Podcasts about bones

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

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 episode is sponsored by Flipping 50 Menopause Fitness Specialist. Become a health & fitness coach who finally speaks midlife women's language. Learn how to design workouts that balance hormones that actually get results for women in menopause. Other Episodes You Might Like: Previous Episode - Why You Are or Aren't Sore After Workouts — What does Menopause Really Have to Do With It More Like This - Bone Density Updates for Women Over 50 Resources: Get the Flipping 50 What, When & Why to Exercise for Women 40+ Recording Bundle plus bonus guides and books! Don't know where to start? Book your Discovery Call with Debra. Leave this session with insight into exactly what to do right now to make small changes, smart decisions about your exercise time and energy. Use Flipping 50 Scorecard & Guide to measure what matters with an easy at-home self-assessment test you can do in minutes. Yoga and bone density might be the most underestimated combination in women's health after 50—and the science behind it may surprise you.  What if 12 minutes a day could improve your DEXA scan, lower fracture risk, and support stronger bones without jumping straight to medication?  This episode is an eye-opening conversation with Dr. Loren Fishman, breaking down the research on 12 yoga poses for bone density. If you're in menopause or postmenopause and questioning whether prescriptions are your only option, this conversation will change how you think about exercise and aging.  Stay with me, because yoga and bone density may be the connection your bones have been waiting for. My Guest: Dr. Loren Fishman, MD is a medical doctor and internationally recognized expert in physical medicine, rehabilitation, and integrative care, serving as Medical Director of Manhattan Physical Medicine and Rehabilitation in New York City. He is a pioneer in the treatment of piriformis syndrome, a leading authority on back pain, and has published more than 70 peer-reviewed academic articles. A dedicated yoga practitioner since 1973, Dr. Fishman uniquely bridges rigorous medical research with practical, accessible movement-based solutions for long-term health. Questions We Answer in This Episode: [00:05:09] Why yoga for bone density when weight-bearing and strength training are the gold standard? [00:06:56] How did your 12-minute yoga study for osteoporosis come about?  [00:08:30] What were the results when you compared yoga to doing nothing? [00:09:13] How does yoga compare to osteoporosis medications over time? [00:12:00] How does yoga actually stimulate bone growth? [00:14:30] Does stress play a role in bone loss—and can yoga help? [00:25:07] Is bone density the whole story, or is there more to fracture risk?

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.

Dr. Doug Lucas, a double board-certified orthopedic surgeon and osteoporosis specialist, who dives into the secrets of maintaining optimal bone health. In this episode, you will discover why bone health is vital for women of all ages and learn actionable tips to build and maintain strong bones from your teens to your golden years. Brace yourself for intriguing insights, such as the surprising benefits of prunes as an independent intervention for osteoporosis! This episode is a comprehensive guide to nurturing your bones through diet, exercise, and hormonal balance.Episode Overview [Timestamps are approximate]:(0:00) Introduction(4:00) Why Women Get Osteoporosis in Their 40s(11:00) The Chronic Dieting Problem & Under-Eating Epidemic(17:00) Pregnancy, Breastfeeding & Bone Density(23:00) Hormones Explained(34:00) Nutrition for Bone Health(43:00) The Boron Secret & Prunes for Bone Density(47:00) Exercise That Hurts Your Bones(55:00) How to Lift Weights for Bone Health(1:04:00) Weighted Vests, GLP-1s & Bone Medications(1:23:00) The After-Party with Dr. StephanieResources mentioned in this episode can be found at https://drstephanieestima.com/podcasts/ep454We couldn't do it without our sponsors:TROSCRIPTIONS - There's a completely new way to optimize your health. Give it a try at https://troscriptions.com/BETTER or enter BETTER at checkout for 10% off your first order.PIQUE LIFE - If you want to redefine your evening ritual and still feel like yourself the next day, you can get 10% off for life. Yes, for life at https://piquelife.com/betterYOUNG GOOSE - Youth Serum & Youth Moisturizer from Young Goose is designed to support NAD⁺-dependent cellular pathways in the skin. Go to https://younggoose.com/better and use code BETTER for 10% off your first purchaseLIFT - If you want muscle for longevity, clarity, and confidence—come LIFT with me.  Head over to https://drstephanieestima.com/lift and join today.QUALIA NAD+ - Boost energy, DNA health, and cellular protection. Save 15% at https://qualialife.com/better with code BETTER. P.S. When you're ready, here are a two ways I can help you:Subscribe: The Mini Pause — My weekly newsletter packed with the most actionable, evidence-based tools for women 40+ to thrive in midlife.Build Muscle: LIFT — My progressive strength training program designed for women in midlife. Form-focused, joint-friendly, and built for real results. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Deirdre Lovejoy Take a walk with me down Fascination Street as I get to know Deirdre Lovejoy (DD). In this episode, we chat about her growing up in Indiana, and what made her mom tell her to get into acting. Next, we talk about an insane freak accident that almost took her whole hand off! Naturally I ask her about moving to Brookly after having lived in Manhattan for so long. We touch on her stint on the television show 'Bones', as well as her arc on 'The Blacklist'. Then we dive into one of my all-time favorite shows, 'Raising Dion'. I love this show, so I geek out a little, before we talk about her getting cast in the greatest show of all time, 'The Wire'. Then, we talk about a super rare condition that DD was later diagnosed with, following some really scary events (Stress Related Seizure Disorder). Deirdre shares with me the details of the play she is writing about some of her traumatic experiences (Trauma Nova), and how she plans to put the show on at this year's Edinburgh Fringe Festival, in Scotland. We also discuss her other play (Bird Elephant China), which chronicled some unrelated traumatic events. Finally, we end talking about her love for NBA basketball, and her beloved New York Knicks. You can catch DD on the previously mentioned shows, as well as the upcoming seasons of 'Daredevil Born Again', and Diarra From Detroit.

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠In this segment of Notorious Mass Effect, Analytic Dreamz breaks down Ubisoft's 2026 major reset—a sweeping organizational, operational, and portfolio overhaul announced to reclaim creative leadership and restore sustainable growth under CEO Yves Guillemot.Ubisoft has restructured into five decentralized Creative Houses, each with full ownership over specific genres and brands: Vantage Studios (CH1) scales AAA franchises like Assassin's Creed, Far Cry, and Rainbow Six; CH2 focuses on competitive/co-op shooters including The Division, Ghost Recon, and Splinter Cell; CH3 handles live-service titles such as For Honor, The Crew, Riders Republic, Brawlhalla, and Skull & Bones; CH4 drives immersive fantasy and narrative games with Anno, Might & Magic, Rayman, Prince of Persia, and Beyond Good & Evil; CH5 targets casual/family-friendly experiences like Just Dance, mobile hits, and licensed titles.This shift addresses escalating AAA costs, market competition, and trends toward mobile and Games-as-a-Service, prioritizing open-world adventures and GaaS-native experiences while investing in player-facing generative AI.The reset includes significant cuts: employee count reduced to 17,097 (from 20,729 in 2022, a net loss of 3,633), selective studio closures (including Halifax and Stockholm), and a "final" €200 million savings push, with €234 million more planned over two years. Six games canceled (including Prince of Persia: The Sands of Time remake and unannounced titles), seven delayed (potentially impacting Assassin's Creed projects and Beyond Good & Evil 2), and four new IPs in development (including March of Giants).Financially, expect short-term hits in FY2026-2027: €386 million gross margin reduction, €650 million R&D depreciation, and €350 million net bookings drop. A mandatory five-day in-office policy has sparked internal unrest and backlash against leadership.Analytic Dreamz explores the implications for Ubisoft's future, from agile decision-making and long-term sustainability to employee sentiment and investor reactions in this in-depth analysis.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsPrivacy & Opt-Out: https://redcircle.com/privacy

Interview date: December 7th, 2025Episode Summary:Brooke Lipton—Emmy-nominated choreographer and longtime Hollywood Vibe faculty member—joins Business of Dance to share her journey from booking her first professional job at 12 to building a lasting career in dance, television, and choreography. She reflects on moving to Los Angeles at 18, training relentlessly, learning how to care for her body, and developing the discipline needed to survive in a competitive industry.Brooke opens up about touring with Britney Spears, becoming a young mother, and making the pivotal transition from performer to choreographer. She breaks down how assisting, understanding life on set, and respecting every department shaped her leadership style and allowed her to create healthier, more sustainable environments for dancers.In the Q&A, Brooke delivers honest advice on confidence, comparison, and work ethic—urging dancers to go “full out,” attack their weaknesses, stay adaptable, and remember that joy and resilience are essential to longevity in this industry.Shownotes:(0:00) – Welcome + introduction to Brooke Lipton(6:10) – Career overview: tours, TV, choreography credits(9:46) – Phoenix beginnings + first job at 12(12:30) – Moving to LA at 18, full-time training(14:29) – Health, body awareness, and longevity(17:28) – The haircut moment: identity and visibility(21:54) – Britney Spears tours + touring realities(25:49) – Touring while pregnant, life balance(31:52) – Transition into choreography via Glee(34:33) – Hiring dancers and creating opportunities(45:37) – Advice: fundamentals, weaknesses, discipline(1:17:50) – Closing message: confidence, joy, resilienceBiography:Brooke Lipton's energy is contagious. Originally known as an exceptional natural dancer, she is now an accomplished choreographer who thoroughly understands the requirements of dramatic TV photography and production.A native of Phoenix, AZ, Brooke was already a rising star in the LA dance scene at the age of 12. She moved to LA to pursue her dream of being a professional dancer, and has since worked with artists including Madonna, Janet Jackson, Beyonce, and Paula Abdul. Brooke toured the world with Britney Spears for over eight years, including the “Dream Within A Dream” Tour, “The Onyx Hotel” Tour and “Circus” promo tour.Later, she was a key member of the choreographic team on the mega-hit Fox TV series “Glee”, starting as Associate and rising to Choreographer over the show's six seasons, during which the team created more than 750 musical numbers as well as the show's two live-performance world tours, plus “The Glee Project” unscripted series and “Glee Live 3D The Movie”.Brooke's work has also been featured on many other major TV series including “Dr. Odyssey”, “9-1-1: Lone Star”, “Dancing with the Stars”, “Lucifer”, “National Treasure”, “Bones”, and “American Horror Story”. Most recently, she choreographed seasons 1 and 2 of the magnificent new Apple+ series “Palm Royale”.As a choreographer, Brooke has worked with such iconic stars as Shirley MacLaine, Carol Burnett, Kate Hudson, Gwyneth Paltrow, Kristen Chenoweth and Ricky Martin, and has two Emmy nominations in Outstanding Choreography For Scripted Programming one for “Lucifer” and the other for season 1 of “Palm Royale”.Connect on Social Media:Instagram: https://www.instagram.com/brooke_lipton/

In this episode of I Am Refocused Radio, I sit down with Dr. Joe Lex, a retired emergency medicine physician and historian who's turning overlooked lives into unforgettable stories. Dr. Lex joins us to talk about his book All Bones Considered and his podcast work centered around Laurel Hill Cemetery, where history isn't just dates and names, it's real people with real impact. We get into:Why “unknown” people often have the wildest, most inspiring storiesThe Marion Stokes story (700,000+ hours of recorded TV news saved for the future)“Commando Mary” and how she used radio to rally women during WWIIHow research turns into storytelling that actually moves peopleWhy culture loses something dangerous when it stops listening to the pastA sharp take on AI: the “rough edges” are where the real creativity livesPractical life advice for young people: build stability first, then take bigger swingsDr. Lex also shares how proceeds support Friends of Laurel Hill Cemetery, and where people can find the book and his shows (search the titles: All Bones Considered: Laurel Hill Stories and Biographical Bites from Bala). If you like conversations about purpose, history, resilience, and stories that deserve daylight, this one's for you.https://allbonesconsidered.com/Subscribe for more interviews that inspire you to live with intention and regain your focus.#IAmRefocusedRadio #Podcast #History #Storytelling #LaurelHill #Authors #Purpose #BlackHistoryMonth #PhiladelphiaHistory #DrJoeLexBecome a supporter of this podcast: https://www.spreaker.com/podcast/i-am-refocused-radio--2671113/support.Subscribe now at YouTube.com/@RefocusedNetworkThank you for your time. 

Breaking Bones w. Joe C 2-1-26 by 1010 XL Jax Sports Radio

Anthony Jeselnik jokes about Norm Macdonald in his Netflix special, "Bones and All".

