Podcasts about compelling

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

Minutes before 51-year-old convicted murderer Cedric Ricks died by lethal injection last night, he had more than just a few final words, he had a long, emotional statement directed at the family he devastated. Ricks not only repeatedly apologized for fatally stabbing his girlfriend and her 8-year-old son 13 years ago, but directed much of his emotional plea for forgiveness at her surviving son who witnessed his execution. See omnystudio.com/listener for privacy information.

Minutes before 51-year-old convicted murderer Cedric Ricks died by lethal injection last night, he had more than just a few final words, he had a long, emotional statement directed at the family he devastated. Ricks not only repeatedly apologized for fatally stabbing his girlfriend and her 8-year-old son 13 years ago, but directed much of his emotional plea for forgiveness at her surviving son who witnessed his execution. See omnystudio.com/listener for privacy information.

Minutes before 51-year-old convicted murderer Cedric Ricks died by lethal injection last night, he had more than just a few final words, he had a long, emotional statement directed at the family he devastated. Ricks not only repeatedly apologized for fatally stabbing his girlfriend and her 8-year-old son 13 years ago, but directed much of his emotional plea for forgiveness at her surviving son who witnessed his execution. See omnystudio.com/listener for privacy information.

Minutes before 51-year-old convicted murderer Cedric Ricks died by lethal injection last night, he had more than just a few final words, he had a long, emotional statement directed at the family he devastated. Ricks not only repeatedly apologized for fatally stabbing his girlfriend and her 8-year-old son 13 years ago, but directed much of his emotional plea for forgiveness at her surviving son who witnessed his execution. See omnystudio.com/listener for privacy information.

Carl Fudge has fundamentally transformed how entrepreneurs approach fundraising by recognizing that the most compelling pitch is not a technical recitation but a carefully crafted narrative that speaks to human aspirations and needs. At its core, his philosophy reveals that investors are searching for companies with extraordinary return potential, not detailed product specifications. By balancing creativity with credibility, by contextualizing innovation within existing technologies and human psychology, Carl demonstrates that what initially seems far-fetched becomes not only believable but inevitable. Beyond the mechanics of storytelling, Carl's personal journey reveals someone driven by a chip on his shoulder and a commitment to continuous improvement. He remains genuinely grateful for every client opportunity, never taking his business for granted despite its clear value in the market. What distinguishes. His work with presentation coaches and his attention to every detail of delivery, from vocal tone to body language, reflects someone who understands that excellence requires intentionality across all dimensions of communication. For founders ready to transform their fundraising approach and embrace the power of authentic storytelling, Carl Fudge's methodology offers a proven pathway to success. If you're prepared to move beyond traditional pitch decks and unlock the full potential of your vision through strategic storytelling and professional presentation coaching, visit presentationmode.co to discover how intentional narrative design and delivery preparation can materially impact your fundraising success and give your company the competitive edge it deserves. For the accessible version of the podcast, go to our Ziotag gallery.We're happy you're here! Like the pod?Support the podcast and receive discounts from our sponsors: https://yourbrandamplified.codeadx.me/Leave a rating and review on your favorite platformFollow @yourbrandamplified on the socialsTalk to my digital avatar Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Carl Fudge has built his career on this principle, understanding that the central challenge founders face is not passion or product knowledge, but expertise itself. This creates an information overload problem where founders drown audiences in details instead of distilling their vision into digestible, compelling narratives. The solution requires both authorship and editing mindsets working in concert. Storytelling is not a soft skill but a hard business imperative in a crowded, capital-constrained fundraising landscape where investors are overwhelmed with pitches and attention-starved. Carl's philosophy transcends business strategy and enters the realm of personal values and organizational culture. His journey from fear-based institutions—where anxiety-driven pressure and up-or-out cultures extracted a physical and emotional toll—to founding his own company reflects a profound awakening: external markers of success like titles and income are hollow compared to alignment between your values and daily work. This realization, which came through therapy and deep self-examination, became the catalyst for building an organization operating according to his principles rather than trying to fit into systems misaligned with who he is. Work with a partner who can be an editor, thought partner, coach, and clarifier—especially at pivotal moments like fundraising, industry talks, or critical sales decks where your narrative can disproportionately impact your trajectory. At these inflection points, having someone who asks the right questions and helps you discover your own clarity is invaluable. For founders seeking to master storytelling as a hard business skill and learn more about strategic narrative partnerships, discover their approach at presentationmode.co. For the accessible version of the podcast, go to our Ziotag gallery.We're happy you're here! Like the pod?Support the podcast and receive discounts from our sponsors: https://yourbrandamplified.codeadx.me/Leave a rating and review on your favorite platformFollow @yourbrandamplified on the socialsTalk to my digital avatar Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In our fifth session, we will discuss the distinctions between two types of community in gospel preaching and evangelical churches: Gospel-Plus community and Gospel-Revealing community.

Because Jesus is risen, the Spirit forms a compelling community marked by truth, shared life, prayer, and transforming grace.

Matt Spiegel and Laurence Holmes discussed the compelling storylines in the upcoming World Baseball Classic.

Rogers for America with Lt. Steve Rogers – At the birth of our nation, Benjamin Franklin, John Adams, Thomas Jefferson, and other American leaders believed that term limits would prevent political office holders from obsessing with the “trappings of the office.” They believed that term limits would strengthen our nation by limiting the time served by all elected political office holders...

In our fourth session, we will discuss our new identity in Christ as God's image bearers.

Municipals still offer attractive tax-adjusted yields even after strong YTD net fund flows.   Follow Us Twitter @NYLInvestments Twitter @MacKayMuniMgrs Facebook @NYLInvestments LinkedIn: New York Life Investments LinkedIn: MacKay Municipal Managers Presented by New York Life Investmentswww.newyorklifeinvestments.com   MacKay Municipal Managers is a team of portfolio managers at MacKay Shields. MacKay Shields is 100% owned by NYLIM Holdings, which is wholly owned by New York Life Insurance Company. “New York Life Investments” is both a service mark, and the common trade name, of certain investment advisors affiliated with New York Life Insurance Company. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

