Podcasts about creative career

Lacey Hennessy's art career started with painted fraternity coolers at Clemson and a Facebook business page she named during accounting class. Years later, one Instagram post about wanting to paint a mural led to a taco restaurant project that paid the equivalent of one month of her corporate salary in three days. In this episode, Lacey explains how she grew that experiment into Lacey Does, a commission-driven business with more than 300 murals and a client process built around clear expectations. She breaks down her “box method” for matching a mural's scope to the client's budget, why she collects 50% before beginning the design, and how detailed contracts helped other muralists take over her scheduled projects after a colorectal cancer diagnosis. Lacey also shares the hands-on Instagram strategy that grew her audience, her plans to build income beyond murals, and how she protects roughly 10 weeks each year for travel. Plus, why it would take a truly unreasonable amount of money to get her painting fraternity coolers again.Lacey Hennessy is the Greenville, South Carolina-based artist, muralist, and entrepreneur behind Lacey Does. Her bold, playful work spans murals, custom commissions, originals, prints, textiles, licensing projects, and coaching for other artists.Connect with Lacey:Website IGTikTokFacebookCreative finds:The 1" Angled Brush officially joins the Zibra lineup on September 17! Save 10% on your Zibra order with code BANTER10. In this episode, we discuss:How one Instagram goal led to Lacey's first mural… and $6,500 in three daysWhy she replaced Hennessy in the Home with a personal brand that leaves room for murals, textiles, licensing, and future partnershipsHow the “box method” gives clients clear choices based on their wall, priorities, and budgetWhy painting is step seven in Lacey's 10-step mural processHow collecting 50% upfront protects the value of the concept and design workWhy detailed contracts and a trusted muralist network kept her projects moving during cancer treatmentHow targeted engagement, batch content, and shameless self-promotion helped grow her audience without turning every post into a sales pitchWelcome to Brush & Banter—the podcast where creativity meets real-life hustle. Brought to you by Zibra, we go beyond perfect brushstrokes to explore the messy, magical, and meaningful side of being an artist. We're here to bring you conversations with working artists, practical tips to grow your creative business, and a built-in painting companion for your next project. Brush & Banter is co-hosted by Brie Hansen, President of Zibra; Annie Bolding, Founder of It's a Disco Day Designs; and Lauren Cooper, Founder of Rosemont Lane Design Studio.Connect with Zibra: WebsiteInstagramTikTokFacebook YouTubeBlog

This week on COMEBACKS, I spoke with Elizabeth Schild Kott, host of Too Niche and founder of Club Artist Way, about starting over and how stopping is the most important part of figuring out what's next. We talked about the changing internet, creativity, jealousy, unfinished ideas, getting quiet enough to hear your intuition, and why sometimes the best comeback is simply putting one foot in front of the other.   LINKS AND SHOWNOTES Katie's Substack | IG: @letitouttt + @katiedalebout | Zine shop is here! Explore my Creative Clinic E L I Z A B E T H S C H I L D K O T T ELIZABETHKOTT.COM | Listen to: TOO NICHE? CLUB ARTIST'S WAY ☆ Fall sessions now open for enrollment! Register Here

“We're all salespeople at the end of the day.”Whether you're pitching a movie, an idea, or yourself, persuasion is about more than the story you're telling—it's also about the story your audience sees for themselves. For Deadpool and Zombieland screenwriter Rhett Reese, that means keeping communication concise, compelling, and centered on what your audience needs. In this episode of Think Fast, Talk Smart, Reese joins Matt Abrahams to share lessons from screenwriting that apply far beyond Hollywood. From cutting unnecessary words to crafting pitches that make your audience the protagonist, he explores how storytelling, collaboration, and clarity can make any message more persuasive.Takeaways:Every pitch tells two stories. You're selling the idea itself, but you're also showing your audience how saying yes can solve their problem, reduce their risk, and lead to their success.Brevity makes your message stronger. Cutting unnecessary words and choosing them carefully helps your ideas land with greater clarity, impact, and memorability.Activity:Tell the second story. Take a pitch you're currently working on and write one sentence describing the idea you're selling. Then write a second sentence from your audience's perspective: “If I say yes, what becomes possible for me?” Use that second story to reshape your pitch around their success, not just your idea.Printable Expanded Takeaways & ActivitiesEpisode Reference Links:Rhett ReeseEp.167 Hollywood Lessons For Successful Communication Connect:Premium Signup >>>> Think Fast Talk Smart PremiumEmail Questions & Feedback >>> hello@fastersmarter.ioEpisode Transcripts >>> Think Fast Talk Smart WebsiteNewsletter Signup + English Language Learning >>> FasterSmarter.ioThink Fast Talk Smart >>> LinkedIn, Instagram, YouTubeMatt Abrahams >>> LinkedIn Chapters:(00:00) - Introduction (01:18) - Make Every Word Count (03:09) - How to Pitch an Idea (07:38) - Creatively Collaborating (10:35) - Creating Space for Feedback (12:49) - AI & the Future of Hollywood (16:44) - The Final Three Questions (23:15) - Conclusion ********Thank you to our sponsors.  These partnerships support the ongoing production of the podcast, allowing us to bring it to you at no cost.Strawberry.me. Get 50% off your first coaching session today at Strawberry.me/smartJoin our Think Fast Talk Smart Learning Community and become the communicator you want to be. 