Gammer Gurton’s Garland, published in 1784, is one of the earliest collections of English nursery rhymes, and contains verses both familiar and alarmingly unsettling. Intended to be read to toddlers (i.e., “children who can neither read nor run,” according to its subtitle) and named after a fictitious Grandma (“Gammer”) Gurton, who'd be analogous to Mother Goose, the volume were assembled by the eccentric scholar Joseph Ritson, who was known for his collecting of Robin Hood ballads, vegetarianism and ultimate descent into madness. Portrait of Joseph Ritson by James Sayers, early 1800s. We begin our episode with a snippet of a 1940s' rendition of “Froggy Went a-Courting” by cowboy singer Tex Ritter. It's a relatively modern take on Ritson's “The Frog and the Mouse.” But like quite a few rhymes in the collection, this one had appeared in print earlier. Already in 1611, British composer of rounds and collector of ballads, Thomas Ravenscroft, had written out both lyrics and musical notation for “The Marriage of the Frogge and the Mouse,” a song he described as a folk song or “country pastime.” While a few other rhymes in Ritson's collection were borrowed from one of two earlier editions of nursery verses (both published as Tommy Thumb’s Song Book 40 years earlier), most of what he collected appeared for tge first time in Gammer Gurton’s. We hear a bit about some of the familiar rhymes that premiered in this collection, including Goosey, Goosey Gander, Ride a Cock-Horse to Banbury Cross (with the “rings on her fingers and bells on her toes” lady), Bye, Baby Bunting, and There Was an Old Woman who Lived in a Shoe.” Ritson's version of the last, however, takes a rather rude and unexpected turn. 1865 edition of Gammer Gurton’s Many, if not most, of Ritson's rhymes seem to have been weeded out of the gentile or sentimental collections we know today. Naturally, we devote attention particularly to these objectionable verses. Included are a handful of aggressively nonsensical rhymes, which could pass for 18th-century Dada and verses notable for their cruelty. The most alarming contain brutal slurs, threats, and playful references to assault, adultery, matricide, suicide, and animals going to the gallows. The last third of our episode is dedicated to poems noteworthy for their survival as musical ballads. The first discussed is the basis for song “Lady Alice,” which later appears in James Child's 1860 collection The English and Scottish Popular Ballads. Ritson's version, “Giles Collins and Proud Lady Anna,” is a greatly simplified version of the ballad later cited by Child. While toddlers might appreciate the simpler storytelling, the subject matter — namely, doomed lovers — is not the normal stuff of healthy nursery rhymes. More surprising, is the fact that Ritson's story begins with Giles Collins in the process of dying and Lady Anna dead (of heartbreak) within a few verses. After their deaths, a tentative suggestion of undying love, a lily reaching from Giles' grave toward Anna's, is destroyed – an unhappy turn on the not uncommon motif of a rose and briar entwining over lovers' graves. We close with a discussion of “The Gay Lady who Went to Church,” an innocuous-sounding rhyme, intertwined with the history of two rather gruesome folk songs popular around Halloween: “There Was an Old Lady All Skin and Bones” and “The Hearse Song” AKA “The Worms Crawl In.” Also discussed is a surprising link between Ritson's nursery rhyme and a faux-historical ballad invented for the very first Gothic novel, Matthew Gregory Lewis' The Monk. INFORMATION RE. THE FOLK-HORROR GIVEAWAY DISCUSSED IN THE SHOW OPEN CAN BE FOUND HERE: https://www.boneandsickle.com/giveaway/

January 2026 Bizarre News | Paranormal Podcast In this month's Bizarre News, we cover four wild stories starting with the shocking case of Jonathan Gerlock from Philadelphia, who was arrested after police discovered skulls, arm and leg bones, mummified hands and feet, and two actively decomposing torsos in his possession—along with approximately 100 bodies worth of bones stored throughout his home after he'd broken into 26 mausoleums at the Mount Mariah cemetery over several months. We then head down under to Western Australia where six miners working at a remote Fortescue Metals Group site spotted what they're convinced was a genuine UFO around 5am—a perfectly triangular-shaped object racing across the morning sky that definitely wasn't a helicopter, with the region becoming something of a hotspot for extraterrestrial activity including a recent discovery of a large cylindrical object ablaze in the remote wilderness. Next, we dive into Hyundai's controversial plan to build 30,000 robots annually starting in 2028 at their Georgia factory to replace human workers across multiple industries, a move that has unions furious and raises serious concerns about job displacement despite the company's determination to move forward regardless of labor opposition. Finally, we explore the terrifying situation of a family in India's Gaya district who fled their home after experiencing unexplained fires for seven consecutive days that damaged rooms, clothes, bedding, and even their kitchen stove—with the family believing the mysterious blazes began after they refused bread to a wandering holy man (a Sadhu) who became enraged, cursed them, and specifically declared their house would catch on fire before leaving.

Thursday – Should restaurants donate extra food? Have you ever seen something you could not explain? Rauce Thoughts on solving racism. Date Night Guide with Dani Meyering with date night ideas including a beer festival, a Harry Potter play, star gazing at Deviant Wolf, a Kitty Fest, and a Valentine' Day preview. Attorney Glenn Klausman with the Case of Jury Selection for Colbert Court. Plus, JCS News, the Froggers Football Forecast, JCS Trivia & You Heard it Here First.

Thursday – Should restaurants donate extra food? Have you ever seen something you could not explain? Rauce Thoughts on solving racism. Date Night Guide with Dani Meyering with date night ideas including a beer festival, a Harry Potter play, star gazing at Deviant Wolf, a Kitty Fest, and a Valentine' Day preview. Attorney Glenn Klausman with the Case of Jury Selection for Colbert Court. Plus, JCS News, the Froggers Football Forecast, JCS Trivia & You Heard it Here First. See omnystudio.com/listener for privacy information.

Jeff & Shannon break down Don Lemon's federal arrest over Minnesota church disruption, celebrate Trump's EO for the epic DC IndyCar race, and continue exposing elite bloodlines via Bundy & Collins deep dive. Tune in at Rumble, YouTube, X, and Red State Talk Radio!   Lock and load, patriots—@intheMatrixxx and @shadygrooove charge into Season 8, Episode 020, “Don Lemon Cuffed, Partial Government Shutdown?; Part 4: Follow the Bloodlines,” airing January 30, 2026, at 12:05 PM Eastern, ripping apart the latest establishment chaos with unfiltered fire. They spotlight Don Lemon's federal arrest for his role in disrupting a Minnesota church service during an anti-ICE protest, questioning MSM spin on "journalism" versus actual interference with worship rights under laws like the FACE Act. Then, they hail President Trump's fresh executive order launching the Freedom 250 Grand Prix—an IndyCar street race roaring through D.C. streets near the National Mall August 21-23 for America's 250th birthday, with cars hitting 190 mph on Pennsylvania Avenue, backed by Roger Penske, Sean Duffy, and Doug Burgum as a bold symbol of American speed and greatness. Shifting gears to Part 4 of their bloodlines investigation, the duo reads from Fritz Springmeier's "Bloodlines of the Illuminati," dissecting the Bundy family's rapid, unexplained rises (like McGeorge Bundy's Skull & Bones ties and promotions) and the Collins clan's alleged deep occult connections, including modern figures in Senate, media, NIH, and Hollywood. They field insane viewer questions, dig into old mailbag gems thanking supporters like Dragon Slap and HTMA Anon, and stand firm against movement critics pushing psyops. The truth is learned, never told—the constitution is your weapon. Tune in at noon-0-five Eastern LIVE to stand with Trump! MG Show: America First MAGA Podcast & Conservative Talk Show Launched in 2019 and now in Season 8, the MG Show is your go-to source for unfiltered truth on Trump policies, border security, economic nationalism, and exposing globalist psyops. Hosted by Jeffrey Pedersen (@InTheMatrixxx) and Shannon Townsend (@ShadyGrooove), it champions sovereignty, traditional values, and critiques of establishment politics. Tune in weekdays at 12pm ET / 9am PT for patriotic insights strengthening the Republic under President Trump's America First agenda. Hosts - Jeffrey Pedersen (@InTheMatrixxx): Expert in political analysis and exposing hidden agendas, with a focus on Trump's diplomatic wins and media bias. - Shannon Townsend (@ShadyGrooove): Delivers sharp insights on intelligence operations, Constitutional rights, and defenses of Trump's strategies against mainstream critiques. Where to Watch & Listen Catch live episodes or on-demand replays packed with MAGA victories like inflation drops, border awards, Trump pardons, and psyop exposures: - Live Streams: https://rumble.com/mgshow for premium America First content. - Radio: https://mgshow.link/redstate on Red State Talk Radio. - X Live: https://x.com/inthematrixxx for real-time pro-Trump discussions. - Podcasts: Search "MG Show" on PodBean, Apple Podcasts, Pandora, and Amazon Music. - YouTube: Full episodes at https://youtube.com/c/inthematrixxx and https://www.youtube.com/c/TruthForFreedom. Follow for daily pro-Trump alerts: - X: @InTheMatrixxx (https://x.com/inthematrixxx) and @ShadyGrooove (https://x.com/shadygrooove). Support the MG Show Fuel the MAGA movement against establishment lies: - Donate: https://mg.show/support or contribute at https://givesendgo.com/helpmgshow. - Merch: https://merch.mg.show for official gear. - MyPillow Special: Use code MGSHOW at https://mypillow.com/mgshow. - Crypto: https://mgshow.link/rumblewallet. All Links Everything MG Show Related: https://linktr.ee/mgshow. MG Show Anthem Get chills with the patriotic track: https://youtu.be/SyfI8_fnCAs

This is a Vintage episode from 2011.Episode DescriptionMark Pascal and Francis Schott open the show with reflections on family vacations and the waning of independent restaurants where distinctive dishes are still made in-house.They are joined by Gabrielle Hamilton, chef and longtime owner of Prune in New York City, for a candid conversation about her memoir Blood, Bones & Butter and the experiences that shaped her life in food. Gabrielle reflects on her upbringing, her restless teenage years traveling and cooking, and the path that ultimately led her to the kitchen.The discussion explores the pressure of culinary fame and wealth, and why authenticity and independence have always mattered more to Gabrielle than attention. Insightful, opinionated, and timeless, this episode captures a chef—and an industry—at a pivotal moment.Timestamps00:00 – Opening banter: travel, family, and restaurant culture09:18 – Gabrielle joins the conversation17:08 – Early life, travel, and formative experiences27:57 – Prune: food, philosophy, and hospitality33:10 – Iron Chef, fame, and closing thoughtsGuest BioGabrielle Hamilton is the chef and longtime owner of Prune, the influential New York City restaurant. She is the author of the bestselling memoir Blood, Bones & Butter, which chronicles her life, travels, and uncompromising relationship with food.Guest InformationBook: Blood, Bones & ButterThursday, February 5  Michter's Whiskey Tastinghttp://stageleft.com/event/2-5-26-michters-whiskey-tasting/Wednesday, February 25 Martinelli Wine Dinner https://www.stageleft.com/event/22526-wine-dinner-w-george-martinelli-of-martinelli-winery/ Become a Restaurant Guys' Regular!https://www.buzzsprout.com/2401692/subscribeMagyar Bankhttps://www.magbank.com/Withum Accounting https://www.withum.com/restaurantOur Places Stage Left Steakhttps://www.stageleft.com/ Catherine Lombardi Restauranthttps://www.catherinelombardi.com/ Stage Left Wineshophttps://www.stageleftwineshop.com/ To hear more about food, wine and the finer things in life:https://www.instagram.com/restaurantguyspodcast/https://www.facebook.com/restaurantguysReach Out to The Guys!TheGuys@restaurantguyspodcast.com**Become a Restaurant Guys Regular and get two bonus episodes per month, bonus content and Regulars Only events.**Click Below!https://www.buzzsprout.com/2401692/subscribe

Dr. Jack Myers   To learn more about becoming a partner with our international ministry, joining us on our next missions trip, or visiting one of our weekly services; please visit: LifeFamilyChurch.net

Two wins in a row for the Timberwolves and they're back to 6th in the West. Again wins are wins and you can't control who you play. Matt, Cole and Jack go over the Wolves vs Mavs game with a post game LIVE reaction in today's episode. Bones Hyland and Joan Beringer talk plus more! FIND OUR PARTNERS BELOW:Love to sports bet? Download the app Betr on your app store and use our sign up code THEDAILYSPN for a deposit match up to $200 dollars on your first deposit plus a free $10 play. Need tickets to an upcoming sports game or concert? SeatGeek is the best ticket app out there and you can use our promo code THEDAILYWOLVES for $20 off your tickets. OUR SOCIALS:Follow us on X @TheDailyWolvesFollow us on Instagram @the_daily_wolvesFollow us on Tik Tok @thedailywolvesSubscribe to us on YouTube @The_Daily_WolvesHAVE A BUSINESS?For business inquires and sponsorship opportunities email: Wolvesbig3@gmail.com

A covenant marriage, a contested authority, and a crumbling standard—today's conversation ties these threads into a single question: what do we honor with our time and our lives? We start with Genesis and the one-flesh promise that ranks marriage above every other human bond. From there, we walk through Jesus' challenge to hollow authority, the parable of the two sons where obedience beats lip service, and the vineyard tenants who reject the Son and lose the harvest. Scripture refuses our shortcuts and asks for fruit, not slogans.We lean into integrity with the Psalms and Proverbs, naming what God hates and what public life often rewards: pride, lying, scheming, and division. Then we bring in Fisher Ames—architect of the Bill of Rights—who argued that the Bible belongs back in schools for its moral clarity, elegant English, and unifying power. The point isn't nostalgia; it's standards. Techniques won't save a generation when the bar keeps sinking. A shared moral and linguistic canon forms citizens who can think, speak, and act with courage.Along the way, we honor a Civil War Medal of Honor recipient and reflect on the terrible cost of national fracture. The warning is sober: drifting into conflict becomes easier when homes, classrooms, and pulpits lose their anchors. Renewal starts with reclaimed priorities—God first, marriage honored, integrity protected—and a willingness to rebuild on the cornerstone we've neglected. If this resonates, share it with a friend, leave a review, and subscribe so you don't miss what's next. Your voice helps carry these conversations into the places that need them most.#FischerAmes #DailyScripture #BiblicalEducation Support the showThe American Soul Podcasthttps://www.buzzsprout.com/1791934/subscribe Countryside Book Series https://www.amazon.com/Countryside-Book-J-T-Cope-IV-ebook/dp/B00MPIXOB2

We play some movie-mashup riddles all the way back from 2019 and then our friend Sandy stops by for a classic Sandbox segment. Don't forget to check out Sandy's daily game: Raddle!Starring:Adal RifaiJohn Patrick CoanErin KeifGuest Starring:Sandor WeiszEditing by: Casey ToneyTheme by: Arne ParrottLogo by: Emily Kardamis & Emmaline MorrisWant more? Get Weekly Bonus Eps on Patreon!JPC's Guided Meditations Volume 1, available now at our Patreon digital store!Want merch? Visit our Dashery Store!Want to mail us something? Hey Riddle Riddle 6351 W Montrose Ave #267Chicago, IL, 60634Want to leave us a voicemail? Call (805) RIDDLE-1 or (805-743-3531)Want to advertise on the show? Check out Hey Riddle Riddle via Gumball.fmThis episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/RIDDLE and get on your way to being your best self.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Modern diets hide excessive phosphate additives in ultraprocessed foods, which are absorbed rapidly and efficiently, disrupting natural mineral balance and overwhelming organs far more severely than refined sugar Industrial phosphate additives enhance texture, flavor, and shelf life, increasing total intake by 40% or more compared to natural sources, leading to widespread hidden overconsumption Chronic phosphate overload hardens arteries, stresses kidneys, elevates blood pressure, and accelerates aging, even when blood tests appear normal or phosphate levels stay within conventional ranges Elevated phosphate triggers excess fibroblast growth factor-23 (FGF-23), harming the heart, hormones, and metabolism, while weakening bones and increasing fracture risk through calcium imbalance Avoiding ultraprocessed foods and choosing whole, natural ingredients lowers phosphate load, improves cardiovascular and kidney function, restores mineral balance, and promotes long-term health and vitality

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We play Name That Tune, hear your confessions, and more!See omnystudio.com/listener for privacy information.