STONE COLD GUILTY - The People v. Scott Lee PetersonWhat Stone Cold Guilty can offer that will set it apart from other books on the case includes - intimate, accessible, real-time reporting and analysis that did not appear in mainstream media. - Compelling evidence that Laci was already dead and had been taken to the Bay before 10:08 am December 24, 2002 - That Peterson made two trips to the San Francisco Bay and why the prosecutors did not present that theory at trial. - Peterson self-sabotaged the "perfect crime" because of his personality. - Fruit of the investigation that was not introduced (or not admitted) at trial, including results of the various dog tracking, sonar findings, and specific deep-water research on Peterson's computer. - An exclusive series chronicling the underwater investigation, with photographs, charts and expert narrative provided by Gene Ralston, head of Ralston & Associates, a side-scan sonar expert involved in the search for Laci Peterson.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Ministering Across India's Caste System: Foot Washing, Honor, and Gospel IdentityAfter some quick State of the Union takes Sean interviews Nitin and Jit from India about their ministry in the context of India's caste system, explaining the Hindu belief that people are created into fixed castes that cannot be changed and how this shapes ministry. Nitin describes beginning work among poor, oppressed groups and intentionally learning their belief systems, culture, leadership, oral traditions, and worship practices to bridge the gospel, leading to outreach among 43 people groups in 13 languages and transformed lives. They highlight foot washing as a core biblical strategy, helping people heal from caste-based shame and recover God-given identity as children of the Lord. The ministry also emphasizes honoring people through acts like foot washing, shawls, and garlands to communicate love and acceptance without discrimination, and it has begun bearing fruit among high-caste Brahman religious leaders.00:00 Meet Nitin and Jit16:50 Understanding the Caste System17:47 Starting with the Poor18:28 Bridging Gospel and Culture19:07 Foot Washing as Strategy19:42 Restoring Identity and Healing20:36 Honor and Radical Welcome21:29 Reaching Brahman Leaders22:01 Gurus Respond to the Gospel22:10 Closing ThoughtsTranscript of Interview:I'm here with Nitin and Jit from India, our good friends who are such a blessing and have been with us. We're very grateful. Thanks for being with us. Thank you, Nitin. We'll start with you. You guys have a very unique ministry in India and it's a very different place to minister. Can you start by explaining a little bit of the cast system, because it really instructs a lot how you do ministry.Tell us a little bit about the caste system and how it works. Thank you for asking that question. India, we have caste system. Most of the Hindus believe in the caste system. The creator God Brahma, created Braman pri from his head, from one shoulder came warriors and kings and another shoulder business people from his belly created commoner from one feet tribal and from another feed untouchable.This is the caste system of India. The creator, God, sit at this cast in creation. So you cannot change your cast no matter how much education you may have, no matter how much wealth you have. You born and die in same cost and that shapes a whole lot of the limitations of ministry. You guys have done some really interesting things now, when you began, your ministry specifically began as a ministry to the poor.To that, those untouchables, that lower caste how did you start ministry there? 'cause you now have a lot of places. You guys have really grown and ministering, planted churches. How? Did you start with the poor and why did you start there? Poor people in India, they are suppressed by the caste system.They don't have a whole lot with them. And we want gospel to penetrate their heart, change their identity, their worldview, and they may see the creator God his plan for their life and purpose for their life. And so we began with the premature tribe and reached, started working with them. The way we minister to them, understand the belief system, their culture, leadership structure, their oral tradition, their musical instrument, the date is the worship, and then try to bridge gospel with them and God bless us to reach out 43 different people group and 13 different languages.And they are responding to the gospel. Their life is transformed by the power of gospel and they see hope in their situation. Yeah. One of the things you guys do that is so compelling, and I think in your setting because of the caste system, it's really deeply significant. You've carried the biblical practice of foot washing.And it's not just a thing you do as a ceremony. It's a major strategy. And when you stop and think about the caste system and the inherent humility and the foot washing it, it makes such sense. Tell a little bit about why you do that and how that has impacted your ministry. A two lead person know what is the worth of that person because.System stolen, God-given identity, and they always looked down upon those people. And in biblical bill system, when Jesus washed in John 13 disciple feet and he commanded all of us to wash other people's feet. We felt that God is telling us to wash the people's feet so that he can take all the unshared pain they carry in their life because of the caste system, and they get a true identity in the Lord and they understand the way God view them and accept that standard, not the standard of which people look upon them.And so God is. Shaping their life, transforming their heart, but giving them new identity. They are the children of the Lord who deeply care for them, and he has destiny for them in heaven With him, y you have a unique emphasis on honor. Your ministry, it's very humbling to go and minister with you guys.It's wonderful. But you very much show honor to your guests and honor to the people there. What is happening there and why are you doing that so intentionally because we wanted to see that different kind of law, a uniqueness in the, when you are Christian and love by Christian, it is a deep need in the community to beside food and shelter.The biggest need of any human being is loved and cared by. They are significant people in the community. And we want to wash their feet, give them shawl, give them garland so that they feel that they're precious in the sight of the Lord, and they're accepted without g creed, color, and any discrimination.And you feel that, yes, you feel that there's such a neat spirit. One of the things that is interesting because of the caste system, many people, because there's such need among the poor, many people administered the poor. We all are familiar with the ministry of Mother Teresa and her ministry.You've done something rather. Unique though, and my first exposure to it was when we were with you a couple years ago, it's your ministry to the religious leaders who are of the Brahman cast, that's the highest cast. And you're seeing some amazing fruit of the gospel and using the Lord's Prayer among that cast.Tell us a little bit about that. God started working among these Brahman gurus. These Brahman gurus came from very rich background. Having knowledge. Their PhDs, they have so much wealth under them. Many run hospitals, schools, and thousands of people touching their feet every day to seek their blessing.But God reveling to them in the dreams, one of the guru God dream, three days in the row that he is one step away from burning hell. That terrified him because of the dream, and he understood that wealth. The knowledge is not going to save his soul, right? So he left barefooted from his temple and we found him, and he's working with us right now.Through him. We started with working with other Brahmans and we found many Brahman gurus coming to know the Lord and they understand the repercussion of the caste system on people's life, the way people were ated in the system, how they were suppressed down and stolen, the God-given identity. Now they are washing the feet of Dali.Tribal and untouchable, and they are sharing gospel to their own community. The saving grace has a power. God Gospel has a power to transform different community, and we unite India together in the body of Christ. So we can see that India is separated by the language, by the caste system, but the gospel is uniting people together.Yeah. And we will see India coming together in the body of Christ. That is so powerful. And for us here, it's hard for us to envision. The impact of a Brahman guru washing the feet of someone from the untouchable cast. And so it, it's just very impactful to see that. And you've seen numerous of these gurus for our audience tell, just gimme a minute or less on what a guru is so they understand.It's mo we think of gurus. That's a kind of foreign topic the way we say it. This is Ajit. Ajit. Why don't you tell us that gurus in our context are the leaders. Teachers, so they are the one who gave spiritual teachings and insights for their followers. Okay. So in the Brahman cast, you said they believe in one overall creator.Is that correct? One overall creator. So the Christian faith is a little easier for them to understand the one creator through Jesus Christ if we see and understand each person's soul. Needs a savior, right? Whether we go in any religion, the ultimate thing is like the soul needs a savior. And that's a spiritual hunger.Yeah. That's a spiritual destiny. And when we look at that, there can be only one savior. Yeah. One destination. And that's where we come alongside and say that there is a savior. Will help you fulfill your destiny to reach your greater God. Right Now, some of the things you guys have done have made some of the church people a little uncomfortable 'cause it's outside the box.This is definitely not normal missions work. Talk about that a little bit. We have seen, we sometime we have critical view. If somebody become a Christian, he should be clothing like us. He should talk like us. He should worship like us. It, of seeing that surface thing. So we allow people to wear their customs, their way of life in the sense of the way they cloth the way they do their hair.And we don't come against that, but we want to see that their heart is transformed and we allow them to remain in their clothing and their color. Everything belongs to God. And God can use every person for his glory. We don't have to see the color of their cap, what kind of shirts they're wearing, how long their hair is, or what kind of dots on their forehead of that.Seeing every person is created in God's image and loving them. And when he created, everything was beautiful. Yeah. And to see an individual, a leader, dressed in his robes as a guru. He's leading people in worship of Jesus is a powerful thing. You guys had a big community meeting some Muslims that was there at the time of prayer in one of your, one of your centers, and you let them have their Muslim prayers in your center.That's right. And some people can't envision you loving that way. For the purpose of ultimately sharing the gospel and sharing the love of Jesus after letting them pray in our building, we wash their feet. We share gospel with them. And the god's love is so compelling at that. When you wash somebody's feet, it is a.Compelling, but non-threatening way to witness Christ. Oh, yeah. Without a doubt. Being there is an incredible thing. In November, we have a group going to work with you guys and we don't put your names in the neighbor of your mid ministry over the broadcast, out over the air because persecution.It's a real thing, but if they want people wanna find out more, you can contact us@reallife.org. You can shoot an email to us and we can let you know about, and you can come and find out, our trips fill up fast. So I don't know that there'll be space, but you can at least find out about this great ministry and more about our partnership with this wonderful group in India.Thank you guys for being with us. Thank you.