Margo is joined once again by New York Times bestselling illustrator, artist, and now author Andrea Campos, the creative force behind DreasDoodles. Since her first visit to Windowsill Chats, Andrea's creative career has continued to evolve—from a pandemic doodling practice that began simply as a source of joy to collaborations with Target, Jimmy Fallon, and Jennifer Lopez, and now the release of her very first picture book as both author and illustrator, Tis' the Season for Tamales. In this conversation, Andrea and Margo get candid about what happens when something you love becomes your livelihood. Andrea shares the deeply personal process of finally telling a story that is entirely her own, inspired by the beloved Latin tradition of gathering for tamaladas, while also opening up about the vulnerability, imposter syndrome, and pressure that can accompany creative success. Together, they explore how artists can protect the joy that brought them to their work in the first place—even while being asked to wear the hats of artist, marketer, content creator, entrepreneur, and everything in between. In this episode, Margo and Andrea discuss: Andrea's evolution from pandemic doodling to becoming a full-time artist, illustrator, and author What it felt like to move from illustrating other people's stories to writing and illustrating one that is entirely her own The inspiration behind Tis' the Season for Tamales and sharing the tradition of tamaladas through a bilingual picture book The reality of imposter syndrome—even alongside major milestones, high-profile collaborations, and public recognition Accidentally building a creative business and learning to navigate the good, hard, and complicated parts along the way The pressure on today's artists to also be content creators, marketers, editors, and personal brands Finding ways to show up and share your work that feel natural to you rather than forcing yourself into someone else's formula Using joy as a creative compass and learning how to protect the part of your practice that exists simply because you love making The importance of creative community, mentorship, and finding people who understand the unique challenges of building a creative life

Although we typically focus on the bright side of being independent cartoonists, a listener asks us to address the downside of webcomics. We'll talk about time management, burnout, financial insecurity, and reader interactions. Then we realize that all those drawbacks have one very important thing in common — and it's not what you'd expect! TODAY'S SHOW ComicLab gets someone engaged! The worst parts of being a webcartoonist. Creativity isn't always consistent. Success doesn't eliminate insecurity. The business work never disappears. Webcomics demand interaction. The drawbacks are the flip side of the benefits! Is the direct market disappearing? Grieve the comic-shop dream—and move forward. Getting outside your comfort zone. Comedy can strengthen dramatic storytelling. Beware the shiny object. You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

Send us Fan MailWe're back from a little hiatus, and we're kicking things off with Christina Kwiek of X and Co., a lettering, illustration, and branding studio based in Brooklyn.Christina walks us through her path from a childhood spent training as a ballerina to a last-minute pivot into art school, and how she's found her way back to ballet as an adult, just for the joy of it. We get into the reality of freelancing for the last 8 years: the moment she quit a full-time job for a one-month freelance gig, the ebbs and flows that never fully go away, and how her slow seasons have actually led to some of her biggest projects. If you've ever wondered whether you have to hustle nonstop or post every day to build a creative business, this episode is a really honest look at another way to do it. All that and more when you listen to this episode:Christina's jump from ballet to art  schoolWhy she quit her job for a one-month freelance contractThe ebbs and flows of 8 years of freelancingHow slow seasons have led to her biggest projectsInside her business: branding, murals, and licensingWhere her clients actually find her (Instagram, Pinterest, and cold outreach)How cold outreach has changed, and why she still does itWhy she stepped back from posting and treats Instagram like a portfolioFinding cohesive creative style without forcing itConnect with Christina KwiekInstagramMentioned in this episode:X and Co. The Kernference 2026 Love The Typecast and free stuff? Leave a review, and send a screenshot of it to us on Slack. Each month we pick a random reviewer to win a Goodtype Goodie! Goodies include merch, courses and Kernference tickets!Leave us a review on Apple Podcasts Subscribe to the showTag us on Instagram @GoodtypeFollow us on Tiktok @lovegoodtype @ilanagriffoKeep the conversation going on SlackLearn more about Art Licensing with GoodtypeGrow your art licensing portfolio with 5 free prompts!Grab your tea, coffee, or drink of choice, kick back, and let's get down to business!Connect with Katie & Ilana from GoodtypeGoodtype WebsiteGoodtype on InstagramGoodtype on YoutubeWe wrote a book! Grab a copy and sign up to access the audiobook when we release it!Love The Typecast and free stuff? Leave a review, and send a screenshot of it to us on Slack. Each month we pick a random reviewer to win a Goodtype Goodie! Goodies include merch, courses and Kernference tickets!Leave us a review on Apple PodcastsSubscribe to the showTag us on Instagram @GoodtypeFollow us on Tiktok @lovegoodtypeLearn from Katie and IlanaGrab your tea, coffee, or drink of choice, kick back, and let's get down to business!

Let us know what you think!See Brian Regan live November 19 in Salt Lake City | Members Only Join the Six Club for $6/month to get access and support veteran entrepreneurs.https://warriorrising.org/6cslc/  How do you create artwork that resonates with the military community without ever wearing the uniform? In Episode 454 of the Security Halt! Podcast, Johnathan Griswold, Senior Illustrator at Black Rifle Coffee Company, joins Deny Caballero to discuss creativity, storytelling, authenticity, branding, and how his work has become deeply connected to the veteran community.Updated About the Guest About Johnathan GriswoldJohnathan Griswold is the Senior Illustrator at Black Rifle Coffee Company and founder of Grizzly River Art. Known for his distinctive storytelling style and highly detailed illustrations, Johnathan has helped shape one of the most recognizable brands in the veteran community while inspiring artists and creators to build careers rooted in authenticity, craftsmanship, and purpose.  