We play Name That Tune, hear your confessions, and more!

In this week's episode of The Bones Booth, Andrew, Maggie and Taryn discuss season eleven episode four of Bones, "The Carpals in the Coywolves." 

More of Tommy's Foolishness

Join Ray Solano and Dr. John Neustadt on Healthy Choices as they explore why fracture prevention—not DEXA scores—should guide osteoporosis care, and how protein, hormones, and clinical-trial-backed nutrients strengthen bones. ---- www.linkedin.com/in/ray-solano-76960463 www.instagram.com/pdlabs/ open.spotify.com/show/78tLVSbC28VnDbpw2SqiEg podcasts.apple.com/us/podcast/heal…es/id1203354304 www.iheart.com/podcast/256-healt…choices-31040306/ ---- PODCAST Thank you for listening. Please subscribe and share. This podcast is produced by DrTalks.com drtalks.com/podcast-service/

Tailgunner's bassist and founder, Bones, opens up about the band's history, the new album 'Midnight Blitz' and how they ended up working with K.K. Downing.

The Exodus is finally here. After 210 years in Egypt – enslaved, tormented, and oppressed – the nation is leaving with great pomp and ceremony. There is an apparently curious factoid about the Exodus: in the third verse of our Parsha, the Torah tells us that Moshe secured the bones of Joseph, and transported them […]

The Exodus is finally here. After 210 years in Egypt - enslaved, tormented, and oppressed - the nation is leaving with great pomp and ceremony. There is an apparently curious factoid about the Exodus: in the third verse of our Parsha, the Torah tells us that Moshe secured the bones of Joseph, and transported them with the nation.  What is the significance of the bones of Joseph? Why was it so important to bring these bones of Joseph with the people? In this Parsha podcast we go deep and deeper on the fascinating subplot of the bones of Joseph.– – – – – – – – – – – – – – – – – – – – – –DONATE: Please consider supporting the podcasts by making a donation to help fund our Jewish outreach and educational efforts at https://www.torchweb.org/support.php. Thank you!– – – – – – – – – – – – – – – – – – – – – –NEW TORCH Mailing Address POBox:TORCHPO BOX 310246HOUSTON, TX 77231-0246– – – – – – – – – – – – – – – – – – – – – –Email me with questions, comments, and feedback: rabbiwolbe@gmail.com– – – – – – – – – – – – – – – – – – – – – –SUBSCRIBE to my Newsletterrabbiwolbe.com/newsletter– – – – – – – – – – – – – – – – – – – – – –SUBSCRIBE to Rabbi Yaakov Wolbe's PodcastsThe Parsha PodcastThe Jewish History PodcastThe Mitzvah Podcast This Jewish LifeThe Ethics PodcastTORAH 101 ★ Support this podcast ★

Jon Krawczynski on a difficult week for the Timberwolves, and the basketball issues they now face.   From Aquarius Home Services Studio (www.aquariushomeservices.com/)   Brought to you by Chu Vision Institute (www.chuvision.com/) Shepherd Goods & Lamb Chops (https://sglambchops.com/ - Promo Code: JonK20 for 20% off) TSR Injury Law (612-TSR-TIME or www.tsrinjurylaw.com) Lexus of Wayzata (Lexusofwayzata.com) Lexus of Maplewood (Lexusofmaplewood.com) Princeton's Liquors (www.princetonsliquors.com/)