What if confidence isn't something you're born with, but something you can practice into existence? In this episode, I sit down with world-renowned voice coach Caroline Goyder to break down the science and strategy behind powerful speaking. With over 9 million views on her TED Talk, Caroline shares how she went from being told she had “no presence” and a “thin voice” at drama school to becoming one of the most trusted experts in voice, gravitas, and executive presence. We also dive into breathing techniques that override your nervous system, the "Mafia secret" to stage presence, and why the most magnetic speakers are often the ones who try the least. Tune in to learn how to command any room with stillness and breath. In This Episode You Will Learn Why CONFIDENCE is a set of behaviors, not a personality trait. The "Mafia Secret" to why the most powerful person moves the least. Why LENGTHENING your exhale calms anxiety in time. How to use your DIAPHRAGM to project without straining your voice. How PAUSES serve as the most underrated speaking tool. Why standing up during virtual meetings changes your digital PRESENCE. Why introverts can be the most COMPELLING speakers in the room. The mindset shift that takes you from ANXIETY to AUTHORITY. Check Out Our Sponsors: Shopify - Sign up for a one-dollar-per-month trial period at shopify.com/monahan Quince - Step into the holiday season with layers made to feel good and last from Quince. Go to quince.com/confidence Timeline - Get 10% off your first Mitopure order at timeline.com/CONFIDENCE. Northwest Registered Agent - protect your privacy, build your brand and get your complete business identity in just 10 clicks and 10 minutes! Visit https://www.northwestregisteredagent.com/confidencefree Resources + Links Learn more at https://carolinegoyder.com/ Call my digital clone at 201-897-2553!  Visit heathermonahan.com Sign up for my mailing list: heathermonahan.com/mailing-list/  Overcome Your Villains is Available NOW! Order here: https://overcomeyourvillains.com  If you haven't yet, get my first book Confidence Creator Follow Heather on Instagram & LinkedIn Caroline on Instagram & LinkedIn

Chairs: Stephanie Joachim Speakers: Artemis Matsou and Mayank Nanavaty With Introduction From ESCRS President, Burkhard Dick.  In this interview-style webinar launching the Medical Writing series, two experienced medical writers will share how they progressed from writing their very first manuscript to producing high-quality scientific papers. They will reflect on early challenges, rejections, and key lessons learned, and discuss how their writing process has evolved over time. Through insights and practical examples, this session will offer valuable guidance and inspiration for researchers at all career stages who aim to publish with confidence.

It's one of the most sobering warnings in the New Testament: "If the world hates you, keep in mind that it hated me first."In this episode, we sit down in the intimate, dimly lit space of the Upper Room Discourse (John 13–17) to explore Jesus' final, radical instructions to His disciples.     While the world often views "being liked" as the ultimate social currency, Jesus prepares His followers for the exact opposite. We're breaking down why the world's friction isn't a sign of failure, but a sign of belonging.

Pastor Jake speaks on being the Compelling Alternative in the world

Shep explains how the sport of hockey kickstarted a USA vs. World type of movement last year when they held the 4 Nations Face-Off tournament. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Joseph Sternberg analyzes Prime Minister Keir Starmer's crash and burn scenario despite a large parliamentary majority, weakened by scandals and party infighting, with survival relying on the lack of compelling alternatives while constant policy reversals leave his government unable to foster growth.1900 NETHERLANDS

Steve welcomes Pastors Eric and Justin from Sound the Shofar Messianic Ministries for a compelling look at portals, wormholes, and more. Find the Pastors on the web: https://www.facebook.com/groups/123168699032724 and Pastor Eric's books on Amazon: https://amzn.to/3UWnx7GBecome a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

In my recent article, I spoke to you about Mark Carney's wonderful talk at Davos and explained the structure he used to deliver it. Now let me tell you about how Volodymyr Zelenskyy's talk used the same format in his emotional appeal to Europe and the World for help for his people. His opening lines followed a classic format used by all good speakers. He speaks about something familiar to the audience that would immediately get their attention. Then he proceeded to talk about something that would gain their interest. See how he did this below: Attention: "Dear friends, everyone remembers the great American film, "Groundhog Day" with Bill Murray and Andie McDowell, yes, but no one would want to live like that, repeating the same thing for weeks, months, and, of course, for years." Interest: "And yet, that's exactly how we live now. It's our life and every Forum like this one proves it. Just last year, here in Davos, I ended my speech with the words, Europe needs to know how to defend itself. A year has passed and nothing has changed. We are still in a situation where I must say the same words, but why?" Main Body of the talk: This would be what I call the conviction part of the talk. He then provided examples of where countries could take action. A year has passed and nothing has happened Things move faster than Europe's decision making Europe must build a better world Without action there is no tomorrow Zelenskyy provides lots of examples of how support could be provided to Ukraine, and I will leave it to you to listen to his speech after reading this article. In my view, he provided too many suggestions, which often leads people to think this is insurmountable and so end up doing nothing. There is an old Irish proverb which says 'Do not send a man into a shed full of shovels and ask him to take his pick.' Suggesting a desired outcome is a critical part of all speeches that call for Action Desirable Outcome: "Ukraine is ready to help with anything that is needed to guarantee peace and prevent destruction. We are ready to help others become stronger than they are now. We are ready to be part of a Europe that truly matters, a Europe of real power, Today, we need that power to protect our own independence, but you need Ukraine's independence too, because tomorrow, you may have to defend your way of life, and when Ukraine is with you, no one will wipe their feet on you and you will always have a way to act and act in time." Call for Action: Here, Zelenskyy is pleading with powerful people to take action, and he ends his speech by bringing us back to where he started, appealing to leaders to act. "This is very important, act in time. Dear friends, today is one of the last days of Davos, though definitely not the last Davos, of course, and everyone agrees on that and many people believe that somehow things will work out on their own, but we cannot rely on 'somehow' for real security." "Faith is not enough. Faith in a partner in a lucky turn of events, no intellectual discussions are capable of stopping wars, we need action, world order comes from action and we just need the courage to act. Without action now, there is no tomorrow. Let's end this Groundhog Day, and yes, it's possible." Zelenskyy brought his speech full circle in referring to Groundhog Day at the end, ensuring his audience would remember his Call for Action. By Executive Coach Andrew Keogh of Aristo.ie