Listen now. Follow the show. Share this with the veteran or entrepreneur who needs to hear it. Chapters:00:00 Meet Johnathan Griswold: Artist, Storyteller, and Creative at Black Rifle Coffee03:37 How Fatherhood Inspires Johnathan's Creative Work04:12 Connecting with the Veteran Community Through Art05:21 Why Military Culture Inspires Powerful Storytelling06:51 The Story Behind Black Rifle Coffee's Iconic Artwork09:00 Finding Inspiration in Military History and Culture11:02 Why Authentic Storytelling Gives Art Its Soul13:13 Building an Art Career Through Social Media15:05 Why Authenticity Always Wins in Creative Work16:48 Hidden Details and the Creative Process18:59 AI, Technology, and the Future of Art21:02 Respecting Artists and the Value of Creative Work22:52 Recovering from Injury and Finding a New Path27:13 From Construction to Professional Illustration32:01 Joining Black Rifle Coffee Company36:48 Building a Career as a Professional Artist43:05 Going Viral Without Losing Your Authenticity48:04 Community, Storytelling, and Shared Experiences52:00 What's Next for Johnathan Griswold Sponsored by: Transcend Use my referral link to book a consultation for Peptide Therapy http://transcendcompany.com/DenyCaballero Pure Liberty Labs Use Code: SECURITY_HALT_10 Instagram: https://www.instagram.com/purelibertylabs/ Website: https://purelibertylabs.com/ PRECISION WELLNESS GROUP  Use code: Security Halt Podcast 25 Website: https://www.precisionwellnessgroup.com/ WARRIOR RISING Instagram: https://www.instagram.com/wearewarriorrising/?hl=en Website: https://warriorrising.org/ Donate Today: https://warriorrising.org/?form=donate SPECIAL FORCES FOUNDATION Instagram: https://www.instagram.com/specialforcesfoundation_/ Website: https://specialforcesfoundation.org/ Request Help: https://specialforcesfoundation.org/get-support/   Security Halt Mediahttps://www.securityhaltmedia.com/Instagram: @securityhaltX: @SecurityHaltTik Tok: @security.halt.podLinkedIn: Deny Caballero   Looking for custom handmade items, military memorabilia, or laser engraving? Contact Eric Gilgenast.Instagram:https://www.instagram.com/haus_gilgenast_woodworks_main/Support the showProduced by Security Halt Media

Send us Fan MailIn today's episode we speak with Malia Dawkins Jennings, a storyteller for kids and consumers. We discuss utilizing her marketing skills for creative success, staying true to one's self, and her inspiration and drive for her original title, "Charlotte and Buckingham Park".Instagram: http://www.instagram.com/maliadawkinsFacebook: http://www.facebook.com/maliadawkinsjenningsLinkedIn: http://www.linkedin.com/in/maliadawkinsjenningsCreating in Color is a podcast show casing the creative endeavors of Black, Indigenous and People of Color. Anyone from production, illustration, interior design and technology!Creating in Color's SocialsYouTube: https://www.youtube.com/@creatingincolorInstagram: https://www.instagram.com/creating.in.color/Twitter: https://twitter.com/Create_inColorKo-fi: https://www.ko-fi.com/creatingincolorIntro/Outro song by NamikazeSound Cloud: https://soundcloud.com/namikazeYoutube: https://www.youtube.com/user/NamiKazeCapKaybe's SocialsYoutube: https://www.youtube.com/@MaybeitsKaybeInstagram: https://www.instagram.com/maybeitskaybe/Twitter: https://twitter.com/maybeitskaybeTwitch: https://www.twitch.tv/maybeitskaybeGuest opinions are their own and are not necessarily a reflection of Creating in Color/Kaybe Woods. 

Sometimes the hardest setback becomes the start of a far better life. I speak with Jeff Brown, an international photography business mentor whose path began with dyslexia, school struggles, and a fishing fly business at age 16. Jeff shares how military photography, personal branding, and business skills helped him build a successful creative career. He also opens up about losing everything through a failed pub, rebuilding his mental health, and creating a global photography mentoring business. His story shows how persistence, clear goals, strong branding, and the courage to change direction can create an unstoppable life. Highlights: 00:01:38 - How dyslexia and school struggles shaped Jeff's drive to work for himself. 00:05:58 - The first sale that showed him entrepreneurship was possible. 00:14:50 - Why passion and effort mattered more than early photography skills. 00:35:49 - How branding and marketing helped grow four photography businesses. 00:39:06 - The business failure that forced Jeff to rebuild his life. 01:01:49 - Why clear goals, strong branding, and steady action create growth. About the Guest: Jeff Brown is an International Photography Business Mentor, Best Selling Photography Business Author, Public Speaker and President of The British Institute of Professional Photography. Also working for The International School Photography Conference Team he has delivered sell-out courses and workshops around the world. Jeff works closely with photographers from all niches and photographic backgrounds having a real passion to help them grow their online brand and achieve their goals.          Jeff first dipped his toe into entrepreneurship at the age of 15 while still at school, selling handmade fishing flies to local tackle shops to boost his pocket money. After leaving school at 16 he set up his first full-time venture, a mail-order fishing tackle business. His fishing tackle business came to an end 7 years later, shortly after Jeff enlisted in the Royal Navy where he went on to serve as a military photographer and intelligence analysist.            Following nearly 10 years service he left the armed forces to set up his own photography company, and eighteen months later had a successful six-figure wedding photography company and a commercial photography business, then going on to open a separate school photography business and a Boudoir Makeover studio turning over 1,000 boudoir and model shoots per year.            In 2014 Jeff decided to follow his dreams of owning a country food pub by investing over £120k of his own money into a pub venture, which turned out to be his greatest ever failure, losing his entire investment and racking up £60k of debt in just 12 months while at the same time going through a divorce.           After suffering from depression in 2015, he changed direction again and developed an online photography business mentoring program, making it his mission to help and inspire photographers worldwide to market their businesses better.                                                Part of Jeff's major focus and teachings are in the areas of Goal Setting, Brand Message, Consistency, and Website Content including the new AI and AEO search on Google, and also his favourite social media platform which is LinkedIn. It's essential to have a mindset for success and a clear path to follow. No business can truly succeed without goals, direction, a powerful brand and a positive mindset to achieve.        Jeff has written 4 internationally best-selling photography books and recently published his first travel book – ·      The Photographers Missing Link-edIn ·      The Ambitious Photographer's Journal          ·      Help My Photography Website Needs More Customers        ·      The Photographer's Gratitude & Mindset Journal       ·      Plan Your Ultimate Northumberland 250 Road Trip   He writes for several photography magazines and associations and is also a brand ambassador for OM System (Olympus Cameras), The British Photography Awards, Studio Ninja, The Societies of Photographers, and the UK and US Brand Ambassador for The Shutter Studio App.         