Could live selling be the next big opportunity for indie authors? Adam Beswick shares how organic marketing, live streaming, and direct sales are transforming his author career—and how other writers can do the same. In the intro, book marketing principles [Self-Publishing with ALLi]; Interview with Tobi Lutke, the CEO and co-founder of Shopify [David Senra]; The Writer's Mind Survey; Bones of the Deep – J.F. Penn; Alliance of Independent Authors Indie Author Lab. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Adam Beswick is a bestselling fantasy author and an expert in TikTok marketing for authors, as well as a former NHS mental health nurse. Adam went full-time as an indie author in 2023 and now runs AP Beswick Publications. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How Adam scaled from garden office to warehouse, with his wife leaving her engineering career to join the business Why organic marketing (free video content) beats paid ads for testing what resonates with readers The power of live selling: earning £3,500 in one Christmas live stream through TikTok shop Mystery book bags: a gamified approach to selling that keeps customers coming back Building an email list of actual buyers through direct sales versus relying on platform algorithms Why human connection matters more than ever in the age of AI-generated content You can find Adam at APBeswickPublications.com and on TikTok as @a.p_beswick_publications. Transcript of interview with Adam Beswick Jo: Adam Beswick is a bestselling fantasy author and an expert in TikTok marketing for authors, as well as a former NHS mental health nurse. Adam went full-time as an indie author in 2023 and now runs AP Beswick Publications. Welcome back to the show, Adam. Adam: Hi there, and thank you for having me back. Jo: Oh, I'm super excited to talk to you today. Now, you were last on the show in May 2024, so just under two years, and you had gone full-time as an author the year before that. So just tell us— What's changed for you in the last couple of years? What does your author business look like now? Adam: That is terrifying to hear that it was that long ago, because it genuinely feels like it was a couple of months ago. Things have certainly been turbocharged since we last spoke. Last time we spoke I had a big focus on going into direct sales, and I think if I recall correctly, we were just about to release a book by Alexis Brooke, which was the first book in a series that we had worked with another author on, which was the first time we were doing that. Since then, we now have six authors on our books, with a range of full agreements or print-only deals. With that focus of direct selling, we have expanded our TikTok shop. In 2024, I stepped back from TikTok shop just because of constraints around my own time. We took TikTok shop seriously again in 2025 and scaled up to a six-figure revenue stream throughout 2025, effectively starting from scratch. That means we have had to go from having an office pod in the garden, to my wife now has left her career as a structural engineer to join the business because there was too much for me to manage. We went from this small office space, to now we have the biggest office space in our office block because we organise our own print runs and do all our distribution worldwide from what we call “AP HQ.” Jo: And you don't print books, but you have a warehouse. Adam: Yes, we have a warehouse. We work with different printers to order books in. We print quite large scale—well, large scale to me—volumes of books. Then we have them ordered to here, and then we will sign them all and distribute everything from here. Jo: Sarah, your wife, being a structural engineer—it seems like she would be a real help in organising a business of warehousing and all of that. Has that been great [working with your wife]? Because I worked with my husband for a while and we decided to stop doing that. Adam: Well, we're still married, so I'm taking that as a win! And funnily enough, we don't actually fall out so much at work. When we do, it's more about me being quite chaotic with how I work, but also I can at times be quite inflexible about how I want things to be done. But what Sarah's fantastic at is the organisation, the analytics. She runs all the logistical side of things. When we moved into the bigger office space, she insisted on us having different offices. She's literally shoved me on the other side of the building. So I'm out the way—I can just come in and write, come and do my bit to sign the books, and then she can just get on with organising the orders and getting those packed and sent out to readers. She manages all the tracking, the customs—all the stuff that would really bog me down. I wouldn't say she necessarily enjoys it when she's getting some cranky emails from people whose books might have gone missing or have been held up at customs, but she's really good at that side. She's really helped bring systems in place to make sure the fulfilment side is as smooth as possible. Jo: I think this is so important, and I want everyone to hear you on this. Because at heart, you are the creative, you are a writer, and sure you are building this business, but I feel like one of the biggest mistakes that creative-first authors make is not getting somebody else to help them. It doesn't have to be a spouse, right? It can also be another professional person. Sacha Black's got various people working for her. I think you just can't do it alone, right? Adam: Absolutely not. I would have drowned long before now. When Sarah joined the team, I was at a position where I'd said to her, “Look, I need to look at bringing someone in because I'm drowning.” It was only then she took a look at where her career was, and she'd done everything she wanted to do. She was a senior engineer. She'd completed all the big projects. I mean, this is a woman who's designed football stands across the UK and some of the biggest barn conversions and school conversions and things like that. She'd done everything professionally that she'd wanted to and was perhaps losing that passion that she once had. So she said she was interested, and we said, “Look, why don't you come and spend a bit of time working with me within the business, see whether it works for you, see if we can find an area that works for you—not you working for the business, the business working for you—that we maintain that work-life balance.” And then if it didn't work, we were in a position where we could set her up to start working for herself as an engineer again, but under her own terms. Then we just went from strength to strength. We made it through the first year. I think we made it through the first year without any arguments, and she's now been full-time in the business for two years. Jo: I think that's great. Really good to hear that. Because when I met you, probably in Seville I think it was, I was like, “You are going to hit some difficulty,” because I could see that if you were going to scale as fast as you were aiming to— There are problems of scale, right? There's a reason why lots of us don't want a bloomin' warehouse. Adam: Yes, absolutely. I think it's twofold. I am an author at heart—that's my passion—but I'm also a businessman and a creative from a marketing point of view. I always see writing as the passion. The business side and the creating of content—that's the work. So I never see writing as work. When I was a nurse, I was the nurse that was always put on the wards where no one else wanted to work because that's where I thrived. I thrive in the chaos. Put me with people who had really challenging behaviour or were really unwell and needed that really intense support, displayed quite often problematic behaviours, and I would thrive in those environments because I'd always like to prove that you can get the best out of anyone. I very much work in that manner now. The more chaotic, the more pressure-charged the situation is, the better I thrive in that. If I was just sat writing a book and that was it, I'd probably get less done because I'd get bored and I wouldn't feel like I was challenging myself. As you said, the flip side of that is that risk of burnout is very, very real, and I have come very, very close. But as a former mental health nurse, I am very good at spotting my own signs of when I'm not taking good care of myself. And if I don't, Sarah sure as hell does. Jo: I think that's great. Really good to hear. Okay, so you talked there about creating the content as work, and— You have driven your success, I would say, almost entirely with TikTok. Would that be right? Adam: Well, no, I'd come back and touch on that just to say it isn't just TikTok. I would say definitely organic marketing, but not just TikTok. I'm always quick to pivot if something isn't working or if there's a dip in sales. I'm always looking at how we can—not necessarily keep growing—but it's about sustaining what you've built so that we can carry on doing this. If the business stops earning money, I can't keep doing what I love doing, and me and my wife can't keep supporting our family with a stable income, which is what we have now. I would say TikTok is what started it all, but I did the same as having all my books on Amazon, which is why I switched to doing wide and direct sales: I didn't want all my eggs in one basket. I was always exploring what platforms I can use to best utilise organic marketing, to the point where my author TikTok channel is probably my third lowest avenue for directing traffic to my store at the moment. I have a separate channel for my TikTok shop, which generates great traffic, but that's a separate thing because I treat my TikTok shop as a separate audience. That only goes out to a UK audience, whereas my main TikTok channel goes out to a worldwide audience. Jo: Okay. So we are going to get into TikTok, and I do want to talk about that, but you said TikTok Shop UK and— Then you mentioned organic marketing. What do you mean by that? Adam: When I say organic marketing, I mean marketing your books in a way that is not a detriment to your bank balance. To break that down further: you can be paying for, say for example, you set up a Facebook ad and you are paying five pounds a day just for a testing phase for an ad that potentially isn't going to work. You potentially have to run 5, 6, 7, 8, 9, 10 ads at five pounds a day to find one ad that works, that will make your book profitable. There's a lot of testing, a lot of money that goes into that. With organic marketing, it's using video marketing or slideshows or carousels on TikTok, Instagram, YouTube, Facebook—wherever you want to put it—to find the content that does resonate with your readers, that generates sales, and it doesn't cost you anything. I can create a video on TikTok, put it out there, and it reaches three, four hundred people. That hasn't cost me any money at all. Those three, four hundred people have seen my content. That's not TikTok's job for that to generate sales. That's my job to convert those views into sales. If it doesn't, I just need to look at the content and say, “Well, that hasn't hit my audience, or if it has, it hasn't resonated. What do I need to do with my content to make it resonate and then transition into sales?” Once you find something that works, it's just a case of rinse and repeat. Keep tweaking it, keep changing or using variants of that content that's working to generate sales. If you manage to do that consistently, you've already got content that you know works. So when you've built up consistent sales and you are perhaps earning a few thousand pounds a month—it could be five figures a month—you've then got a pool of money that you've generated. You can use that then to invest into paid ads, using the content you've already created organically and tested organically for what your audience is going to interact with. Jo: Okay. I think because I'm old school from the old days, we would've called that content marketing. But I feel like the difference of what you are doing and what TikTok—I think the type of behaviour TikTok has driven is the actual sales, the conversion into sales. So for example, this interview, right? My podcast is content marketing. It puts our words out in the world and some people find us, and some people buy stuff from us. So it's content marketing, but it's not the way you are analysing content that actually drives sales. Based on that content, there's no way of tracking any sales that come from this interview. We are just never going to know. I think that's the big difference between what you are doing with content versus what I and many other, I guess, older creators have done, which is— We put stuff out there for free, hope that some people might find us, and some of those people might buy. It's quite different. Adam: I would still argue that it is organic marketing, because you've got a podcast that people don't have to pay to listen to, that they get enjoyment from, and the byproduct of that is you generate some income passively through that. If you think of your podcast as one product and your video content is the same—these social media platforms—you don't just post your podcast on one platform. You will utilise as many platforms as you can, unless you have a brand agreement where a platform is paying you to solely use their platform because you or yourself are the driver for the audience there. I would say a podcast is a form of organic marketing. I could start a podcast about video marketing. I could start a podcast about reading. The idea being you build up an audience and then when you drop in those releases, that audience then goes and buys that product. For example, if you've got a self-help book coming out, if you drop that into your podcast, chances are you're going to get a lot more sales from your audience that are here to listen to you as the inspirational storyteller that you are from a business point of view than what you would if you announced that you had a new crime novel coming out or a horror story you've written. Your audience within here is generally an author audience who are looking to refine their craft—whether that be the writing or the selling of the books or living the dream of being a full-time author. I think it's more a terminology thing. Jo: Well, let's talk about why I wanted to talk to you. A friend of ours told me that you are doing really well with live sales. This was just before Christmas, I think. And I was like, “Live sales? What does that even mean?” Then I saw that Kim Kardashian was doing live sales on TikTok and did this “Kim's Must Have” thing, and Snoop Dogg was there, and it was this massive event where they were selling. I was like, “Oh, it's like TV sales—the TV sales channel where you show things and then people buy immediately.” And I was like, “Wait, is Adam like the Kim Kardashian of the indie author?” So tell us about this live sale thing. Adam: Well, I've not got that far to say that I have the Kim Kardashian status! What it is, is that I'm passionate about learning, but also sharing what's working for me so that other authors can succeed—without what I'm sharing being stuck behind a paywall. It is a big gripe of mine that you get all these courses and all these things you can do and everything has to be behind a paywall. If I've got the time, I'll just share. Hence why we were in Vegas doing the presentations for Indie Author Nation, which I think had you been in my talk, Jo, you would've heard me talking about the live selling. Jo: Oh, I missed it. I'll have to get the replay. Adam: I only covered a short section of it, but what I actually said within that talk is, for me, live selling is going to be the next big thing. If you are not live selling your books at the moment, and you are not paying attention to it, start paying attention to it. I started paying attention about six months ago, and I have seen constant growth to a point where I've had to post less content because doing one live stream a week was making more money than me posting content and burning myself out every single day for the TikTok shop. I did a live stream at the beginning of Christmas, for example. A bit of prep work went into it. We had a whole Christmas set, and within that one live stream we generated three and a half thousand pounds of organic book sales. Jo: Wow. Adam: Obviously that isn't something that happened overnight. That took me doing a regular Friday stream from September all the way through to December to build up to that moment. In fact, I think that was Black Friday, sorry, where we did that. But what I looked at was, “Right, I haven't got the bandwidth because of all the plates I was spinning to go live five days a week. However, I can commit to a Friday morning.” I can commit to a Friday morning because that is the day when Sarah isn't in the office, and it's my day to pack the orders. So I've already got the orders to pack, so I thought I'll go live whilst I'm packing the orders and just hang out and chat. I slowly started to find that on average I was earning between three to four hundred pounds doing that, packing orders that I already had to pack. I've just found a way to monetise it and engage with a new audience whilst doing that. The thing that's key is it is a new audience. You have people who like to consume their content through short-form content or long-form content. Then you have people who like to consume content with human interaction on a live, and it's a completely different ballgame. What TikTok is enabling us to do—on other platforms I am looking at other platforms for live selling—you can engage with an audience, but because on TikTok you can upload your products, people can buy the products direct whilst you are live on that platform. For that, you will pay a small fee to TikTok, which is absolutely worth it. That's part of the reason we've been able to scale to having a six-figure business within TikTok shop itself as one revenue stream. Jo: Okay. So a few things. You mentioned there the integration with TikTok shop. As I've said many times, I'm not on TikTok—I am on Instagram—and on Instagram you can incorporate your Meta catalogue to Shopify. Do you think the same principle applies to Instagram or YouTube as well? I think YouTube has an integration with Shopify. Do you think the same thing would work that way? Adam: I think it's possible. Yes, absolutely. As long as people can click and buy that product from whatever content they are watching—but usually what it will have to do is redirect them to your store, and you've still got all the conversion metrics that have to kick in. They have to be happy with the shipping, they have to be happy with the product description and stuff like that. With TikTok shop, it's very much a one-stop shop. People click on the product, they can still be watching the video, click to buy something, and not leave the stream. Jo: So the stream's on, and then let's say you are packing one of your books— Does that product link just pop up and then people can buy that book as you are packing it? Adam: So we've got lots and lots of products on our store now. I always have a product link that has all our products listed, and I always keep all of the bundles towards the top because they generate more income than a single book sale. What will happen is I can showcase a book, I'll tap the screen to show what product it is that I'm packing, and then I'll just talk about it. If people want it, they just click that product link and they can buy it straight away. What people get a lot of enjoyment from—which I never expected in a million years—is watching people pack their order there and then. As an author, we're not just selling a generic product. We're selling a book that we have written, that we have put our heart and soul into. People love that. It's a way of letting them into a bit of you, giving them a bit of information, talking to them, showing them how human you are. If you're on that live stream being an absolute arse and not very nice, people aren't going to buy your books. But if you're being welcoming, you're chatting, you're talking to everyone, you're interacting, you're showcasing books they probably will. What we do is if someone orders on the live stream, we throw some extra stuff in, so they don't just get the books, they'll get some art prints included, they'll get some bookmarks thrown in, and we've got merch that we'll throw in as a little thank you. Now it's all stuff that is low cost to us, because actually we're acquiring a customer in that moment. I've got people who come onto every single Friday live stream that I do now. They have bought every single product in our catalogue and they are harassing me for when the next release is out because they want more, before they even know what that is. They want it because it's being produced by us—because of our brand. With the lives, what I found is the branding has become really important. We're at a stage where we're being asked—because I'm quite well known for wearing beanie hats on live streams or video content—people are like, “When are you going to release some beanie hats?” Now and again, Sarah will drop some AP branded merch. It'll be beer coasters with the AP logo on, or a tote bag with the AP logo on. It's not stuff that we sell at this stage—we give them away. The more money people spend, the more stuff we put in. And people are like, “No, no, you need to add these to the store because we want to buy them.” The brand itself is growing, not just the book sales. It's becoming better known. We've got Pacificon in April, and there's so many people on that live stream that have bought tickets to meet us in person at this conference in April, which is amazing. There's so much going on. With TikTok shop, it only works in the country where you are based, so it only goes out to a UK audience, which is why I keep it separate from my main channel. That means we're tapping into a completely new audience, because up until last year, I'd always targeted America—that's where my biggest readership was. Jo: Wow. There's so much to this. Okay. First of all, most people are not going to have their own warehouse. Most people are not going to be packing live. So for authors who are selling on, let's just say Amazon, can live sales still work for them? Could they still go live at a regular time every week and talk about a book and see if that drives sales, even if it's at Amazon? Adam: Yes, absolutely. I would test that because ultimately you're creating a brand, you're putting yourself out there, and you're consistently showing up. You can have people that have never heard of you just stumble across your live and think, “What are they doing there?” They're a bit curious, so they might ask some questions, they might not. They might see some other interactions. There's a million and one things you can do on that live to generate conversation. I've done it where I've had 150 books to sign, so I've just lined up the books, stood in front of the camera, switched the camera on while I'm signing the books, and just chatted away to people without any product links. People will come back and be like, “Oh, I've just been to your store and bought through your series,” and stuff like that. So absolutely that can work. The key is putting in the work and setting it up. I started out by getting five copies of one book, signing them, and selling them on TikTok shop. I sold them in a day, and then that built up to effectively what we have now. That got my eyes open for direct selling. When I was working with BookVault and they were integrated with my store, orders came to me, but then they went to BookVault—they printed and distributed. Then we got to a point scaling-wise where we thought, “If we want to take this to the next level, we need to take on distribution ourselves,” because the profit lines are better, the margins are bigger. That's why we started doing it ourselves, but only once we'd had a proven track record of sales spanning 18 months to two years and had the confidence. It was actually with myself and Sacha that we set up at the same time and egged each other on. I think I was just a tiny bit ahead of her with setting up a warehouse. And then as you've seen, Sacha's gone from strength to strength. It doesn't come without its trigger warnings in the sense of it isn't an easy thing to do. I think you have to have a certain skill set for live selling. You have to have a certain mindset for the physicality that comes with it. When we've had a delivery of two and a half thousand books and we've got to bring them up to the first floor where the office is—I don't have a massive team of people. It's myself and Sarah, and every now and again we get my dad in to help us because he's retired now. We'll give him a bottle of wine as a thank you. Jo: You need to give him some more wine, I think! Adam: Yes! But you've gotta be able to roll your sleeves up and do the work. I think if you've got the work ethic and that drive to succeed, then absolutely anyone can do it. There's nothing special about my books in that sense. I've got a group called Novel Gains where I've actually started a monthly challenge yesterday, and we've got nearly two and a half thousand people in the group now. The group has never been more active because it's really energised and charged. People have seen the success stories, and people are going on lives who never thought it would work for them. Lee Mountford put a post up yesterday on the first day of this challenge just to say, “Look, a year ago I was where you were when Adam did the last challenge. I thought I can't do organic marketing, I can't get myself on camera.” Organic marketing and live selling is now equating to 50% of his income. Jo: And he doesn't have a warehouse. Adam: Well, he scaled up to it now, so he's got two lockups because he scaled up. He started off small, then he thought, “Right, I'm going to go for it.” He ordered a print run of a few of his books—I think 300 copies of three books. Bundled them up, sold them out within a few months. Then he's just scaled from there because he's seen by creating the content, by doing the lives, that it's just creating a revenue stream that he wasn't tapping into. Last January when we did the challenge, he was really engaged throughout the process. He was really analytical with the results he was getting. But he didn't stop after 30 days when that challenge finished. He went away behind the scenes for the next 11 months and has continued to grow. He is absolutely thriving now. Him and his wife—a husband and wife team—his wife is also an author, and they've now added her spicy books to their TikTok shop. They're just selling straight away because he's built up the audience. He's built up that connection. Jo: I think that's great. And I love hearing this because I built my business on what I've called content marketing—you're calling it organic marketing. So I think it's really good to know that it's still possible; it's just a different kind. Now I just wanna get some specifics. One— Where can people find your Novel Gains stuff? Adam: So Novel Gains is an online community on Facebook. As I said, there's no website, there's no fancy website, there's no paid course or anything. It is just people holding themselves accountable and listening to my ramblings every now and again when I try and share pills of wisdom to try and motivate and inspire. I also ask other successful authors to drop their story about organic marketing on there, to again get people fired up and show what can be achieved. Jo: Okay. That's on Facebook. So then let's talk about the setup. I think a lot of the time I get concerned about video because I think everything has to be on my phone. How are you setting this up technically so you can get filmed and also see comments and all of this kind of stuff? Adam: Just with my phone. Jo: It is just on your phone? Adam: Yes. I don't use any fancy camera tricks or anything. I literally just settle my phone and hit record when I'm doing it. Jo: But you set it up on a tripod or something? Adam: Yes. So I'll have a tripod. I don't do any fancy lighting or anything like that because I want the content to seem as real as possible. I'll set up the camera at an angle that shows whatever task I'm doing. For example, if I'm packing orders, I can see the screen so I can see the comments as they're coming up. It's close enough to me to interact. At Christmas, we did have a bit of a setup—it did look like a QVC channel, I'm not going to lie! I was at the back. There was a table in front of me with products on. We had mystery book bags. We had a Christmas tree. We had a big banner behind me. The camera was on the other side of the room, but I just had my laptop next to me that was logged into TikTok, so I was watching the live stream so I could see any comments coming up. Jo: Yes, that's the thing. So you can have a different screen with the comments. Because that's what I'm concerned about—it might just be the eyesight thing, but I'm like, I just can't literally do everything on the phone. Adam: TikTok has a studio—TikTok Studio—that you can download, and you can get all your data and analytics in there for your live streams. At the moment, I'll just tap the screen to add a new product or pin a new product. You can do all that from your computer on this studio where you can say, “Right, I'm showcasing this product now,” click on it and it'll come up onto the live stream. You just have to link the two together. Jo: I'm really thinking about this. Partly this is great because my other concern with TikTok and all these video channels is how much can be done by AI now. TikTok has its own AI generation stuff. A lot of it's amazing. I'm not saying it's bad quality, I'm saying it's amazing quality, but— What AI can't do is the live stuff. You just can't—I mean, I imagine you can fake it, but you can't fake it. Adam: Well, you'd be surprised. I've seen live streams where it's like an avatar on the screen and there is someone talking and then the avatar moving in live as that person's talking. Jo: Right? Adam: I've seen that where it's animals, I've seen it where it's like a 3D person. There's a really popular stream at the minute that is just a cartoon cat on the stream. Whenever you send a gift, it starts singing whoever sent it—it gets a name—and that's a system that someone has somehow set up. I have no idea how they've set it up, but they're literally not doing it. That can run 24 hours a day. There's always hundreds and hundreds of people on it sending gifts to hear this cat sing with an AI voice their name. Yes, AI will work and it will work for different things. But I think with us and with our books, people want that human connection more than ever because of AI. Use that to your advantage. Jo: Okay. So the other thing I like about this idea is you are doing these live sales and then you are looking at the amount you've sold. But are you making changes to it? Or are you only tweaking the content on your prerecorded stuff? Your live is so natural. How are you going to change it up, I guess? Adam: I am always testing what is working, what's not working. For example, I'm a big nerd at heart and I collect Pokémon cards. Now that I'm older, I can afford some of the more rare stuff, and me and my daughter have a lot of enjoyment collecting Pokémon cards together. We follow channels, we watch stuff on YouTube, and I was looking at what streamers do with Pokémon cards and how they sell like mystery products on an app or whatnot. I was like, “How can I apply this to books?” And I came up with the idea of doing mystery book bags. People pay 20 pounds, they get some goodies—some carefully curated goodies, as we say, that “Mrs. B” has put together. On stream, I never give the audience Sarah's name. It's always “Mrs. B.” So Mrs. B has built up her own brand within the stream—they go feral when she comes on camera to say hi! Then there's some goodies in there. That could be some tote socks, a tote bag, cup holders, page holders, metal pins, things like that. Then inside that, I'll pull out a thing that will say what book they're getting from our product catalogue. What I make clear is that could be anything from our product catalogue. So that could be a single book, it could be six books, it could be a three-book bundle. There's all sorts that people can get. It could be a deluxe special edition. People love that, and they tend to buy it because there's so much choice and they might be struggling with, “Right, I don't know what to get.” So they think, “You know what? I'll buy one of them mystery book bags.” I only do them when I'm live. I've done streams where the camera's on me. I've done top-down streams where you can only see my hands and these mystery book bags. Every time someone orders one, I'm just opening it live and showcasing what product they get from the stream. People love it to the point where every stream I do, they're like, “When are you doing the next mystery book bags? When are you doing the next ones?” Jo: So if we were on live now and I click to buy, you see the order with my name and you just write “Jo” on it, and then you put it in a pile? Adam: So you print labels there and then, which I'll do. Exactly. If I'm live packing them—I'm not going to lie—when I'm set up properly, I don't have time to pack them because the orders are coming in that thick and fast. All I do is have a Post-it note next to me, and I'll write down their username, then I'll stick that onto their order. I'll collect everything, showcase what they're getting, the extra goodies that they're getting with their order, and then I'll stick the Post-it on and put that to one side. To put that into context as something that works through testing different things: we started off doing 60 book bags—30 of them were spicy book bags, 30 were general fantasy which had my books and a couple of our authors that haven't got spice in their books—and the aim was to sell them within a month. We sold them within one stream. 60 book bags at 20 pounds a pop. What that also generated is people then buying other products while we're doing it. It also meant that I'd do it all on a Friday, and we'd come in on a Monday and start the week with 40, 50, 60 orders to pack regardless of what's coming from the Shopify store. The level of orders is honestly obscene, but we've continuously learned how best to manage this. We learned that actually, if you showcase the orders, stick a Post-it on, when we print the shipping labels, it takes us five minutes to just put all the shipping labels with everyone's orders. Then we can just fire through packing everything up because everything's already bundled together. It literally just needs putting in a box. Jo: Okay. So there's so much we could talk about, but hopefully people will look into this more. So I went to go watch a video—I thought, “Oh, well, I'll just go watch Adam do this. I'm sure there's a recording”—and then I couldn't find one. So tell me about that. Does [the live recording] just disappear or what? Adam: Yes, it does. It's live for a reason. You can download it afterwards if you want, and then you've got content to repurpose. In fact, you're giving me an idea. I've done a live today—I could download that clip that's an hour and 20 minutes long. Some of it, I'm just rambling, but some of it's got some content that I could absolutely use because I'm engaging with people. I've showcased books throughout it because I've been packing orders. I had an hour window before this podcast and I had a handful of orders to pack. So I just jumped on a live and I made like 250 pounds while doing a job that I would already be having to do. I could download that video, put it in OpusClip, and that will then generate short-form content for me of the meaningful interaction through that, based on the parameters that I give it. So that's absolutely something you could do. In fact, I'm probably going to do it now that you've given me the idea. Jo: Because even if it was on another channel, like you could put that one on YouTube. Adam: Yes. Wherever you want. It doesn't have a watermark on it. Jo: And what did you say? OpusClip? Adam: OpusClip, yes. If you do long-form content of any kind, you can put that in and then it'll pull out meaningful content. Loads of like 20, 30 short-form content video clips that you can use. It's a brilliant piece of software if you use it the right way. Jo: Okay. Well I want you to repurpose that because I want to watch you in action, but I'm not going to turn up for your live—although now I'm like, “Oh, I really must.” So does that also mean—you said it's UK only because the TikTok shop is linked to the UK— So people in America can't even see it? Adam: So sometimes they do pop in, but again, that's why I have a separate channel for my main author account. When I go live on that, anyone from around the world can come in. But if I've got shoppable links in, chances are the algorithm is just going to put that out to a UK audience because that's where TikTok will then make money. If I want to hit my US audience, I'll jump on Instagram because that's where I've got my biggest following. So I'll jump on Instagram and go live over there at a time that I know will be appropriate for Americans. Jo: Okay. We could talk forever, but I do have just a question about TikTok itself. All of these platforms seem to follow a way of things where at the beginning it's much easier to get reach. It is truly organic. It's really amazing. Then they start putting on various brakes—like Facebook added groups, and then you couldn't reach people in your groups. And then you had to pay to play. Then in the US of course, we've got a sale that has been signed. Who knows what will happen there. What are your thoughts on how TikTok has changed? What might go on this year, and how are you preparing? Adam: So, I think as a businessman and an author who wants to reach readers, I use the platforms for what I can get out of them without having to spend a stupid amount of money. If those platforms stop working for me, I'll stop using them and find one that does. With organic reach on TikTok, I think you'll always have a level of that. Is it harder now? Yes. Does that mean it's not achievable? Absolutely not. If your content isn't reaching people, or you're not getting the engagement that you want, or you find fulfilling, you need to look at yourself and the content you are putting out. You are in control of that. There's elements of this takeover in America—again, I've got zero control over that, so I'm not going to lose any sleep over it. I'll focus on areas that are making a difference. As I said, TikTok isn't the biggest earner for my business. My author channel's been absolutely dead for a good six months or so. But that means I get stagnant with the content I'm creating. So the challenge I'm doing at the minute, I'm taking part to create fresh content every day to recharge myself. I've got Instagram and Facebook that generate high volumes of traffic every single day. And usually if they stop, TikTok starts to work. Any algorithm changes—things will change when it changes hands in America—but primarily it still wants to make money. It's a business. If anything, it might make it harder for us to reach America because it will want to focus on reaching an American audience for the people that are buying TikTok shop. But they want it because they want the TikTok shop because of the amount of money that it is generating. It's gone from a small amount of people making money to large volumes of businesses across the entire USA—like over here now—that are reaching an audience that previously you had to have deep pockets to reach, to get your business set up. Now you've got all these businesses popping up that are starting from scratch because they're reaching people. They've got a product that's marketable, that people want to enjoy. They want to be part of that growth. I think that will still happen. It might just be a few of the parameters change, like Facebook does all the time. Jo: Things will always change. That is key. We should also say by selling direct, you've built presumably a very big email list of buyers as well. Adam: Yes. I've actually got a trophy that Shopify sent me because we hit 10,000 sales—10,000 customers. I think we're nearing 16,000 sales on there now. We've got all that customer data. We don't get that on TikTok. We haven't got the customer data. Jo: Ah, that's interesting. Okay. How do you not though? Oh, because—did they ship it? Adam: So if you link it with your Shopify and you do all your shipping direct, the customer data has to come to your Shopify, otherwise you can't ship. When TikTok ship it for you—so I print the shipping labels, but they organise the couriers—all the customer data's blotted out. It's like redacted, so you don't see it. Jo: Ah, see that is in itself a cheeky move. Adam: Yes. But if it's linked to your Shopify, you get all that data and your Shopify is your store. So your Shopify will keep that data. They kept affecting how I extracted the shipping labels and stuff like that, and just kept making life really difficult. So I've just switched it back. I think Sarah has found an app that works really well for correlating the two. Jo: Yes, but this is a really big deal. We carp on about it all the time, but— If you sell direct and you do get the customer data, you are building an email list of actual buyers as opposed to freebie seekers. Which a lot of people have. Adam: Absolutely, and that's the same for you. If you send poor products out or your customer has a poor experience, they're not going to come back and order from you again. If your customer has a really good experience and opens the products and sees all this extra care that's gone in and all the books are signed, then they've not had to pay extra. There was a Kickstarter—I'm not going to name which author it was—but it was an author whose book I was quite excited to back. They had these special editions they'd done, but you had to buy a special edition for an extra 30 quid if you wanted it signed. I was like, “Absolutely not.” If these people are putting their hands in their pockets for these deluxe special editions, and if you're a big name author, it's certainly not them that have anything to do with it. They just have other companies do it all for them. Whereas with us, you are creating everything. Our way of saying thank you to everyone is by signing the book. Jo: I love that you're still so enthusiastic about it and that it seems to be going really well. So we're almost out of time, but just quickly— Tell people a bit more about the books that they can find in your stores and where people can find them. Adam: Yes. So we publish predominantly fantasy, and we have moved into the spicy fantasy world. We have a few series there. You can check out APBeswickPublications.com where you will see our full product catalogue and all of my books. On TikTok shop, we are under a.p_beswick_publications. That's the best place to see where I go live—short-form content. I'll post spicy books on there, but on lives, I showcase everything. I also have fantasy.books.uk, where that's where you'll see the videos or product links for the non-spicy fantasy books. Jo: And what time do you go live in the UK? Adam: So I go live 8:00 AM every Friday morning. Jo: Wow. Okay. I might even have to check that out. This has been so great, Adam. Thanks so much for your time. Adam: Well, thank you for having me.The post Selling Books Live On Social Media With Adam Beswick first appeared on The Creative Penn.