Hour 2 of the Ken Carman Show with Anthony Lima

Ken and Anthony talked about what they saw and what they missed from NBA All-Star weekend and whether or not the league has finally figured out how to make the festivities watchable.

Robbie Baxter is the world's leading expert on subscription and membership models. She wrote two bestselling books The Membership Economy and The Forever Transaction, hosts the podcast Subscription Stories, and has advised organizations like Netflix, Microsoft and the Wall Street Journal. Top 3 Value Bombs 1. Success comes from solving a real problem—not always from following your passion. 2. Subscriptions aren't about dumping content—they're about building trust and solving an ongoing need. 3. Subscribers stay for the community—make them feel they belong and they'll never want to leave. Explore Robbie's work and books. Check out her website - Robbie's Website Sponsors HighLevel - The ultimate all-in-one platform for entrepreneurs, marketers, coaches, and agencies. Learn more at HighLevelFire.com. Cape - A privacy-first mobile carrier, built from the ground up with security as the priority. If you care about protecting your digital life without giving up your smartphone, Cape makes that possible. Visit Cape.co/fire and use code FIRE for 33% off cape for 6 months today! Framer - A website builder that offers real-time collaboration, a robust CMS with everything you need for great SEO, and advanced analytics that include integrated A/B testing. Get started building for free today at Framer.com/fire. For 30% a Framer Pro annual plan use code FIRE!  

Purpose and profit fuel each other. The more purpose you have in your organization, the more growth you’ll see. In this episode from 2020, Jeff Henderson joins Andy to discuss when an organization gets clear about what it wants to be known for it unlocks the most powerful form of growth: loyal customers, engaged teams, and word-of-mouth advocacy. Compelling purpose wins hearts and creates the kind of brand loyalty that pricing and promotion alone never can. Download the application guide: https://bit.ly/4aqyx3I Recognized as one of Forbes' 6 Leadership Podcasts To Listen To In 2024 and one of the Best Leadership Podcasts To Stay in the Know for CEOs, according to Industry Leader Magazine. If this podcast has made you a better leader, you can help it by leaving a quick Spotify or Apple Podcasts review. You can visit Spotify or Apple Podcasts, and then go to the “Reviews” section. Thank you for sharing! ____________ Where to find Andy: Instagram: @andy_stanley Facebook: Andy Stanley Official X: @andystanley YouTube: @AndyStanleyOfficial See omnystudio.com/listener for privacy information.

We will examine the royal dignity we have from being made in the image of God, and what that means for the individual, and what it means in our response to others.

This week on The Home Builder Digital Marketing Podcast, Conner Zornow of Black Raven Media joins Greg and Kevin to discuss how home builders can craft compelling video content that creates lasting connections with home buyers. https://www.buildermarketingpodcast.com/episodes/306-crafting-compelling-home-builder-video-content-conner-zornow

Is the United States a nation state? Does it have a national identity? On this episode of the Transatlantic, scholar Colin Woodard discusses his early career experiences as a journalist in Eastern Europe and the Balkans at the end of the Cold War and how that work informs his work on national identity in the United States. He then talks about his current research uncovering what he describes as eleven distinct nations that make up the United States and how their clashing cultures and traditions have defined the country's struggle to form a national story and identity.    Colin Woodard – a New York Times bestselling historian and Polk Award-winning journalist – is one of the most respected authorities on North American regionalism, the sociology of United States nationhood, and how our colonial past shapes and explains the present. Compelling, dynamic and thought provoking, he offers a fascinating look at where America has come from, how we ended up as we are, and how we might shape our future. Author of the award winning Wall Street Journal bestseller American Nations: A History of the Eleven Rival Regional Cultures of North America, Woodard has written six books including The Republic of Pirates — a New York Times bestselling history of Blackbeard's pirate gang that was made into a primetime NBC series with John Malkovich and Claire Foye – and Union: The Struggle to Forge the Story of United States Nationhood, which tells the harrowing story of the creation of the American myth in the 19th century, a story that reverberates in the news cycle today. His latest book is Nations Apart: How Clashing Regional Cultures Shattered America, released by Viking/Penguin in November 2025. He is the founder and director of Nationhood Lab at the Pell Center for International Relations and Public Policy at Salve Regina University, an interdisciplinary research, writing, testing and dissemination project focused on counteracting the authoritarian threat to American democracy and the centrifugal forces threatening the federation's stability. He is also a Fellow of the Royal Geographical Society, a visiting scholar at the Minneapolis-based HealthPartners Institute and a POLITICO contributing writer. As State and National Affairs Writer at the Portland Press Herald and Maine Sunday Telegram he received a 2012 George Polk Award, was named Maine Journalist of the Year in 2014, and was a finalist for the 2016 Pulitzer Prize for Explanatory Reporting. A longtime foreign correspondent of The Christian Science Monitor, The San Francisco Chronicle, and The Chronicle of Higher Education, he has reported from more than fifty foreign countries and seven continents from postings in Budapest, Zagreb, Washington, D.C. and the US-Mexico border and covered the collapse of communism in Eastern Europe and its bloody aftermath. His work has appeared in dozens of publications including The Economist, The New York Times, Smithsonian, The Washington Post, The Guardian, Newsweek and Washington Monthly and has been featured on CNN, the Rachel Maddow Show, Chuck Todd's The Daily Rundown, The PBS News Hour, and NPR's Weekend Edition. A graduate of Tufts University and the University of Chicago, he's received the 2004 Jane Bagley Lehman Award for Public Advocacy, a Pew Fellowship in International Journalism at the Johns Hopkins University School for Advanced International Study and was named one of the Best State Capitol Reporters in America by the Washington Post. He lives in Maine.   This podcast is hosted by Bakhti Nishanov and produced by Alanna Novetsky, in conjunction with the Senate Recording Studio.

A healthy, multi-ethnic community is the "most compelling community on Earth" and a trophy case of God's plan for the entire cosmos.