Jeff lives in the beautiful scenic county of Northumberland, England. He's a keen traveller having visited over 60 countries so far, as well as being an outdoor enthusiast, motorbiker and loves getting out in nature when ever he can. Ways to connect with Jeff**:** Website: www.thephotographersmentor.comFacebook: www.facebook.com/JeffBrownThePhotographersMentorLinkedIn: www.linkedin.com/in/thephotographersmentorAmazon: https://www.amazon.com/stores/Jeff%20Brown/author/B09M76J1XK About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:04 What if the biggest thing holding you back isn't what's in front of you, but rather what you believe? Welcome to Unstoppable Mindset, where inclusion, diversity, and the unexpected meet. I'm your host, Michael Hingston, speaker, author, and advocate for inclusion and possibilities. This podcast explores how the beliefs we carry shape the way we live, lead, and connect with others. Each week, I talk with people who challenge assumptions, face adversity head-on, and show what's possible when we choose curiosity over fear. Together, we focus on mindset, resilience, and the small shifts that lead to meaningful change. Let's get started. Hi again, everyone. Welcome to another episode of Unstoppable Mindset. You know what's really fun about this podcast is we get to meet all sorts of people who talk about all sorts of different kinds of things, and today we get to talk to a gentleman from England, Jeff Brown, and Jeff, among other things, is an international photography business mentor, best-selling photography business author, he's a public speaker and also the president of the British Public Institute of Photography. I think I said that right. Jeff Brown  01:36 British British Institute of Professional Photography. British Michael Hingson  01:40 Institute of Professional Photography. Got to say it right, but anyway, and and all sorts of other things. He's an adventurous kind of person, as you're going to learn in the course of the day. So, Jeff, I want to welcome you to Unstoppable Mindset, and we're really glad you're here. Jeff Brown  01:55 Thank you. Thanks for having me on. Michael Hingson  01:57 Well, I'm glad to do it, and I have a visitor in the studio today, my cat Stitch, who is monitoring this, and I'm sure that if she has any opinions, she's going to voice them. But we'll see. Stitch is a wonderful kitty. She's almost 16 years old, and we we love having her around. But anyway, so Jeff, why don't we start by you telling us kind of maybe about the early Jeff growing up and some of those things, and we'll go from there. Jeff Brown  02:25 So growing up, so I grew up in the northeast of England, and I was born in 1970. So I'm 55 now, and back in sort of late 70s, early 80s, the northeast of England was a was a bit of a grim place. It was gray. It was there was a lot of poverty. It was mainly coal mining and shipbuilding, and it was the old sort of mentality of you know you go to school, you study hard, you get a job, you stay in the job for for your life, you retire, and then you're dead. That's it. Yeah. So, for some reason, that didn't really, really appeal to me. And I used to love reading. I read loads of books. I was obsessed with books. Got into books from a very early age. Into sort of fantasy type books, Lord of the Rings, The Hobbit, and stuff like that. But it was only when I got into maybe probably about the the junior schools I'd gone through the infant school I got to about eight or nine year old that I realized there was something the matter with me in the fact that I'm really struggled with with school I wasn't very good at it years and years later, I found out I was dyslexic, but I couldn't read out aloud. I had real problems with numbers. Numbers seemed to always look the wrong way around to me, and I got an instant dislike of school and an instant dislike of authority. I had I just I couldn't wait to get out of it, but I was quite creative when I got into fishing, I was good at making fishing flies. I got into photography, and that sort of gave me more of a creative mindset. Where I thought, well, I don't want to work for anybody else. I don't want to be told what to do. I want to try and make my own direction. And I decided that I was going to be self-employed or you know start my own business at the age of 14, Michael Hingson  04:23 what did your parents think of your your kind of independent mindset or entrepreneurial mindset? Because you must have voiced it along the way. Jeff Brown  04:31 Well, I did, yeah, and funny enough, you know, I said I had a real dislike of school. I mean, I actually not not overly proud of it, but I was expelled from school at the age of 16, kicked out of school because I got into quite a bit of trouble. I was I was very rebellious. I really disliked it with the passion, and I left school with zero qualifications. So I didn't I didn't pass any exams. I filled every exam that I actually bothered to turn up for, but to. It matters worse. My dad was a college lecturer, and my mum was a teacher. So, so obviously it didn't go down well with with having two parents who were in the education system. But they backed me 100% They were they they could see that I was struggling, but dyslexia wasn't really a thing that was talked about back. Yeah, and yeah, my my dad put forward at the time one and a half 1000 pound to help me get onto the you know get the equipment I needed and the the office space to start my first business. Michael Hingson  05:34 So it was pretty supportive, Jeff Brown  05:36 very supportive. Yeah, yeah, yeah, and and and I think it helped as well that my first business was making fishing flies and tying and exporting fishing flies to fishing businesses around the world. But my dad was keen on fishing as well, so he had he had an attraction to the business. Michael Hingson  05:54 Okay. Well, I know that my wife had lots of relatives in England. A lot of them were from the Cornwall Mosel area, and a lot of them, of course, were very much into fishing. Jeff Brown  06:05 Oh yeah, yeah. I know Cornwall. In fact, I spent a year in Cornwall on on Navy search and rescue, and that would have been 1919 98 I think it was then very beautiful place. Michael Hingson  06:19 I've not been. I'd love to go sometime. We'll have to figure that out. Jeff Brown  06:23 Yeah, it is. It's gorgeous. It's gorgeous. Michael Hingson  06:26 So you started this business. So you were basically 15 when you started the the business, which I think is kind of interesting. That's at a young age, and of course, by the time you were 16, as you said, you got expelled from school, which had to not be very very much fun. Jeff Brown  06:44 Yeah, I mean, well, to be honest, so the the starting of the business, I used to I used to go into the fishing tackle shops at weekend myself and one of my friends who who I used to go fishing with, and he was good at making flies. He was called Phil. Obviously, I'm called Jeff, and we decided we were going to create a business called PJ Flies. And one weekend, we we went into one of the local fish and tackle shops, and we were buying some some bits and bobs to make fish and flies with. And the business owner, the owner of the shop, said, "Look, says, look, if you bring me some flies down next week, if they if they if they're any good, I'll buy them off you. So we walked into the shop and took these fishing flies in the following week in a little presentation box. And I remember him individually taking each fly out at a time because he said, "How much how much how much are you going to sell me them for? And I said, "Well, I'll sell them for 10 pence each. So he was taking them out, and I was counting up in my head. And at the time, my pocket money was, I think, was three or four pounds a week, and I came out of that shop with a 10-pound note. So it was double what I was getting paid off my pocket money, and it was such a great feeling. So that was my first ever sort of dip into entrepreneurship, earning money, and and he said, and the last thing he said as I went out the door, he says, if you can if you can make the same amount next week or even double, bring them back and I'll buy them off you. So the following week I went back and made 20 quid. Michael Hingson  08:18 Wow, what goes into making a fly, I'm not a fisherman by by training or anything, so I don't know a lot about fly fishing. Jeff Brown  08:27 Yeah, so it's all feathers and so feathers and furrows, and it's all held onto the hook with with a very fine thread, like what's called