Most people don't think about bone health until a DEXA scan (or a fracture) makes it feel urgent. In this episode of Dishing Up Nutrition, registered dietitians Melanie Beasley and Britni Vincent share everyday habits and real-food strategies to slow bone loss and support stronger bones, especially in midlife and beyond.

 Episode 225: Adam bones of The Manic Standstill and The Two Tens talks to us about: The Two Tens and the dynamics of being in a two person band, Chicago suburbs to California and becoming who you are, Networking and finding a community, Jughead talks about how B Face taught him how to rock, When Adam was a drummer and played fast and faster, On being a hired gun for Go Betty Go Josie Cotton and Save Ferris, Writing for Ritchie Ramone, Manic Standstill talk, plus much much 1,2,3,4 more!Adam Bones Personal WebsiteManic Standstill MerchGet the record MOVING​The Two Tens Bandcampwww.jugheadsbasementpodcast.comJughead's Patreon

Breaking Bones 1-25-26 by 1010 XL Jax Sports Radio

Legend of the Bones is a hybrid of dark fantasy audio drama and old school solo Dungeons & Dragons.  A story where the roll of the bones determines all.  None shall escape the destiny of bone. Níðhöggr... Audio credits: Intro & Main Theme: Cold Northern Stars by imaginerum https://tunetank.com/tracks/2290-cold-northern-stars   Part 1: The Fall by Scott Buckley https://www.scottbuckley.com.au/library/the-fall Released under CC-BY 4.0   Part 2: Balefire by Scott Buckley https://www.scottbuckley.com.au/library/balefire Released under CC-BY 4.0   Combat: Goliath by Scott Buckley https://www.scottbuckley.com.au/library/goliath Released under CC-BY 4.0   Behind the Screen: Moving Picture Atmosphere 014 https://soundcloud.com/royaltyfreebackgroundmusic/creative-commons-music-4099/sets   Incidental sound effects sourced from www.freesound.org & www.freesfx.co.uk & www.zapsplat.com & https://tabletopaudio.com/   Voice Actors Eadith was voiced by Chloe Elliott  https://linktr.ee/clo_withtheflow Demelza was voiced by Ros Williams Post Roll Promo Realm of Rolls Resources https://legendofthebones.blogspot.com Transcript 

On this special Friday edition of the show, we watch and listen to a short mockumentary from 2008 called The Orion Conspiracy. The film is a briefing of important officials on issues such as UFOs, giant bones, pyramids, psychic powers, occultism, and even 9/11. Its purpose was to show how gullible people are; and it worked far beyond what the director intended to be more of a joke. Countless laughably fake images from the film have been shared at conferences, in documentaries, on television, etc. The most famous by far is an image of a UFO crashed in the ice of Antarctica.*The is the FREE archive, which includes advertisements. If you want an ad-free experience, you can subscribe below underneath the show description.WEBSITEFREE ARCHIVE (w. ads)SUBSCRIPTION ARCHIVE-X / TWITTERFACEBOOKINSTAGRAMYOUTUBERUMBLE-BUY ME A COFFEECashApp: $rdgable PAYPAL: rdgable1991@gmail.comRyan's Books: https://thesecretteachings.info- EMAIL: rdgable@yahoo.com / rdgable1991@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-secret-teachings--5328407/support.

