into our work, because we would want something different from it. JOANNA: I kind of laugh when people say, “Oh, I can tell when it's AI.” I'm like, you might be able to tell when it's AI writing if nobody has taken that personal spin, but that's not the way we use it. If you're using it that way, that's not how those of us who are independent thinkers are using it. We're strong enough in our thoughts that we're using it as a tool. You're a confident person—intellectually and creatively confident—but I feel like some people maybe don't have that. Some people are not strong enough to resist what an AI might suggest. Any thoughts on that? MELISSA: Yes. When I first tried using AI with very little guidance from anyone, it just felt easy but very wooden and not very related to me. Then I've done webinars with you, and that was really useful—to watch somebody actually live doing the batting back and forth. That became a lot more interesting because I really like bouncing ideas and messing around with things and brainstorming, essentially, but with somebody else involved that's batting stuff back to you. “What does that look like?” “No, I didn't mean that at all.” “How about what does this look like?” “Oh no, no, not like that.” “Oh yes, a bit like that, but a bit more like whatever.” I remember doing that and talking to someone about it, going, “Oh, that's really quite an interesting use of it.” And they said, “Why don't you use a person?” I said, “Well, because who am I going to call at 8:30 in the morning on a Thursday and go, ‘Look, I want to spend two hours batting back and forth ideas, but I don't want you to talk about your stuff at all. Just my stuff. And you have to only think about my stuff for two hours. And you have to be very well versed in my stuff as well. Could you just do that?'” Who's going to do that for you? JOANNA: I totally agree with you. Before Christmas, I was doing a paper. It was an art history thing. We had to pick a piece of art or writing and talk about Christian ideas of hell and how it emerged. I was writing this essay and going back and forth with Claude at the time. My husband came in and saw the fresco I was writing about. He said, “No one's going to talk to you about this. Nobody.” MELISSA: Yes, exactly. JOANNA: Nobody cares. MELISSA: Exactly. Nobody cares as much as you. And they're not prepared to do that at 8:30 on a Thursday morning. They've got other stuff to do. JOANNA: It's great to hear because I feel like we're now at the point where these tools are genuinely super useful for independent work. I hope that more people might try that. JOANNA: Okay, we're almost out of time. Where can people find you and your books online? Also, tell us a bit about the types of books you have. MELISSA: I mostly write historical fiction. As I say, I've wandered my way through history—I'm a travelling minstrel. I've done ancient Rome, medieval Morocco, 18th century China, and I'm into Regency England now. So that's a bit closer to home for once. I'm at MelissaAddey.com and you can go and have a bit of a browse and download a free novel if you want. Try me out. JOANNA: Brilliant. Well, thanks so much for your time, Melissa. MELISSA: That was great. Thank you. It was fun. The post Research Like An Academic, Write Like an Indie With Melissa Addey first appeared on The Creative Penn.
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