a gossamer thread. It takes it takes a while to learn. So I was taught by an old guy who was a really good fisherman, and he he had a caravan on the same caravan site that my parents had that they used to go on holiday on, and because we we we never used to go abroad in those days, all the holidays were spent in England, and that he he saw that I was getting into fishing, and he came and taught me how to how to tie fishing flies, which was great. Michael Hingson  09:06 Yeah, and of course, the whole idea behind the fly is to attract the fish, right? Jeff Brown  09:10 That's right. Yeah, yeah. Michael Hingson  09:13 So that they will, if you will, take the bait. Jeff Brown  09:16 Yeah, yeah, totally. And the funny thing was, I was yeah, I used to love fishing, but I don't need fish, so I would either put you know put them back in the in in the river, or I'd I'd give them away to to members of the family. Michael Hingson  09:30 Wow. Well, and suddenly fortunes changed, and there you were making flies and selling them. Jeff Brown  09:37 That's right. That's right. Michael Hingson  09:39 So how long did you do that? Jeff Brown  09:42 So we we got we got a proper sort of business premises in 1986. So when I was I was 16 year old, and we applied for a grant with the then Prince's Trust, which was run by Prince Charles, who's now King Charles. And we were the youngest people in in the UK to be accepted for a grant. They bent the rules and they give us the grant under the age of 18. So we got the grant at 17 year old, and then shortly after, we were in a business sort of a business community, a big a big workspace with lots of offices with other creative people in, and shortly after the the center had opened, about six months after, the the the manager of the center came up and says, "Well, look, we'd like to we'd like you to make a box of salmon flies, but a really good box of salmon flies, all the best ones, and we'll pay you. And it's going to be a presentation box for a special guest who's coming to officially open the business center in a few months. But we can't tell you who it is. And anyway, it turned out two months later it was it was Prince Charles. Speaker 1  10:59 He Jeff Brown  10:59 came to visit us, and he was presented with a box of fishing flies-the the flies that we tied from. Michael Hingson  11:07 Wow, that was pretty cool. So you got to meet him. Jeff Brown  11:11 So yeah, we got to meet him. He talked about fishing. He talked about fly tying. He said he'd he'd been bought a fly tying kit for Christmas one year from his wife, who would have been Princess Diana, but he couldn't get away from get away from it. It was too. He found it too complicated and too complex. So he says, "I really admire that you you know that you guys can can tie the flies. So so yeah. So it was nice. It was nice to meet him. It was nice to be able to do that presentation box, and we had that business till I was 26 so Michael Hingson  11:45 10 years, Jeff Brown  11:46 nearly 10 years. Yeah. Michael Hingson  11:48 Now, have you met him ever since Jeff Brown  11:52 then? I haven't met him, but I have met other members of the the royal family because I was a my next stage in business, so my next stage in life was to become a a military photographer. I met a few members of the royal family in my capacity as a military photographer. So I went from so one avenue being creative, which was the fishing flies, into sort of another avenue being creative. And the funny thing was, I'd never had any intention of John in the military. None of my family were in the military. My dad had done his national service, and my granddad had served in the in the navy during the Second World War. But just on a whim, one day I happened to be walking past a military careers office, and I thought I'd pop in. I love cooking. I thought, oh look, I'd seen a picture on the window where he could train to be a military chef. Yeah, okay. So I went into enquire about being a chef, joined as an aircraft engineer, and then transferred across to become a military photographer. And funny enough, like I said early on, that I hate authority and I hate being told what to do because that came from a hatred of hatred of schools. Michael Hingson  13:10 A school, right? Jeff Brown  13:11 But I believe that the military was different because people say, "Well, you know, if you if you hate authority and hate being told what to do, why the hell did you go and join the military? But the military was very different in the fact that I put up with the I put up with the authority because the military give you adventure. It wasn't a nine foot nine to five. It wasn't a routine job, you know. So it give and I love excitement. I love adventure. I love the the idea of every day being different. So so I was happy enough to put up with military life, and I did that for nearly nine years. Michael Hingson  13:49 Well, so did you find that the military respected your creativity as you grew at being a photographer, and so you were a photographer, so that you were allowed to, to to be creative and do the things that you wanted to do, or did you find that there was just as much authoritarianism, if you will, and they kept telling you what to Jeff Brown  14:15 do? No, no, they were very good at being creative. Funny, the the military photography branch-it's only a small branch. It's about 80 people in the in the in the navy photography branch. So by comparison to all the other branches of the navy, it's tiny, and it's always also a very sought after branch. So basically, have to wait till somebody retires or somebody, you know, gives up their position that you can actually request, and I just managed to get in at the right time where somebody had left, and I applied, and I got accepted and went on to their training course, and their training course is is quite intense, 26 exams in six months, but. All the people who run it are really passionate photographers, so they're all about developing your own creativity. Yes, there's rules and regulations to follow, but it was very different than other other avenues of the armed forces. And then, you know, your average working day, you were you were given a lot of freedom. You were given a brief for a job, but then quite often you would just go off and design that job the way you wanted, you know. Michael Hingson  15:24 But why did you, since you, I guess you, as you said, joined as an aircraft engineer? Why did you decide to look at photography? What what attracted you to that? Jeff Brown  15:35 Because I didn't. Well, first of all, I didn't realize you could be a military photographer. So it was, and you can't join as a military photographer anyway. It's what's called a sidewards entry branch. You have have to have served three years in a in a another part of the armed forces before you can apply. And to apply to get into the military military photography branch, you have to pretty much do it on your own merit. So you've got to build a portfolio up. You've got to do all the application yourself, and they also look at your. It's not like the way you react to discipline, the way you think on your own two feet, sort of thing. So, funny enough, when I went through the interviews and and they looked at my portfolio, they said that my my work was pretty poor, but they loved the way I thought, and they loved the way I was driven, and would get up early and go out and do stuff. This is, you know, it's the it's the passion and the the willingness to learn. We can teach you all the other stuff, but you you know you you're showing that willingness and