Mark and David Corse (@itsmedavidcorse.bsky.social) discuss the 2022 romantic horror film Bones and All. Directed by Luca Guadagnino, and starring Taylor Russell, Timothée Chalamet, Mark Rylance, and a gross hair rope, the movie focuses on what happens when two cannibals go on a cross-country road trip. In this episode, they also talk about movie cannibals, creepy villains, and “Cerulean Sky,” David's new novella. Buy it here - https://polymathpress.com/products/cerulean-sky-by-david-corse

In this episode of the Quick Book Reviews podcast, Philippa Hall is joined by internationally bestselling author Kathy Reichs to talk about her latest Temperance Brennan novel, Evil Bones.Now 24 books into the series, Kathy reflects on what keeps the character of Temperance Brennan fresh, how real forensic cases inspire fiction, and why science-driven crime writing still excites her decades into her career.They discuss:Kathy's dream (and nightmare) writing locationsWriting with a scientific background — without overwhelming the readerHow real forensic cases spark fictional ideasWhy Evil Bones became her “animal book”Bringing forensic veterinary science into crime fictionWriting twists that surprise but still make senseThe importance of setting, atmosphere, and visiting locationsHow the TV series Bones introduced new readers to the booksWhether new readers should start at book one or jump straight inWhat readers love most about Temperance BrennanLife outside a publishing contractWhy writing is still hard work — even after 24 booksAnd, of course, the biscuits (or cookies) that powered the writing

With the Miper skate tournament in full swing, the Antimatter Annihilators are ready to take the dimension by storm! The world of corporate sponsors and adoring fans seems so exciting, but could there be something sinister lurking beneath the surface? Krystal pouts. Nia knows nothing about soldering. Toby receives a promising proposition. Conan gets a totally real and definitely painful injury. This one shot uses the Slugblaster system by Mikey Hamm and published by Mythworks. Find our special guest Shamini as one of the RPGeeks on Youtube. Music by Chloe Elliott: Not A Crime A World of Many Colours Alive and/or Dead Artwork by Eiriol Evans. Sound effects from Zapsplat. Join our Discord server here for free! Support us by becoming a patron on Patreon. Check out the Deck of Many Aces original soundtrack on music streaming services like Spotify. Other projects: Listen to Am and Chloe on RWD. You can find them on Twitter and Instagram @RWD_Pod. Listen to Chloe voice Quinn/ Cynthia in C4DAC3U5. Listen to Chloe voice Eadith in Legend of the Bones. Sign up to Ellie's mailing list here to keep updated on all their creative projects. Asexuality and Aromantic Resources: The Asexual Visibility and Education Network The Aromantic-spectrum Union for Recognition, Education, and Advocacy Deck of Many Aces is unofficial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards of the Coast. Portions of the materials used are property of Wizards of the Coast. ©Wizards of the Coast LLC. All the characters in this podcast are fictitious, and any resemblance to actual persons, living or dead, is purely coincidental.Support this show http://supporter.acast.com/deck-of-many-aces. Hosted on Acast. See acast.com/privacy for more information.

Rockin Bones show #58 on www.Bootboyradio.co.uk Please Play, Like, Comment, Follow, Download & Share.

In this week's episode of The Bones Booth, Andrew, Maggie and Taryn discuss season eleven episode three of Bones, "The Donor in the Drink." 

Zoshigaya ​Cemetery is located ​in Old ​Tokyo in Japan and dates back more than 150 years. There are thousands of burials here and several of them are for famous and notable people from Japan. As ​we ​look ​at ​the ​history ​of ​this ​beautiful ​and ​unique cemetery, ​we ​will ​also ​discuss ​the ​burial ​practices ​and ​customs ​of ​this ​area. Intro and Outro music "Stones and Bones" was written and produced by History Goes Bump and any use is strictly prohibited. Check us out at: https://historygoesbump.com Other music used in this episode: Music: China Vol. 3 [Travel Series] Produced by Sascha Ende Link: https://ende.app/en/song/12921-china-vol-3-travel-series