Stage 1 - Ranking Your Business  Hello Everyone, this is Carl Gould, author of The 7 Stage Growth Method and your #70secondCEO just a little over a one minute investment per day for a lifetime of results. Today, we are going to start ranking your business according to the 7 Stage method.  Stage 1- give yourself a ranking, one low, BORING! 10 high, inspiring and compelling. To what degree are your strategic planning documents, all those great ideas you got out of your head and onto paper, not only are they documented they are inspiring and compelling. What you do, how you do it, why you're doing it, all that together has to be a 10, a 10 in each one, so give yourself a ranking. Like and follow this podcast so you can learn more. My name is Carl Gould and this has been your #70secondCEO.  

In this episode, we look at how the classic black & white Universal movie monsters tap into universal fears, and how you can use that to create compelling villains in your book. This coupon code will get you 50% off the audiobook of Dragonskull: Shield of the Knight, Book #2 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store: GARETH50 The coupon code is valid through February 16, 2026. So if you need a new audiobook this winter, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 289 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February 6, 2026, and today we are discussing how you can use the Universal monsters to write interesting villains. Before we get into that, we will have Coupon of the Week and an update on my current writing and publishing projects. First up is Coupon of the Week and this week's coupon code will get you 50% off the audiobook of Dragonskull: Shield of the Knight, Book #2 of my Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store. And that code is GARETH50. And as always, the coupon code and the link to my Payhip store will be available in the show notes. This coupon code is valid through February 16th, 2026, so if you need a new audiobook to get you through the middle of February, we have got you covered. Now let's see where I'm at with my current writing and publishing projects. As of this recording, I am 63,000 words into Cloak of Summoning and I am almost but not quite halfway through my outline. So this is definitely going to be a long book and it's probably going to come out in the first part of March because it's long enough that it will take me a while to finish writing it and then to edit and proof it and everything else. So I'm making good progress on it. It was a very productive week, but I am still not even halfway through, so I think it's probably going to be March. I am also 5,000 words into Blade of Wraiths. That will be the fourth book of my epic fantasy Blades of Ruin series, and that will probably be in April, if all goes well. In audiobook news, Blade of Shadows (as narrated by Brad Wills) is done and it is slowly starting to roll out to the various platforms. I think as of this recording, the only place it is live right now is my Payhip store and Google Play, but hopefully by the time I record the next episode, it will be available at even more stores than that. Hollis McCarthy is working on Cloak of Titans and I think she's about halfway or two thirds of the way through recording, so we should be able to get that to you before too much longer. So that is where I'm at with my current writing and publishing and audiobook projects. 00:02:13 Main Topic: Universal Monsters, Universal Fears, and Creating Villains Now our main topic, which is the Universal monsters and the universal fears and how you can use that to create villains. One idea a writer can use to create compelling villains is to tap into some of the universal fears, and in some ways, those universal fears are embodied by the classic Universal monster movies. I mentioned before that in Halloween of 2025, I saw that a bunch of the old black and white Universal monster movies were on Prime Video. So I watched them for the first time since I was a kid, and I was pleased to see that they held up pretty well for movies that are nearly a century old, especially considering these were some of the very first movies ever made with sound and the filmmakers were kind of figuring it out as they went along. Dracula is a bit uneven because they tried to cram the stage play version of the book into a 70 minute movie, which really doesn't work, though Bela Lugosi's performance as Dracula and Edward Van Sloan as Van Helsing really carried the movie and helped define the characters in the public eye, but the others are all good and Bride of Frankenstein is legitimately a great movie, but why have these particular movies lasted so long in the public consciousness? For that matter, why do people keep coming back to new versions and new stories of Dracula and Frankenstein's Creature and all the others? Partly it's because these characters are in the public domain and you can use them without getting sued. True, but there's a lot of stuff in the public domain that doesn't see the light of day nearly as often as these classic monsters. I think it's because the classic monsters tap into the universal (small U) fears or classic archetypes of the things that people fear in real life. It's interesting to note that most of the classic Universal monsters were either originally humans who became monstrous or creations by humans that turn monstrous. Essentially, the monsters tap into archetypal fears and are exaggerated versions of villains and monsters we might actually encounter on a day-to-day basis. What do I mean? Let's expound. First up, Dracula. Count Dracula is in some ways the easiest metaphor to explain. He's an aristocratic vampire that feeds upon people and gives them nothing but evil in return. Perhaps he will pass on his own immortality to some of his victims, but it's a cursed and hellish form of immortality and any vampires that he creates are essentially his slaves, sometimes his mindless slaves. Dracula is the fear of the Evil Elite. This of course, takes many different forms in the modern era, but it is very much alive and well. The various conspiracy theories that the elite of society might be devil worshippers or engaged in sinister cults are definitely Dracula adjacent (and based on recent news reports, it indeed appears at least some of these conspiracy theories turned out to be accurate). More prosaically, "rent seeking behavior" is often characterized as vampirism. Rent seeking behavior is defined as finding ways to extract profit without adding value by manipulating the legal or regulatory environment. The landlord who raises rent by $500 a month for no reason. A software developer who reduces features while raising the subscription price or a financier who manipulates the regulations for an industry while investing in it are good examples of rent seeking behavior that is metaphorically vampiric. For that matter, it can be downright mundane. The middle manager who bullies his employees and then takes all the credit for their work is a very boring and unpleasant, but nonetheless, an all too common example of the vampire metaphor in real life. Frankenstein's monster is a much easier metaphor to explain now than it would've been before ChatGPT went mainstream. There is always a fear that we will be destroyed by the works of our own hands, especially in the last a hundred years since the creation of nuclear technology and gene editing. Probably most famous examples of that in science fiction are The Terminator and The Matrix movies series. However, these days the metaphor for Frankenstein's monster is almost ridiculously easy. We have generative AI to fulfill the metaphor of Frankenstein's monster for us. Karl Marx famously said that history repeats twice, the first time as tragedy, the second as farce. Nuclear weapons as a metaphor for Frankenstein's monster was a tragedy but generative AI is a farce. The tech bros sold it as this omniscient mind that could solve all problems and eliminate all jobs. What we've actually gotten is an imbecilic chatbot that makes a lot of mistakes, can't remember anything, can't actually do anything right, inflicts widespread damage to the economy, drives up electricity costs, and makes existing products like Windows 11 and Google search much worse. It's like as if Frankenstein's monster was really, really stupid and wanted you to add glue to your pizza to keep the cheese from sliding off. The Wolf Man, of course, is a metaphor for the potentially bestial nature of man. We all know, of course, or are eventually forced to learn that human beings have a dark side that can come out in times of anger and stress. Civilization is sometimes a thin veneer over the animalistic side of humans. Sometimes the veneer grows even thinner and the dark side comes raging out in riots and wars and mass slaughter. For Larry Talbot, the original Wolf Man in the movie, his situation is even more terrifying. He's a rational man who believes in science and psychology and doesn't believe in things like werewolves. Yet when he is bitten, he nonetheless loses control and transforms into the Wolf Man. He doesn't want to transform and attack people, but he has lost control of himself to the werewolf curse, and so he does. In a sense, all humans are werewolves in that we have a monstrous side that can come out under the right or the wrong conditions. The worst of us embrace that fact, just as in medieval legends, sometimes people would make pacts with the devil to become werewolves. The Invisible Man was originally a science fiction story, which means that the Invisible Man represents a new fear created by science. "Transhumanism" is an idea that eventually humans will merge with machines and evolve and become something new. Naturally, many people think this is a bad idea, and so a new idea has emerged: "posthumans" or humans that have been so modified by science that they are no longer recognizably human. So far, this has remained mostly science fiction, but you can see the glimmers of it beginning in biology and medical science. There's a reason performance enhancing drugs are banned in most sports. Genetic engineering opens up the possibility that corporations could create their own custom humans, essentially their own posthumans. The possibilities for abuse in such situations are sadly endless. So the Invisible Man, like Frankenstein's Creature, taps into the fear of science or more accurately the fear of what horrors science might create. On the surface, the Creature from the Black Lagoon is a monster story about a creature that carries off a pretty girl. I think it taps into a deeper fear, however, namely that the world is older and stranger and more alien and incomprehensible than we can possibly know. Like hardcore creationists say that the earth is 6,000 years old or so, and the traditional scientific view is that the earth has been around for four and a half billion years or so, and both groups have detailed charts explaining why their theories are correct, but what if they're both wrong? Oceanographers say that we don't fully understand the oceans. And a common theory among UFO people is that UFOs emerged from hidden bases at the bottom of the ocean, inaccessible by any human. There are other theories that there have been entire civilizations such as Atlantis that have vanished without a trace and were more advanced than our own, or that all of human civilization is a cycle that constantly destroys itself and restarts without a memory of its previous failures, or that aliens have influenced and controlled human history or that aliens created the earth and this is all some sort of elaborate science experiment. Of course, all these theories are likely bunk. Probably. I think it is true to say that not only is the world stranger than we know, it is stranger than the human mind is actually capable of comprehending. And depending on how far that goes, that could be a terrifying thought. So the Creature from the Black Lagoon, the idea that some race of fishmen lurks beneath the waves that we don't know about, taps into that fear. Like The Creature from the Black Lagoon, The Mummy on the surface is another story about the monster who wants the girl since Imhotep waits 3,000 years for his love to be reincarnated. But I think this taps into a deeper fear, namely that we can't escape history, that no matter what we do or how hard we try, history will catch up to us (whether our own personal history or national history). Political philosopher Francis Fukuyama famously wrote a book called The End of History and The Last Man in 1992, arguing that with the collapse of Communism, liberal democracy was the final form of government achieved by mankind and it would have no serious competitors in the future. This was a nice dream, but I think it's fair to say that the last 34 years since 1992 have proven that thesis profoundly wrong. History is definitely not over and in every domestic or international political crisis of the last 34 years, you can trace its roots back for decades or even centuries. It took 3,000 years for the dead hand of Imhotep to affect the present, but it usually doesn't take nearly that long for history to have negative effects in the present world. The Phantom of the Opera is considered one of the Universal monsters, but I don't think he really taps into a deeper fear, maybe just to be wary of a creepy guy who lives in a theater basement and is unhealthily obsessed with the leading actress. Honestly, that just seems like good common sense. Maybe poor Christine Daae just needs some pepper spray or a good solid shotgun. In conclusion, I think each of these Universal monsters remains popular because they tap into a deeper, more profound fear. So if you're a writer looking to create a memorable villain, you could do worse than to follow those universal fears. You don't even explicitly have to write horror, science fiction, or fantasy to do it. In a mystery novel, you could have a Dracula type villain in the form of a slumlord who traps his tenants with restrictive lease agreements to bleed them dry financially or an Invisible Man villain in the form of a scientist who is illegally injecting college athletes with an experimental drug without their knowledge. The Wolf Man appears quite often in detective and thriller fiction as a serial killer or some other kind of violent criminal. Naturally we cannot escape history, so the Mummy can appear as a conflict that had its roots in events that happened decades ago. Of course, the range for universal fear villains in science fiction and fantasy is much greater. Then you don't even have to be metaphorical. So hopefully this look at the Universal monsters and the universal fears they tap into will give you some good tips and ideas for writing villains in your book. So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes in https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.  