and going that extra mile. That's that's what got us in and and got us to be accepted into the into the branch. It wasn't my skills as a photographer because I was that was pretty useless. Pretty new, Michael Hingson  16:49 yeah, Jeff Brown  16:50 yeah. But you know they they developed that. Michael Hingson  16:55 So the the whole idea of going in and learning to cook and being a chef kind of went by the wayside, huh? Jeff Brown  17:00 It did, yes. But I still, I still, I still love cooking to this day, and I was still very passionate about it. And I always had a dream of, you know, one day owning a a pub or running a food pub, Michael Hingson  17:12 right? Well, and you know things happen, but you you clearly are an adventurous sort of person that you even chose to do all of this, and that-that's in of itself, I think, admirable to you know to do that. So you you became a photographer, and so what kind of things did you do during the time you were in the military from a photographic standpoint? Jeff Brown  17:40 So we would do everything. We do everything from portraits of sort of admirals in uniform, official portraits. We do big presentations and awards. We do a lot of PR photography. So we'd be we'd be tasked with with a concept or an idea, or being told something is happening, or we want to promote this, so they might say, right? We've got an aircraft carrier coming into your area. Can you come up with some ideas to to sort of really promote it? Something that look really exciting. It'll encourage people to to join the military because one of the one of the things military photography branch, it's it's about PR. It's trying to get pictures of the military into the into the newspapers in a positive light. So you know, young young men and women go, "Oh, that looks great! I'd love to join, and it serves them an absolute fortune in in in advertising. So so that was that was a lot of the stuff we did, we create concepts and ideas, and quite often the concept and ideas led to having a lot of fun. You know, I'd say like, well, what have I got at my disposal? And then an admiral might say, well, what do you need? I said, well, I need a few helicopters. I need some fast patrol boats. I need some marines on on on ribs lent over these these you know rigid inflatable boats all camouflaged up with their cam cream on and their rifles and they'll be in front of the in front of the the aircraft carrier then we'll have the the helicopters flying in the background and all this was was so basically controlled by us, so we would have headsets on. We'd be talking to the, talking to the the pilots. We'd be directing people, and those shoots probably cost 10s and 10s of 1000s of pounds to to put together. When you think about it, but it was great to see some of the images come out. And in those days, when I first started doing it, we were shooting a lot of the stuff on film, so we didn't have the the the the benefit of seeing the images instantly, as in you know with digital photography. Michael Hingson  19:51 I was going to say much less digitally editing it. It was all on film. Jeff Brown  19:54 Yeah, yeah, yeah. Michael Hingson  19:56 When did it migrate over to be more digital? Jeff Brown  20:00 So we were still we when I was in training we we were using digital but still preferred you to to do a bit more on the film side of things Michael Hingson  20:08 higher quality Jeff Brown  20:10 yeah and and they also I think for like an archival purposes for the idea of have negatives and hard print Speaker 2  20:18 yeah Jeff Brown  20:19 but then you know towards like the 2004 two you know 2003 2004 Then they were starting to embrace digital fully, and and you know do away with all the the film. Michael Hingson  20:33 Wow! Jeff Brown  20:34 And obviously there is the cost aspect as well. You know because you with film it costs every time you you press the shutter button, you know you can you can take a lot more images. But I suppose it does it does make you a bit more of a lazy photographer. Michael Hingson  20:49 Well, I I suppose in some senses it can. It just depends on how disciplined you are. Well, you seem to be a pretty disciplined kind of person, and so you you worked at that pretty well, and I can. I can appreciate that. So so when did you start doing photography for the military? When did you enroll in the military? Jeff Brown  21:11 So that was 1997 Michael Hingson  21:14 Okay, so you were what 2526 25 Jeff Brown  21:19 Yeah, 2026 Yeah, yeah, 2627 yeah. Michael Hingson  21:23 Well, and the the thing about photography or or any skill like that that is is pretty unique and pretty new for you is that you had to really develop the knack to doing it, but you obviously also had to have a lot of understanding about things like, as you said, PR and all that. I mean, some of that just had to be a little bit more natural, or just you observed so much that you realized the value of it. And as you pointed out, having the the whole photography branch in the military had to be incredibly much less expensive for the military, no matter what you wanted them to do, than them doing PR in other ways because it was all done internally. Yes, yes, you had to have helicopters and military people and all that other stuff, but they didn't have to pay the company to go out and, or didn't have to pay it much to go out and do the photography because you're the company. Jeff Brown  22:29 That's right. That's right. And also, some some of the jobs were required a certain level of vetting that they couldn't bring a company in unless those people were vetted. To you know, like on, I did quite a few photography shoots on nuclear submarines, which you you can't enter a nuclear submarine base unless you're you're vetted to a certain level. Michael Hingson  22:51 Right. Now that brings up a point. So let's let's go back to that. So going into a nuclear submarine base and so on, and and doing photography. What what was the purpose of pictures for that? Since it had to be pretty cleared and must have been somewhat classified. Jeff Brown  23:11 Well, sometimes some of the the shoots on board the submarine would be like award ceremonies. So okay, yeah, you know, people getting medals or achievements, and actually getting a photograph from receiving their award from the captain of the submarine. But then sometimes we would have PR photographs of of the the submarine sailing, and we'd be on speedboats going down the lock, photographing the submarine. Michael Hingson  23:41 But what you were not doing was taking pictures of things that were so classified that they didn't dare show them to the public or whatever. Jeff Brown  23:49 Yes, yes, Michael Hingson  23:50 yeah. Which which makes sense. Speaker 1  23:57 If you enjoy unstoppable mindset and would like to help us continue bringing these conversations to you each week, we've created a way for you to support the show. Your contribution helps us cover production costs and continue sharing stories, insights, and ideas that inspire people to live with purpose and possibility. If supporting the podcast feels right for you, you'll find the link in the show notes. Thank you for being part of the Unstoppable Mindset Community. Michael Hingson  24:30 So you you did that, and so you clearly found a niche to to do and to to work at, and obviously loved it. Jeff Brown  24:43 I do. I mean, it took it took a while to get the confidence. I'm quite an introverted person, so where I love taking photographs, and you know, it's easy to take photographs of things and objects and landscapes and that sort of