What if the most transformative thing you can do for your writing craft and author business is to face what you fear? How can you can find gold in your Shadow in the year ahead? In this episode, I share chapters from Writing the Shadow: Turn Your Inner Darkness Into Words. In the intro, curated book boxes from Bridgerton's Julia Quinn; Google's agentic shopping, and powering Apple's Siri; ChatGPT Ads; and Claude CoWork. Balancing Certainty and Uncertainty [MoonShots with Tony Robbins]; and three trends for authors with me and Orna Ross [Self-Publishing with ALLi Podcast]; plus, Bones of the Deep, Business for Authors, and Indie Author Lab. This show is supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  Joanna Penn writes non-fiction for authors and is an award-winning, New York Times and USA Today bestselling author of thrillers, dark fantasy, and memoir as J.F. Penn. She's also an award-winning podcaster, creative entrepreneur, and international professional speaker. What is the Shadow? The ‘creative wound' and the Shadow in writing The Shadow in traditional publishing The Shadow in self-publishing or being an indie author The Shadow in work The Shadow in money You can find Writing the Shadow in all formats on all stores, as well as special edition, workbook and bundles at www.TheCreativePenn.com/shadowbook Writing the Shadow: Turn Your Inner Darkness Into Words The following chapters are excerpted from Writing the Shadow: Turn Your Inner Darkness Into Words by Joanna Penn. Introduction. What is the Shadow? “How can I be substantial if I do not cast a shadow? I must have a dark side also if I am to be whole.” —C.G. Jung, Modern Man in Search of a Soul We all have a Shadow side and it is the work of a lifetime to recognise what lies within and spin that base material into gold. Think of it as a seedling in a little pot that you're given when you're young. It's a bit misshapen and weird, not something you would display in your living room, so you place it in a dark corner of the basement. You don't look at it for years. You almost forget about it. Then one day you notice tendrils of something wild poking up through the floorboards. They're ugly and don't fit with your Scandi-minimalist interior design. You chop the tendrils away and pour weedkiller on what's left, trying to hide the fact that they were ever there. But the creeping stems keep coming. At some point, you know you have to go down there and face the wild thing your seedling has become. When you eventually pluck up enough courage to go down into the basement, you discover that the plant has wound its roots deep into the foundations of your home. Its vines weave in and out of the cracks in the walls, and it has beautiful flowers and strange fruit. It holds your world together. Perhaps you don't need to destroy the wild tendrils. Perhaps you can let them wind up into the light and allow their rich beauty to weave through your home. It will change the look you have so carefully cultivated, but maybe that's just what the place needs. The Shadow in psychology Carl Gustav Jung was a Swiss psychologist and the founder of analytical psychology. He described the Shadow as an unconscious aspect of the human personality, those parts of us that don't match up to what is expected of us by family and society, or to our own ideals. The Shadow is not necessarily evil or illegal or immoral, although of course it can be. It's also not necessarily caused by trauma, abuse, or any other severely damaging event, although again, it can be. It depends on the individual. What is in your Shadow is based on your life and your experiences, as well as your culture and society, so it will be different for everyone. Psychologist Connie Zweig, in The Inner Work of Age, explains, “The Shadow is that part of us that lies beneath or behind the light of awareness. It contains our rejected, unacceptable traits and feelings. It contains our hidden gifts and talents that have remained unexpressed or unlived. As Jung put it, the essence of the Shadow is pure gold.” To further illustrate the concept, Robert Bly, in A Little Book on the Human Shadow,uses the following metaphor: “When we are young, we carry behind us an invisible bag, into which we stuff any feelings, thoughts, or behaviours that bring disapproval or loss of love—anger, tears, neediness, laziness. By the time we go to school, our bags are already a mile long. In high school, our peer groups pressure us to stuff the bags with even more—individuality, sexuality, spontaneity, different opinions. We spend our life until we're twenty deciding which parts of ourselves to put into the bag and we spend the rest of our lives trying to get them out again.” As authors, we can use what's in the ‘bag' to enrich our writing — but only if we can access it. My intention with this book is to help you venture into your Shadow and bring some of what's hidden into the light and into your words. I'll reveal aspects of my Shadow in these pages but ultimately, this book is about you. Your Shadow is unique. There may be elements we share, but much will be different. Each chapter has questions for you to consider that may help you explore at least the edges of your Shadow, but it's not easy. As Jung said, “One does not become enlightened by imagining figures of light, but by making the darkness conscious. The latter procedure, however, is disagreeable and therefore not popular.” But take heart, Creative. You don't need courage when things are easy. You need it when you know what you face will be difficult, but you do it anyway. We are authors. We know how to do hard things. We turn ideas into books. We manifest thoughts into ink on paper. We change lives with our writing. First, our own, then other people's. It's worth the effort to delve into Shadow, so I hope you will join me on the journey. The creative wound and the Shadow in writing “Whatever pain you can't get rid of, make it your creative offering.” —Susan Cain, Bittersweet  The more we long for something, the more extreme our desire, the more likely it is to have a Shadow side. For those of us who love books, the author life may well be a long-held dream and thus, it is filled with Shadow. Books have long been objects of desire, power, and authority. They hold a mythic status in our lives. We escaped into stories as children; we studied books at school and college; we read them now for escape and entertainment, education and inspiration. We collect beautiful books to put on our shelves. We go to them for solace and answers to the deepest questions of life. Writers are similarly held in high esteem. They shape culture, win literary prizes, give important speeches, and are quoted in the mainstream media. Their books are on the shelves in libraries and bookstores. Writers are revered, held up as rare, talented creatures made separate from us by their brilliance and insight. For bibliophile children, books were everything and to write one was a cherished dream. To become an author? Well, that would mean we might be someone special, someone worthy. Perhaps when you were young, you thought the dream of being a writer was possible — then you told someone about it. That's probably when you heard the first criticism of such a ridiculous idea, the first laughter, the first dismissal. So you abandoned the dream, pushed the idea of being a writer into the Shadow, and got on with your life. Or if it wasn't then, it came later, when you actually put pen to paper and someone — a parent, teacher, partner, or friend, perhaps even a literary agent or publisher, someone whose opinion you valued — told you it was worthless. Here are some things you might have heard: Writing is a hobby. Get a real job. You're not good enough. You don't have any writing talent. You don't have enough education. You don't know what you're doing. Your writing is derivative / unoriginal / boring / useless / doesn't make sense. The genre you write in is dead / worthless / unacceptable / morally wrong / frivolous / useless.  Who do you think you are? No one would want to read what you write. You can't even use proper grammar, so how could you write a whole book? You're wasting your time. You'll never make it as a writer. You shouldn't write those things (or even think about those things). Why don't you write something nice? Insert other derogatory comment here! Mark Pierce describes the effect of this experience in his book The Creative Wound, which “occurs when an event, or someone's actions or words, pierce you, causing a kind of rift in your soul. A comment—even offhand and unintentional—is enough to cause one.” He goes on to say that such words can inflict “damage to the core of who we are as creators. It is an attack on our artistic identity, resulting in us believing that whatever we make is somehow tainted or invalid, because shame has convinced us there is something intrinsically tainted or invalid about ourselves.” As adults, we might brush off such wounds, belittling them as unimportant in the grand scheme of things. We might even find ourselves saying the same words to other people. After all, it's easier to criticise than to create. But if you picture your younger self, bright eyed as you lose yourself in your favourite book, perhaps you might catch a glimpse of what you longed for before your dreams were dashed on the rocks of other people's reality. As Mark Pierce goes on to say, “A Creative Wound has the power to delay our pursuits—sometimes for years—and it can even derail our lives completely… Anything that makes us feel ashamed of ourselves or our work can render us incapable of the self-expression we yearn for.” This is certainly what happened to me, and it took decades to unwind. Your creative wounds will differ to mine but perhaps my experience will help you explore your own. To be clear, your Shadow may not reside in elements of horror as mine do, but hopefully you can use my example to consider where your creative wounds might lie. “You shouldn't write things like that.” It happened at secondary school around 1986 or 1987, so I would have been around eleven or twelve years old. English was one of my favourite subjects and the room we had our lessons in looked out onto a vibrant garden. I loved going to that class because it was all about books, and they were always my favourite things. One day, we were asked to write a story. I can't remember the specifics of what the teacher asked us to write, but I fictionalised a recurring nightmare. I stood in a dark room. On one side, my mum and my brother, Rod, were tied up next to a cauldron of boiling oil, ready to be thrown in. On the other side, my dad and my little sister, Lucy, were threatened with decapitation by men with machetes. I had to choose who would die. I always woke up, my heart pounding, before I had to choose. Looking back now, it clearly represented an internal conflict about having to pick sides between the two halves of my family. Not an unexpected issue from a child of divorce. Perhaps these days, I might have been sent to the school counsellor, but it was the eighties and I don't think we even had such a thing. Even so, the meaning of the story isn't the point. It was the reaction to it that left scars. “You shouldn't write things like that,” my teacher said, and I still remember her look of disappointment, even disgust. Certainly judgment. She said my writing was too dark. It wasn't a proper story. It wasn't appropriate for the class. As if horrible things never happened in stories — or in life. As if literature could not include dark tales. As if the only acceptable writing was the kind she approved of. We were taught The Prime of Miss Jean Brodie that year, which says a lot about the type of writing considered appropriate. Or perhaps the issue stemmed from the school motto, “So hateth she derknesse,” from Chaucer's The Legend of Good Women: “For fear of night, so she hates the darkness.” I had won a scholarship to a private girls' school, and their mission was to turn us all into proper young ladies. Horror was never on the curriculum. Perhaps if my teacher had encouraged me to write my darkness back then, my nightmares would have dissolved on the page. Perhaps if we had studied Mary Shelley's Frankenstein, or H.P. Lovecraft stories, or Bram Stoker's Dracula, I could have embraced the darker side of literature earlier in my life. My need to push darker thoughts into my Shadow was compounded by my (wonderful) mum's best intentions. We were brought up on the principles of The Power of Positive Thinking by Norman Vincent Peale and she tried to shield me and my brother from anything harmful or horrible. We weren't allowed to watch TV much, and even the British school drama Grange Hill was deemed inappropriate. So much of what I've achieved is because my mum instilled in me a “can do” attitude that anything is possible. I'm so grateful to her for that. (I love you, Mum!) But all that happy positivity, my desire to please her, to be a good girl, to make my teachers proud, and to be acceptable to society, meant that I pushed my darker thoughts into Shadow. They were inappropriate. They were taboo. They must be repressed, kept secret, and I must be outwardly happy and positive at all times. You cannot hold back the darkness “The night is dark and full of terrors.” —George R.R. Martin, A Storm of Swords It turned out that horror was on the curriculum, much of it in the form of educational films we watched during lessons. In English Literature, we watched Romeo drink poison and Juliet stab herself in Zeffirelli's Romeo and Juliet. In Religious Studies, we watched Jesus beaten, tortured, and crucified in The Greatest Story Ever Told, and learned of the variety of gruesome ways that Christian saints were martyred. In Classical Civilisation, we watched gladiators slaughter each other in Spartacus. In Sex Education at the peak of the AIDS crisis in the mid-'80s, we were told of the many ways we could get infected and die. In History, we studied the Holocaust with images of skeletal bodies thrown into mass graves, medical experiments on humans, and grainy videos of marching soldiers giving the Nazi salute. One of my first overseas school field trips was to the World War I battlegrounds of Flanders Fields in Belgium, where we studied the inhuman conditions of the trenches, walked through mass graves, and read war poetry by candlelight. As John McCrae wrote: We are the Dead. Short days agoWe lived, felt dawn, saw sunset glow,Loved and were loved, and now we lie, In Flanders fields. Did the teachers not realise how deeply a sensitive teenager might feel the darkness of that place? Or have I always been unusual in that places of blood echo deep inside me? And the horrors kept coming. We lived in Bristol, England back then and I learned at school how the city had been part of the slave trade, its wealth built on the backs of people stolen from their homes, sold, and worked to death in the colonies. I had been at school for a year in Malawi, Africa and imagined the Black people I knew drowning, being beaten, and dying on those ships. In my teenage years, the news was filled with ethnic cleansing, mass rape, and massacres during the Balkan wars, and images of bodies hacked apart during the Rwandan genocide. Evil committed by humans against other humans was not a historical aberration. I'm lucky and I certainly acknowledge my privilege. Nothing terrible or horrifying has happened to me — but bad things certainly happen to others. I wasn't bullied or abused. I wasn't raped or beaten or tortured. But you don't have to go through things to be afraid of them, and for your imagination to conjure the possibility of them. My mum doesn't read my fiction now as it gives her nightmares (Sorry, Mum!). I know she worries that somehow she's responsible for my darkness, but I've had a safe and (mostly) happy life, for which I'm truly grateful. But the world is not an entirely safe and happy place, and for a sensitive child with a vivid imagination, the world is dark and scary. It can be brutal and violent, and bad things happen, even to good people. No parent can shield their child from the reality of the world. They can only help them do their best to live in it, develop resilience, and find ways to deal with whatever comes. Story has always been a way that humans have used to learn how to live and deal with difficult times. The best authors, the ones that readers adore and can't get enough of, write their darkness into story to channel their experience, and help others who fear the same. In an interview on writing the Shadow on The Creative Penn Podcast, Michaelbrent Collings shared how he incorporated a personally devastating experience into his writing:  “My wife and I lost a child years back, and that became the root of one of my most terrifying books, Apparition. It's not terrifying because it's the greatest book of all time, but just the concept that there's this thing out there… like a demon, and it consumes the blood and fear of the children, and then it withdraws and consumes the madness of the parents… I wrote that in large measure as a way of working through what I was experiencing.” I've learned much from Michaelbrent. I've read many of his (excellent) books and he's been on my podcast multiple times talking about his depression and mental health issues, as well as difficulties in his author career. Writing darkness is not in Michaelbrent's Shadow and only he can say what lies there for him. But from his example, and from that of other authors, I too learned how to write my Shadow into my books. Twenty-three years after that English lesson, in November 2009, I did NaNoWriMo, National Novel Writing Month, and wrote five thousand words of what eventually became Stone of Fire, my first novel. In the initial chapter, I burned a nun alive on the ghats of Varanasi on the banks of the Ganges River. I had watched the bodies burn by night on pyres from a boat bobbing in the current a few years before, and the image was still crystal clear in my mind. The only way to deal with how it made me feel about death was to write about it — and since then, I've never stopped writing. Returning to the nightmare from my school days, I've never had to choose between the two halves of my family, but the threat of losing them remains a theme in my fiction. In my ARKANE thriller series, Morgan Sierra will do anything to save her sister and her niece. Their safety drives her to continue to fight against evil. Our deepest fears emerge in our writing, and that's the safest place for them. I wish I'd been taught how to turn my nightmares into words back at school, but at least now I've learned to write my Shadow onto the page. I wish the same for you. The Shadow in traditional publishing If becoming an author is your dream, then publishing a book is deeply entwined with that. But as Mark Pierce says in The Creative Wound, “We feel pain the most where it matters the most… Desire highlights whatever we consider to be truly significant.” There is a lot of desire around publishing for those of us who love books! It can give you: Validation that your writing is good enough Status and credibility Acceptance by an industry held in esteem  The potential of financial reward and critical acclaim Support from a team of professionals who know how to make fantastic books A sense of belonging to an elite community Pride in achieving a long-held goal, resulting in a confidence boost and self-esteem Although not guaranteed, traditional publishing can give you all these things and more, but as with everything, there is a potential Shadow side. Denying it risks the potential of being disillusioned, disappointed, and even damaged. But remember, forewarned is forearmed, as the saying goes. Preparation can help you avoid potential issues and help you feel less alone if you encounter them. The myth of success… and the reality of experience There is a pervasive myth of success in the traditional publishing industry, perpetuated by media reporting on brand name and breakout authors, those few outliers whose experience is almost impossible to replicate. Because of such examples, many new traditionally published authors think that their first book will hit the top of the bestseller charts or win an award, as well as make them a million dollars — or at least a big chunk of cash. They will be able to leave their job, write in a beautiful house overlooking the ocean, and swan around the world attending conferences, while writing more bestselling books. It will be a charmed life. But that is not the reality. Perhaps it never was. Even so, the life of a traditionally published author represents a mythic career with the truth hidden behind a veil of obscurity. In April 2023, The Bookseller in the UK reported that “more than half of authors (54%) responding to a survey on their experiences of publishing their debut book have said the process negatively affected their mental health. Though views were mixed, just 22%… described a positive experience overall… Among the majority who said they had a negative experience of debut publication, anxiety, stress, depression and ‘lowered' self-esteem were cited, with lack of support, guidance or clear and professional communication from their publisher among the factors that contributed.” Many authors who have negative experiences around publishing will push them into the Shadow with denial or self-blame, preferring to keep the dream alive. They won't talk about things in public as this may negatively affect their careers, but private discussions are often held in the corners of writing conferences or social media groups online. Some of the issues are as follows: Repeated rejection by agents and publishers may lead to the author thinking they are not good enough as a writer, which can lead to feeling unworthy as a person. If an author gets a deal, the amount of advance and the name and status of the publisher compared to others create a hierarchy that impacts self-esteem. A deal for a book may be much lower than an author might have been expecting, with low or no advance, and the resulting experience with the publisher beneath expectations. The launch process may be disappointing, and the book may appear without fanfare, with few sales and no bestseller chart position. In The Bookseller report, one author described her launch day as “a total wasteland… You have expectations about what publication day will be like, but in reality, nothing really happens.” The book may receive negative reviews by critics or readers or more publicly on social media, which can make an author feel attacked. The book might not sell as well as expected, and the author may feel like it's their fault. Commercial success can sometimes feel tied to self-worth and an author can't help but compare their sales to others, with resulting embarrassment or shame. The communication from the publisher may be less than expected. One author in The Bookseller report said, “I was shocked by the lack of clarity and shared information and the cynicism that underlies the superficial charm of this industry.” There is often more of a focus on debut authors in publishing houses, so those who have been writing and publishing in the midlist for years can feel ignored and undervalued. In The Bookseller report, 48 percent of authors reported “their publisher supported them for less than a year,” with one saying, “I got no support and felt like a commodity, like the team had moved on completely to the next book.” If an author is not successful enough, the next deal may be lower than the last, less effort is made with marketing, and they may be let go. In The Bookseller report, “six authors—debut and otherwise—cited being dropped by their publisher, some with no explanation.” Even if everything goes well and an author is considered successful by others, they may experience imposter syndrome, feeling like a fraud when speaking at conferences or doing book signings. And the list goes on … All these things can lead to feelings of shame, inadequacy, and embarrassment; loss of status in the eyes of peers; and a sense of failure if a publishing career is not successful enough. The author feels like it's their fault, like they weren't good enough — although, of course, the reality is that the conditions were not right at the time. A failure of a book is not a failure of the person, but it can certainly feel like it! When you acknowledge the Shadow, it loses its power Despite all the potential negatives of