In our second session we will reflect on the beauty of the Lord and how the Spirit draws us into the beautiful community of the Father, Son & Spirit. This reality shapes how we are called to build and live together as a community.

Hour 3 of the Ken Carman Show with Anthony Lima

Ken and Anthony talk about whether or not there are any compelling story lines for the Super Bowl this year

What can I possibly say? Captivating and Compelling! The sheer versatility of this show will have your ears popping with so much joy! As you know, I always want to bring you some pleasure and you will most certainly be pleased with this entree of musical artists and instruments that I am serving you today. You may want to grab a napkin--prepare to salivate! Enjoy!Set 1:Adam Hawley-Rollersk8Paula Atherton-Make It HappenDee Lucas Ft. Blake Aaron-Full TiltJimmy B.-Keep It MovingChris Standring-Hollywood HustleSet 2:Skinny Hightower-Be CoolBrian Simpson-A Quiet KissFattburger-SpiceAysha-So RealAndrew Nichols-When Will I KnowSet 3:Fourplay-101 EastboundAndrea Lisa & Rebecca Jade-Feelin' FreeJaye Rowe-The Next StepBen Tankard-Absolutely! Hosted on Acast. See acast.com/privacy for more information.

Hey huns come see our shows - Hannah is doing hers at Top Secret Comedy Club on 16th Feb and Big S is doing hers on 4th March at Museum Of Comedy, links here: https://thetopsecretcomedyclub.co.uk/events-listings/hannah-byczkowski-rip-hannah-bitch-cough-ski/ https://www.museumofcomedy.com/wip-suzie-preece-mcshow/ This week we get into the Beckham saga, Hannah's bday gift (ooo!), and of course we give a Northumberland shout out to Anna's BnB Glencoe House in Wooler, it's utterly gorgoues, give it a go! https://www.instagram.com/glencoehousewooler/ Amongst the chaos you'll discover Hannah's a brave kooky scuba diver and Suzie has a rant about periods and near shart. Story One There's something lurking off the coast off Scotland... come with us down into an eerie naval cave...  read by Big S Story Two  Christine is playing with her imaginary friend Harry... read by Hannah Story Three Big S has a horrid tale called 'Unsettling Uber driver'... you may never ride again. CREEP OF THE WEEK Cow cow cow! ... is from ...Amy. We go to South Tyneside Hospital to see the most COMPELLING evidence we have so far?!! WE LOVE YOU HUNS, ENJOY xoxoxox JOIN OUR PATREON! EXTRA bonus episodes AND a monthly ghost hunt for just £4.50!  Or £6 for AD-FREE EPS and weekly AGONY HUNS! We'll solve your problems huns!  Sign up here: www.patreon.com/GhostHuns MERCH IS HERE: www.ghosthuns.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