stuff. It's. It's quite hard when you don't have a lot of confidence and you are quite introverted to start directing people and telling people what to do, especially when you had to direct, you know, entire ships, companies, or groups of 4050, people to do a a group shot at the awards ceremony. So that that was something that took a bit of getting used to and put me out of my comfort zone to to become a bit more sociable and a bit less introverted, and also direct people from behind the camera. Michael Hingson  25:31 So you you became a director, Jeff Brown  25:35 I suppose. Yeah, you do. In some senses, Michael Hingson  25:38 anyway. Jeff Brown  25:38 Yeah, yeah, and from from another point of view, I sudden realized that you know you might not like directing people, or you might be really nervous about speaking to people you've never met before and telling them what to do. But quite often, the people on the other side of the camera are just as nervous as you because they don't like having their photograph taken. They feel awkward, so you know part of your job as a photographer is to put people at ease and make people feel comfortable. Michael Hingson  26:03 Yeah, and I think about it as a public speaker. I keep hearing all the time that one of the top fears that people have is speaking and standing on a stage and speaking. And I and I finally realize that that's because we're conditioning people to think that it's scary, but the fact of the matter is that, and I still believe this to this day, audiences want speakers to succeed. Unless you're just a real jerk, audiences want you to succeed, and I would think that that some of that same level of confidence goes into what you do as a photographer. You are-they want you to succeed, and the people who are nervous about you taking their pictures and so on. Your job, as you point out, is to kind of help make them feel more comfortable about Jeff Brown  26:55 it. Yeah, and and you, you know, on from your point of view, you know, you you want somebody to love the picture? Michael Hingson  27:02 Yeah, Jeff Brown  27:02 you want someone to go, oh wow, you know, like actually take away their their dislike and awkwardness of having a photograph taken, and you know it's it's quite rewarding when you see somebody go, oh wow, I didn't know I could look that good, you know, because you've you've directed them, you've posed them, you've helped them feel more relaxed, and they see themselves in a different because it's it's quite it quite often it's not that somebody always looks awkward or you know they don't take a good picture as people say oh don't take my picture I don't take a good picture you know it's the fact that they've never been directed they've never they've always felt felt uncomfortable and awkward so it comes through in the the final image because they don't look relaxed. They don't look natural. They've got this fake smile. They look uncomfortable. Michael Hingson  27:49 I know. For me, I've I've never worried about that. Of course, being blind my whole life, I never really cared a whole lot about pictures. Yeah. So I love to pick on pictures all the time. So you know, for example, people say that a picture is worth 1000 words, and I just point out, yeah, but it takes a whole lot more memory. So, but but but I I appreciate pictures, and I've learned a lot more about photography and appreciating photography ever since September 11th. And part of that was my guide dog Roselle at the time, who became a real camera ham hound. She loved to be in front of the camera, and there was one time we were on a Larry King show on CNN, and you know his shots are and the photographers and and the and everything on the show is basically front like from the chest up, and and so on, and they take pictures. So one day we were going to be on the show, and they made a a little platform that Roselle, my guide dog, could lie on, and they said, "Okay, put her up on there, and I did, and she laid down, put her head between her paws, and that was it. And the director came like about a minute before the show started, and he said, "Isn't there anything you can do to get her to react more and to be a little bit more involved in the show? And I said, "Are the Klieg lights on yet? And he said, "No. I said, "Just wait till you turn the lights on. Everything will change. The lights came on. She lifted up her head, started blinking her eyes and flashing her eyelashes, smiling and licking her chops, and just having a good old time. She loved the camera. It was so funny. Jeff Brown  29:39 Yeah, I can't get. I can't get my dog to sit. He won't sit in front. He won't sit in front of the camera. He's a working Springer Spaniel. He will not stay still for two minutes. And there's something about it. Every time you look, you pick up the camera. I think he knows that you want to take a picture, and he turns his head away. He looks the opposite direction. Michael Hingson  29:57 Yeah. See, Roselle was exactly the opposite. Knew you wanted to take her picture, and she was going, "Bring it on! She just absolutely loved it. It was so funny, and and and it was it was a blessing. But it it as as we talked about it, as I talked to photographers and other people when we dealt with different interviews and so on, I grew to appreciate the value of pictures and what it was that they were trying to get, and it didn't take any work really to get Roselle to be involved in that. It didn't take a lot of work to get me involved with it, but I gained a greater understanding of it. So I certainly value the fact that there's there's a lot of reasons for taking photographs, although I also like audio input and other things like that that I'm going to see. But still, it's it's great that we have this technology, and nowadays, of course, because it is so digital, it makes it so much easier. Jeff Brown  30:59 It does. I think I think obviously there's you know everybody's using photographer now. Everyone walks around with a camera in their pocket, which is you know effectively a smartphone, and the quality of the images that you can take on a phone are fantastic. You know the you know the the resolution, the color saturation, the the look absolutely amazing. But sometimes I think people forget to stop and appreciate the moment. So everybody is more, you know, getting the picture taken, sticking it onto Instagram, onto Facebook, and also we have all these digital memories. But not many people are printing pictures out and putting them on the walls like we used to in the 80s and 90s. You know, family portraits, and I think that is a big thing that photographers need to be to be sort of reinventing and encouraging people to to enjoy the wall art, personalize the home, have a picture on the wall that brings a smile to your face every time you see it. Because if you take it on your phone, you you enjoy it for a second, and then it becomes a memory, and it goes in. I looked the other day. I've got 14 and a half 1000 pictures on my phone. Yeah. So, and I only ever see them, you know, seconds after I take them and I post them on Facebook, and then maybe a year later when a Facebook memory comes up and reminds me, oh, this is what you were doing this time last year. Michael Hingson  32:20 Yeah. Well. Well, and I understand that, and I, I, I also understand what you're saying about lazy photography because, as you said, you take the picture, you look at it, and it's gone, and you don't necessarily do all you can to make sure that the picture is looking as good as it as it can look, and sometimes we just rely on the automatic zoom