traditional publishing, if you know what could happen, you can mitigate them. You can prepare yourself for various scenarios and protect yourself from potential fall-out. It's clear from The Bookseller report that too many authors have unrealistic expectations of the industry. But publishers are businesses, not charities. It's not their job to make you feel good as an author. It's their job to sell books and pay you. The best thing they can do is to continue to be a viable business so they can keep putting books on the shelves and keep paying authors, staff, and company shareholders. When you license your creative work to a publisher, you're giving up control of your intellectual property in exchange for money and status. Bring your fears and issues out of the Shadow, acknowledge them, and deal with them early, so they do not get pushed down and re-emerge later in blame and bitterness. Educate yourself on the business of publishing. Be clear on what you want to achieve with any deal. Empower yourself as an author, take responsibility for your career, and you will have a much better experience. The Shadow in self-publishing or being an indie author Self-publishing, or being an independent (indie) author, can be a fantastic, pro-active choice for getting your book into the world. Holding your first book in your hand and saying “I made this” is pretty exciting, and even after more than forty books, I still get excited about seeing ideas in my head turn into a physical product in the world. Self-publishing can give an author: Creative control over what to write, editorial and cover design choices, when and how often to publish, and how to market Empowerment over your author career and the ability to make choices that impact success without asking for permission Ownership and control of intellectual property assets, resulting in increased opportunity around licensing and new markets Independence and the potential for recurring income for the long term Autonomy and flexibility around timelines, publishing options, and the ability to easily pivot into new genres and business models Validation based on positive reader reviews and money earned Personal growth and learning through the acquisition of new skills, resulting in a boost in confidence and self-esteem A sense of belonging to an active and vibrant community of indie authors around the world Being an indie author can give you all this and more, but once again, there is a Shadow side and preparation can help you navigate potential issues. The myth of success… and the reality of experience As with traditional publishing, the indie author world has perpetuated a myth of success in the example of the breakout indie author like E.L. James with Fifty Shades of Grey, Hugh Howey with Wool, or Andy Weir with The Martian. The emphasis on financial success is also fuelled online by authors who share screenshots showing six-figure months or seven-figure years, without sharing marketing costs and other outgoings, or the amount of time spent on the business. Yes, these can inspire some, but it can also make others feel inadequate and potentially lead to bad choices about how to publish and market based on comparison. The indie author world is full of just as much ego and a desire for status and money as traditional publishing. This is not a surprise! Most authors, regardless of publishing choices, are a mix of massive ego and chronic self-doubt. We are human, so the same issues will re-occur. A different publishing method doesn't cure all ills. Some of the issues are as follows: You learn everything you need to know about writing and editing, only to find that you need to learn a whole new set of skills in order to self-publish and market your book. This can take a lot of time and effort you did not expect, and things change all the time so you have to keep learning. Being in control of every aspect of the publishing process, from writing to cover design to marketing, can be overwhelming, leading to indecision, perfectionism, stress, and even burnout as you try to do all the things. You try to find people to help, but building your team is a challenge, and working with others has its own difficulties. People say negative things about self-publishing that may arouse feelings of embarrassment or shame. These might be little niggles, but they needle you, nonetheless. You wonder whether you made the right choice. You struggle with self-doubt and if you go to an event with traditional published authors, you compare yourself to them and feel like an imposter. Are you good enough to be an author if a traditional publisher hasn't chosen you? Is it just vanity to self-publish? Are your books unworthy? Even though you worked with a professional editor, you still get one-star reviews and you hate criticism from readers. You wonder whether you're wasting your time. You might be ripped off by an author services company who promise the world, only to leave you with a pile of printed books in your garage and no way to sell them. When you finally publish your book, it languishes at the bottom of the charts while other authors hit the top of the list over and over, raking in the cash while you are left out of pocket. You don't admit to over-spending on marketing as it makes you ashamed. You resist book marketing and make critical comments about writers who embrace it. You believe that quality rises to the top and if a book is good enough, people will buy it anyway. This can lead to disappointment and disillusionment when you launch your book and it doesn't sell many copies because nobody knows about it. You try to do what everyone advises, but you still can't make decent money as an author. You're jealous of other authors' success and put it down to them ‘selling out' or writing things you can't or ‘using AI' or ‘using a ghostwriter' or having a specific business model you consider impossible to replicate. And the list goes on… When you acknowledge the Shadow, it loses its power Being in control of your books and your author career is a double-edged sword. Traditionally published authors can criticise their publishers or agents or the marketing team or the bookstores or the media, but indie authors have to take responsibility for it all. Sure, we can blame ‘the algorithms' or social media platforms, or criticise other authors for having more experience or more money to invest in marketing, or attribute their success to writing in a more popular genre — but we also know there are always people who do well regardless of the challenges. Once more, we're back to acknowledging and integrating the Shadow side of our choices. We are flawed humans. There will always be good times and bad, and difficulties to offset the high points. This too shall pass, as the old saying goes. I know that being an indie author has plenty of Shadow. I've been doing this since 2008 and despite the hard times, I'm still here. I'm still writing. I'm still publishing. This life is not for everyone, but it's my choice. You must make yours. The Shadow in work You work hard. You make a living. Nothing wrong with that attitude, right? It's what we're taught from an early age and, like so much of life, it's not a problem until it goes to extremes. Not achieving what you want to? Work harder. Can't get ahead? Work harder. Not making a good enough living? Work harder. People who don't work hard are lazy. They don't deserve handouts or benefits. People who don't work hard aren't useful, so they are not valued members of our culture and community. But what about the old or the sick, the mentally ill, or those with disabilities? What about children? What about the unemployed? The under-employed? What about those who are — or will be — displaced by technology, those called “the useless class” by historian Yuval Noah Harari in his book Homo Deus? What if we become one of these in the future? Who am I if I cannot work? The Shadow side of my attitude to work became clear when I caught COVID in the summer of 2021. I was the sickest I'd ever been. I spent two weeks in bed unable to even think properly, and six weeks after that, I was barely able to work more than an hour a day before lying in the dark and waiting for my energy to return. I was limited in what I could do for another six months after that. At times, I wondered if I would ever get better. Jonathan kept urging me to be patient and rest. But I don't know how to rest. I know how to work and how to sleep. I can do ‘active rest,' which usually involves walking a long way or traveling somewhere interesting, but those require a stronger mind and body than I had during those months. It struck me that even if I recovered from the virus, I had glimpsed my future self. One day, I will be weak in body and mind. If I'm lucky, that will be many years away and hopefully for a short time before I die — but it will happen. I am an animal. I will die. My body and mind will pass on and I will be no more. Before then I will be weak. Before then, I will be useless. Before then, I will be a burden. I will not be able to work… But who am I if I cannot work? What is the point of me? I can't answer these questions right now, because although I recognise them as part of my Shadow, I've not progressed far enough to have dealt with them entirely. My months of COVID gave me some much-needed empathy for those who cannot work, even if they want to. We need to reframe what work is as a society, and value humans for different things, especially as technology changes what work even means. That starts with each of us. “Illness, affliction of body and soul, can be life-altering. It has the potential to reveal the most fundamental conflict of the human condition: the tension between our infinite, glorious dreams and desires and our limited, vulnerable, decaying physicality.” —Connie Zweig, The Inner Work of Age: Shifting from Role to Soul The Shadow in money In the Greek myth, King Midas was a wealthy ruler who loved gold above all else. His palace was adorned with golden sculptures and furniture, and he took immense pleasure in his riches. Yet, despite his vast wealth, he yearned for more. After doing a favour for Dionysus, the god of wine and revelry, Midas was granted a single wish. Intoxicated by greed, he wished that everything he touched would turn to gold — and it was so. At first, it was a lot of fun. Midas turned everything else in his palace to gold, even the trees and stones of his estate. After a morning of turning things to gold, he fancied a spot of lunch. But when he tried to eat, the food and drink turned to gold in his mouth. He became thirsty and hungry — and increasingly desperate. As he sat in despair on his golden throne, his beloved young daughter ran to comfort him. For a moment, he forgot his wish — and as she wrapped her arms around him and kissed his cheek, she turned into a golden statue, frozen in precious metal. King Midas cried out to the gods to forgive him, to reverse the wish. He renounced his greed and gave away all his wealth, and his daughter was returned to life. The moral of the story: Wealth and greed are bad. In Charles Dickens's A Christmas Carol, Ebenezer Scrooge is described as a “squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner.” He's wealthy but does not share, considering Christmas spending to be frivolous and giving to charity to be worthless. He's saved by a confrontation with his lonely future and becomes a generous man and benefactor of the poor. Wealth is good if you share it with others. The gospel of Matthew, chapter 25: 14-30, tells the parable of the bags of gold, in which a rich man goes on a journey and entrusts his servants with varying amounts of gold. On his return, the servants who multiplied the gold through their efforts and investments are rewarded, while the one who merely returned the gold with no interest is punished: “For whoever has will be given more, and they will have an abundance. Whoever does not have, even what they have will be taken from them.” Making money is good, making more money is even better. If you can't make any money, you don't deserve to have any. Within the same gospel, in Matthew 19:24, Jesus encounters a wealthy man and tells him to sell all his possessions and give the money to the poor, which the man is unable to do. Jesus says, “It is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God.” Wealth is bad. Give it all away and you'll go to heaven. With all these contradictory messages, no wonder we're so conflicted about money! How do you think and feel about money? While money is mostly tied to our work, it's far more than just a transactional object for most people. It's loaded with complex symbolism and judgment handed down by family, religion, and culture. You are likely to find elements of Shadow by examining your attitudes around money. Consider which of the following statements resonate with you or write your own. Money stresses me out. I don't want to talk about it or think about it. Some people hoard money, so there is inequality. Rich people are bad and we should take away their wealth and give it to the poor.  I can never make enough money to pay the bills, or to give my family what I want to provide. Money doesn't grow on trees.  It's wasteful to spend money as you might need it later, so I'm frugal and don't spend money unless absolutely necessary. It is better and more ethical to be poor than to be rich. I want more money. I read books and watch TV shows about rich people because I want to live like that. Sometimes I spend too much on things for a glimpse of what that might be like.  I buy lottery tickets and dream of winning all that money.  I'm jealous of people who have money. I want more of it and I resent those who have it. I'm no good with money. I don't like to look at my bank statement or credit card statement. I live off my overdraft and I'm in debt. I will never earn enough to get out of debt and start saving, so I don't think too much about it. I don't know enough about money. Talking about it makes me feel stupid, so I just ignore it. People like me aren't educated about money.  I need to make more money. If I can make lots of money, then people will look up to me. If I make lots of money, I will be secure, nothing can touch me, I will be safe.  I never want to be poor. I would be ashamed to be poor. I will never go on benefits. My net worth is my self worth. Money is good. We have the best standard of living in history because of the increase in wealth over time. Even the richest kings of the past didn't have what many middle-class people have today in terms of access to food, water, technology, healthcare, education, and more. The richest people give the most money to the poor through taxation and charity, as well as through building companies that employ people and invent new things. The very richest give away much of their fortunes. They provide far more benefit to the world than the poor.  I love money. Money loves me. Money comes easily and quickly to me. I attract money in multiple streams of income. It flows to me in so many ways. I spend money. I invest money. I give money. I'm happy and grateful for all that I receive. The Shadow around money for authors in particular Many writers and other creatives have issues around money and wealth. How often have you heard the following, and which do you agree with? You can't make money with your writing. You'll be a poor author in a garret, a starving artist.  You can't write ‘good quality' books and make money. If you make money writing, you're a hack, you're selling out. You are less worthy than someone who writes only for the Muse. Your books are commercial, not artistic. If you spend money on marketing, then your books are clearly not good enough to sell on their own. My agent / publisher / accountant / partner deals with the money side. I like to focus on the creative side of things. My money story Note: This is not financial or investment advice. Please talk to a professional about your situation. I've had money issues over the years — haven't we all! But I have been through a (long) process to bring money out of my Shadow and into the light. There will always be more to discover, but hopefully my money story will help you, or at least give you an opportunity to reflect. Like most people, I didn't grow up with a lot of money. My parents started out as teachers, but later my mum — who I lived with, along with my brother — became a change management consultant, moving to the USA and earning a lot more. I'm grateful that she moved into business because her example changed the way I saw money and provided some valuable lessons. (1) You can change your circumstances by learning more and then applying that to leverage opportunity into a new job or career Mum taught English at a school in Bristol when we moved back from Malawi, Africa, in the mid '80s but I remember how stressful it was for her, and how little money she made. She wanted a better future for us all, so she took a year out to do a master's degree in management. In the same way, when I wanted to change careers and leave consulting to become an author, I spent time and money learning about the writing craft and the business of publishing. I still invest a considerable chunk on continuous learning, as this industry changes all the time. (2) You might have to downsize in order to leap forward The year my mum did her degree, we lived in the attic of another family's house; we ate a lot of one-pot casserole and our treat was having a Yorkie bar on the walk back from the museum. We wore hand-me-down clothes, and I remember one day at school when another girl said I was wearing her dress. I denied it, of course, but there in back of the dress was her name tag. I still remember her name and I can still feel that flush of shame and embarrassment. I was determined to never feel like that again. But what I didn't realize at the time was that I was also learning the power of downsizing. Mum got her degree and then a new job in management in Bristol. She bought a house, and we settled for a few years. I had lots of different jobs as a teenager. My favourite was working in the delicatessen because we got a free lunch made from delicious produce. After I finished A-levels, I went to the University of Oxford, and my mum and brother moved to the USA for further opportunities. I've downsized multiple times over the years, taking a step back in order to take a step forward. The biggest was in 2010 when I decided to leave consulting. Jonathan and I sold our three-bedroom house and investments in Brisbane, Australia, and rented a one-bedroom flat in London, so we could be debt-free and live on less while I built up a new career. It was a decade before we bought another house. (3) Comparison can be deadly: there will always be people with more money than you Oxford was an education in many ways and relevant to this chapter is how much I didn't know about things people with money took for granted. I learned about formal hall and wine pairings, and how to make a perfect gin and tonic. I ate smoked salmon for the first time. I learned how to fit in with people who had a lot more money than I did, and I definitely wanted to have money of my own to play with. (4) Income is not wealth You can earn lots but have nothing to show for it after years of working. I learned this in my first few years of IT consulting after university. I earned a great salary and then went contracting, earning even more money at a daily rate. I had a wonderful time. I traveled, ate and drank and generally made merry, but I always had to go back to the day job when the money ran out. I couldn't work out how I could ever stop this cycle. Then I read Rich Dad, Poor Dad by Robert Kiyosaki, a book I still recommend, especially if you're from a family that values academic over financial education. I learned how to escape the rat race by building and/or accumulating assets that pay even when you're not working. It was a revelation! The ‘poor dad' in the book is a university professor. He knows so much about so many things, but he ends up poor as he did not educate himself about money. The ‘rich dad' has little formal education, but he knows about money and wealth because he learned about it, as we can do at any stage in our lives. (5) Not all investments suit every person, so find the right one for you Once I discovered the world of investing, I read all the books and did courses and in-person events. I joined communities and I up-skilled big time. Of course, I made mistakes and learned lots along the way. I tried property investing and renovated a couple of houses for rental (with more practical partners and skilled contractors). But while I could see that property investing might work for some people, I did not care enough about the details to make it work for me, and it was certainly not passive income. I tried other things. My first husband was a boat skipper and scuba diving instructor, so we started a charter. With the variable costs of fuel, the vagaries of New Zealand weather — and our divorce — it didn't last long! From all these experiments, I learned I wanted to run a business, but it needed to be online and not based on a physical location, physical premises, or other people. That was 2006, around the time that blogging started taking off and it became possible to make a living online. I could see the potential and a year later, the iPhone and the Amazon Kindle launched, which became the basis of my business as an author. (6) Boring, automatic saving and investing works best Between 2007 and 2011, I contracted in Australia, where they have compulsory superannuation contributions, meaning you have to save and invest a percentage of your salary or self-employed income. I'd never done that before, because I didn't understand it. I'd ploughed all my excess income into property or the business instead. But in Australia I didn't notice the money going out because it was automatic. I chose a particular fund and it auto-invested every month. The pot grew pretty fast since I didn't touch it, and years later, it's still growing. I discovered the power of compound interest and time in the market, both of which are super boring. This type of investing is not a get rich quick scheme. It's a slow process of automatically putting money into boring investments and doing that month in, month out, year in, year out, automatically for decades while you get on with your life. I still do this. I earn money as an author entrepreneur and I put a percentage of that into boring investments automatically every month. I also have a small amount which is for fun and higher risk investments, but mostly I'm a conservative, risk-averse investor planning ahead for the future. This is not financial advice, so I'm not giving any specifics. I have a list of recommended money books at www.TheCreativePenn.com/moneybooks if you want to learn more. Learning from the Shadow When I look back, my Shadow side around money eventually drove me to learn more and resulted in a better outcome (so far!). I was ashamed of being poor when I had to wear hand-me-down clothes at school. That drove a fear of not having any money, which partially explains my workaholism. I was embarrassed at Oxford because I didn't know how to behave in certain settings, and I wanted to be like the rich people I saw there. I spent too much money in my early years as a consultant because I wanted to experience a “rich” life and didn't understand saving and investing would lead to better things in the future. I invested too much in the wrong things because I didn't know myself well enough and I was trying to get rich quick so I could leave my job and ‘be happy.' But eventually, I discovered that I could grow my net worth with boring, long-term investments while doing a job I loved as an author entrepreneur. My only regret is that I didn't discover this earlier and put a percentage of my income into investments as soon as I started work. It took several decades to get started, but at least I did (eventually) start. My money story isn't over yet, and I keep learning new things, but hopefully my experience will help you reflect on your own and avoid the issue if it's still in Shadow. These chapters are excerpted from Writing the Shadow: Turn Your Inner Darkness Into Words by Joanna Penn  The post Writing The Shadow: The Creative Wound, Publishing, And Money, With Joanna Penn first appeared on The Creative Penn.

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