Older protagonists are having a moment. They're starring in all kinds of novels, from mysteries to love stories to end-of-life reckonings. Our columnist Alicia Cox Thomson has noticed this ageing-up trend in books and she's here now to recommend some titles that stood out for her. Plus, Daphné Santos-Vieira recommends Motherness: A Memoir of Generational Autism, Parenthood and Radical Acceptance as her staff pick.Books discussed on this week's show include:Norma by Sarah MintzPalm Meridian by Grace FlahiveMotherness: A Memoir of Generational Autism, Parenthood and Radical Acceptance written by Julie M.Green

By far one of the neatest episodes we've ever been able to release on this platform. We've stated before that PJ's story is so unique, but as we go into more depth, PJ's philosophy's, vision, and character are truly something to take after. Arguably one of the greatest endings to an episode. Make sure to tune in. Empowerment Is Here. 

How does Film Noir show us terrible people doing terrible things without endorsing it? Mel and Chas continue to explore what Noir (the genre) can teach writers of all other genres. In particular: how to keep the audience on side of characters doing reprehensible things how to control your audience understanding of those reprehensible actions distinguishing between characters undergoing transformative arcs against discovering their true natures In finding the common craft tools of Noir over 100 years, this Part 2 looks at two modern noirs - DEVIL IN A BLUE DRESS (1995) and WOMAN OF THE HOUR (2024) - after Part 1 looked at the classic DOUBLE INDEMNITY and THE LONG GOODBYE. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. Despite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the day and got this done. Thanks Chris.   CHAPTERS 00:00:00 - Using noir as a lens 00:01:56 - DEVIL IN A BLUE DRESS 00:31:33 - WOMAN OF THE HOUR 01:04:30 - Key Learnings  01:08:50 - Thank you Patreons!   LINKS Shot Zero on the noir-set of noir shots in WOMAN OF THE HOUR   RELATED EPISODES DZ-123: Flawed characters & noir DZ-03: Making unlikeable protagonists compelling DZ-110: Voiceover   More Draft Zero is brought to you more often by our awesome Patreons. Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Do you ever feel like life has become louder, faster, and more demanding than your heart was meant to carry? In this week’s episode of The Love Offering Podcast, I’m joined by counselor, author, and farm-living mama Brenda Yoder to talk about her new book, Uncomplicated: Simple Secrets for a Compelling Life. This conversation is a gentle invitation to slow down, breathe deep, and rediscover the wisdom that once shaped steady, grounded lives. Brenda draws from the practices of our grandmothers and the rhythms of Amish and Mennonite communities to share practical, life-giving lessons for today’s busy women. We talk about what it looks like to resist the pull of constant chaos and instead cultivate a calm presence, authentic faith, and a steady voice of reason—right where you are. In our conversation, you’ll hear: Why simpler doesn’t mean easier—but it often means better How timeless practices can bring peace to modern life What past generations can teach us about faith, work, family, and rest Small, practical shifts you can make to live with more intention No matter your season of life or where you call home, this episode offers encouragement and wisdom for anyone longing for a more grounded, meaningful way of living. You can listen to the episode now wherever you get your podcasts. I pray this conversation meets you right where you are and reminds you that a simpler life is still possible—and deeply compelling. Connect with Brenda: https://brendayoder.com/ Connect with Rachael: https://rachaelkadams.com/ Download your Free Love Always Devotional: https://rachaelkadams.com/free/Support the Show: https://rachaelkadams.com/ Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

In this sermon, Pastor Aaron preaches this main point: The Church is the most compelling community the world has ever seen.

What we often call “communication problems” are really clarity problems. Leadership communication coach Salvatore Manzi breaks down why smart ideas stall, why meetings favor fast talkers, and how leaders can make messages land, be remembered, and drive action. From start to finish, this episode focuses on practical moves you can try today.We explore hidden biases that shape conversations: delay bias that sidelines reflective thinkers, the spotlight effect that inflates self-judgment, and the curse of knowledge that turns expertise into confusion. Salvatore reframes Q&A as a relationship check, showing how to buy thinking time, reflect questions back, and structure discussions so both quick responders and slower processors contribute.Feeling nervous before speaking is normal. The episode covers reframing fear as excitement, using posture, breath, and focus to project confidence, and leveraging afformations to prime performance. You'll also learn to craft an emotional journey with cadence, pause, and tone, turn complex data into memorable metaphors, give specific feedback, and use context checks to keep your audience engaged.

Jay King and Brian Robb break down a impressive rout of the Hawks Saturday night featuring a historic performance from Sam Hauser. The guys also touch on some big picture issues regarding this team's future as decisions looming about the roster with the trade deadline approaching. Learn more about your ad choices. Visit megaphone.fm/adchoices

For many Americans, taking part in a debate is just about the last thing they'd put on their dance card.But Braver Angels debates are different. In this episode Sam Rechek explains why.“Braver Angels debates are fun,” Sam tells us. “We've created a structure where people can have productive disagreements about contentious issues. That's something many yearn for, and they get interested in really fast.”Unlike most debates, there are no “winners” or “losers”. Speakers at Braver Angels debates are often passionate, but they can't interrupt or be snarky about the other side. Compelling arguments are made on both sides in a respectful way. Different viewpoints about an issue are warmly welcomed, but all comments must be addressed to the chair, not directly to the person you disagree with.“There's a real hunger for environments where people can have productive disagreements and mutual understanding”, says Sam. In our interview we also discuss LAPP skills, and the concept of courageous citizenship.Many of our beliefs about politics and controversial events are formed, or at least influenced, by fleeting impressions: Hot takes on social media, sound bites on TV and radio, and comments by those we know. This episode makes the case for going deeper and spending time with those you may passionately disagree with.Sam Rechek is Program Coordinator for the Braver Angels Debate Team. Several years ago as a undergraduate at the University of South Florida, Sam worked with FIRE - the Foundation for Individual Rights and Expression and Heterodox Academy. He founded a student organization, First Amendment Forum—1AF—which developed into a venue for contentious discourse and advocacy for free speech principles. Sam holds a BA in Philosophy and Political Science from USF and an MA in Legal and Political Theory from University College London."How Do We Fix It?" reports on the people, projects and ideas of Braver Angels, the nation's largest cross-partisan volunteer-led movement to bridge partisan divides. Hosted on Acast. See acast.com/privacy for more information.

In this episode, host Josh interviews Simon Hammer, VP of Product at Vimbly Group, about acquiring and managing e-commerce brands. Simone shares a case study from the cocktail shaker market, illustrating how focusing solely on quantitative metrics led to missed opportunities. He emphasizes the importance of qualitative customer feedback, brand storytelling, and product-market fit to build lasting brands and avoid competing only on price. The discussion highlights key lessons for e-commerce leaders: assess market potential, listen to customers, and continuously test and iterate to stay competitive.Chapters:Introduction to Simone Hammer and Background (00:00:00)Josh introduces Simone Hammer, his background, and experience in e-commerce and investment banking.Approach to Brand Acquisition and Quantitative Analysis (00:00:55)Discussion on traditional quantitative methods for acquiring brands and the limitations of focusing solely on numbers.Case Study: Cocktail Shaker Brand and Market Dynamics (00:01:38)Simone shares a case study about their cocktail shaker brand, market share, and the impact of COVID-19.Competitor Analysis and Information Memorandum (00:03:08)Simone describes obtaining a competitor's information memorandum and insights into their strategies and market position.Market Changes and Increased Competition (00:04:07)Discussion on rising freight costs, increased competition, and the challenges faced in the cocktail shaker market.Brand Building vs. KPI Focus (00:05:05)Comparison between their KPI-driven approach and the competitor's focus on brand building and storytelling.Consequences of Ignoring Qualitative Feedback (00:06:59)Simone explains the negative outcomes of neglecting qualitative customer feedback and the resulting price competition.Importance of Qualitative Customer Insights (00:07:53)Emphasis on the value of qualitative data, customer feedback, and brand building for long-term business success.Lessons Learned and Industry Trends (00:09:01)Reflection on industry trends, the necessity of qualitative insights, and the risk of competing solely on price.Host Reflection and Question on Customer Feedback (00:10:04)Josh reflects on his own business practices and asks Simone what customer feedback they missed.Specific Customer Preferences Missed (00:10:53)Simone details specific customer preferences, such as the shine of the shaker and the appeal of the stand.In-Person vs. Online Customer Insights (00:11:55)Insights gained from in-person customer interactions versus online feedback and the importance of customer development.Three Key Takeaways for E-commerce Success (00:13:43)Josh summarizes three actionable takeaways: market opportunity, listening to customers, and continuous testing.Closing Remarks and Future Follow-Up (00:16:48)Josh thanks Simone and mentions the possibility of future episodes to check on progress.Links and Mentions:Tools and Websites  Helium 10Key Takeaways  Identifying Market Opportunities: 00:13:43Listening to Customers: 00:14:47Testing and Iterating: 00:15:49Transcript:Josh 00:00:00  Today, I'm excited to introduce you to Simon Hammer. Simon is the VP of Product at Vimbly Group, a New York City based firm that scales and invests in tech enabled businesses where he has worked for over ten years. He currently runs Vimbly Group's e-commerce business unit, as well as having his hands involved in a number of Vimbly Group's eight other business units. Prior to the Vimbly Group, Simon was a healthcare investment banker at a boutique investment bank in New York City, where he focused on raising capital and mid-market mergers and acquisitions involving biotech, healthcare, technology and healthcare service companies. He has a bachelor's degree from Cornell University, and I met Simon at the Billion Dollar Seller Summit earlier this year. And Simon, I'm excited to welcome you to the podcast. Welcome.Simon 00:00:50  Thanks, Josh. Really appreciate that. Nice intro. Thanks for having me.Josh 00:00:55  As you look to acquire other brands, and I love that you kind of were an acquire or aggregator before the aggregator theme became pop became popular. So you're not on the the bandwagon there.Josh 00:01:08  You can be like, no, we were doing this long, a long time ago. You know, I think that that's really interesting, Simon. I think you've taken this approach that's actually a little bit different than I think the typical answer is, right, because I've listened to a bunch of other people that talk about acquiring businesses. And I'm looking at these specific numbers and, you know, I'm trying to draw conclusions and, you know, kind of look at 2020 and what happened during Covid and say, okay, this was an artificial bump and it's all very quantitative, right?Simon 00:01:38  All the quantitative stuff that you're talking about like looking historical, it's a given. Right. We always do that. We've always done it. And for the longest time, that's all we did. And, you know, one of our brands right now is going through a major shift in that it, for such a long time survived on three products. Basically, there's a whole, you know, there's more skews, but there's basically more Asians.Simon 00:02:02  But there's there's effectively three basins. One of those. basically a shell of itself now. And part of the reason why is because, you know, actually, if you'll divulge me for a second. So, pre-COVID and even through the first, you know, a couple years of Covid and depending on where you want to, you know, start and stop it, I guess. or, you know, where the beginning till now is, I guess. But first couple of years of it, it was doing incredibly well, right? It was something like anywhere between 25 and 35%, or it accounted for 25 to 35% of our gross margin. That gross margin, including everything from landed costs, three PL costs, FBA costs, advertising, marketing returns, all that stuff. Just not just not like overhead and, and software, things like that nature. But but gross profit. Right. And so it was a large part of our business. this one product and you know, during the beginning of Covid, I got my hands on a competitor, one of our biggest direct competitors.Simon 00:03:08  Their information memorandum, which is basically like their, this deck. it's like 50 pages of their business because they're trying to sell their business. Okay. And through like, you know, like, you know, my partner Sam, he has just a ton of connections in the entrepreneur space, a ton of connections with these brokers. And so we get a lot of deals right across a lot of different industries. and so we just happen to get our direct competitors information memorandum. Right. So this gave us everything about their business, right? We knew the numbers. We knew. we knew, who their suppliers were, right? What their strategy was, what their projections were like. You know, you name it, we knew it. And, I mean, we were like, we could look on helium ten and know that we were dominating. But then we saw the real numbers. We were, you know, we were dominant player in the market. and then all of a sudden, right, like during Covid, you start seeing freight costs go up.Simon 00:04:07  You start seeing, a lot of sellers into the space. The cocktail shaker space is kind of the space that we're playing in for one of our brands. and this is where the the set, you know, was established. and, you know, was this, you know, what's called roughly like 30% of the business. it had basically, started having rank weed, right? The ran...

The Constraining Ministry of the Holy Spirit in the Life of the Believer – Part 2 | KIB 514 Kingdom Intelligence Briefing  

Still stuck in the “expensive hobby” phase? Wondering why your coaching business isn't bringing in consistent income—despite all your effort?If you're a clinician ready to make REAL money in your coaching business, this episode breaks down the one thing standing in your way: your offer.I reveal why your offer—not your content, pricing, or visibility—is the real constraint between you and a fully booked coaching business.You'll learn:The 4 elements that make up a six-figure offer (most clinicians miss at least 2 of these)5 signs your current offer is holding your business backWhy posting more isn't resulting in more clients- and what to focus on instead.Listen now and learn how to craft the offer that makes your coaching business take off. If you want help clarifying your offer- so it actually sells, book your Offer Audit. A free 30 min call where I will personally look at your offer. If you want my support in building and launching your offer, Create Your Six Figure Offer is the space for you. Learn more This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit spirituallyambitious.substack.com/subscribe