and other things like that to make the picture look good. But the bottom line is that ultimately we're in control of it and really should make the picture as good as we can make it. Jeff Brown  32:54 Yeah, I mean that was that was what we were taught in the military right at the very beginning. And as I say, you know, was starting out on on on film cameras. It was get it right in the camera. You know, get it right in the camera. It'll look a lot better, and it'll save you hours of time in the dark room. And then there's a tendency now for photographers to think, "Oh, that'll do. I'll just sort it out in Photoshop afterwards, and which again takes time. And as a photographer, time is money. So yeah, yeah. The better you can get the composition and the and the way a photograph looks in the camera, then the less work you're going to have to do afterwards. Michael Hingson  33:35 Yeah, which makes perfect sense. And so I appreciate that. Well, so you were in the military for 10 years, and what made you retire from the military? And also, what kind of skills did you learn that you then took away from the military? One of them had to be accepting authority a little bit more, but I'm being sarcastic. But still, what what kind of skills and so on did you learn, and and did you take away, and and why did you even leave the military after 10 years? Jeff Brown  34:07 So, so being a military photographer, I was a military photographer, and there was a new a new sort of breed of like a new discipline that was coming into into the into our area into the the photography branch, and it was called IA, which is an intelligence analyst, and they believed that photographers, probably rightly, had a real attention to detail and a keen a keen eye for spotting things, and they were so they recruited intelligence analysts from the photography branch to analyze intelligence imagery, satellite imagery, reconnaissance, and then collate this information with other intelligence services. Like Lacher on I six and JCHQ, so so people on the ground, you know, and and military listening outposts, and so I got sent to work. So I did my intelligence course, and I got sent to work for with the intelligence services for about two and a half years now. While I was while I was doing my job as a military analyst, intelligence analyst, I started getting people coming into my office and saying, "You're a military photographer, aren't you? Yeah. Would you photograph my dog? Can you can you photograph my daughter at her birthday? Do you do weddings? Can you do my my my partner's wedding and stuff like that? So started doing a little bit of stuff on weekends, and then soon realized that there was actually quite a good bit of money being a photographer. So that was it. So that that set me on the path of right. I'm going to get out the military. I'm going to start with my own business. I'm going to go back to being self-employed again, but this time using my skills as a photographer. And yeah, I had good photography skills. I had other skills that the military had sort of drummed into me, which was you know timekeeping, organization, attention to detail, and that would work brilliant with a wedding because with a wedding you've got to organize people, everything's got to be on time. You've you've got to have that attention to detail, so started doing weddings on weekends, and then I left, and now decided to go into partnership with another military photographer who was working at the same the same base as me, and was also from the same the same area, the same the same city. So I left first because he was married with two kids. Alif first to set the business up and get the business bringing in money, and then about six months later, the business was bringing in enough money for him to put his notice in and and come out and and join me full time in the photography business. So and then it just skyrocketed from there. We ended up having four different photography businesses, Michael Hingson  37:03 pretty impressive, huh? Jeff Brown  37:05 It was good, but I think you know a lot of the lot the stuff that we did is when we left the military is you get a resettlement grant to resettle you back into civilian life to to to get you ready to work for other people, but obviously we were going to go self employed, so we we spent this resettlement grant of 7000 pound on marketing and branding training. So I got 7000 Kev got 7000 So we spent spent a lot of our money on understanding how to run a business, understanding what brand was all about and brand concept and and marketing. And it wasn't necessarily our photography skills that helped us succeed. It was the skills of actually understanding how to run a business and how to market our brand, Michael Hingson  37:49 which also goes a little bit back to understanding PR and just as you said, understanding all about business, which is which is pretty cool. Speaker 3  37:57 Yeah. Michael Hingson  37:59 Well, as you as you did that, how easy was it for you to integrate back into society and become disciplined enough to run your own business? Because when you were in the military, you had other people who were making a lot of those decisions, but you had to learn something along the way or figure out something along the way that allowed you to truly run your own business. Jeff Brown  38:22 To be honest, I felt I felt quite excited to be going back to it because, obviously, you know, from sort of 1415, year old, I'd had I'd had my own business, and that that was my first my first ever job. You know, working for myself with fish and fish and tackle business, and I sort of realized early on that yes, I don't have a boss, but ultimately the business is the boss because the business demands from you all the time. It demands how much work you need to put in, and if you don't put the work in, then you don't get the money. But the other good thing about running your own business is you're not on a fixed wage. You know, you have that ability to make a lot more money, without having to be promoted or or impress somebody else, you know. So for some people, it doesn't work. Like my girlfriend always says, she doesn't think she could do what I do because she doesn't like that uncertainty. Of you know, because every business is ups and downs, ups and downs. You have low moments. You have high moments, but that's life in general, isn't it? And I think you've just got to have more high moments than low moments. But yeah, I love it. I don't think I could ever work for anybody else. But a lot of, I think I'm unemployable. I don't think I can. I don't think I could go into a normal job. But a lot of those high Michael Hingson  39:40 moments are also moments that essentially you create. It's your mindset. That's Jeff Brown  39:45 right. Yeah, Michael Hingson  39:46 because you know, like failure. Everybody talks about failure. Well, you know, you're going to experience failure in your life, and I have gotten to the point where I tend to react and say there really is no such thing as failure. Because failure seems to be an absolute-you screwed up, and that's all there is to it. And the reality is, it's not. Failure isn't really the issue. The issue is okay. You made a plan. Something didn't work right. The question really is now: Where do you go from here? How do you fix it? What have you learned from what happened? And I think that's really the issue. Jeff Brown  40:20 That's totally that's totally right, and you know, but I made a a decision back in 2014 So you said, you know, I love cooking, and had the photography businesses, which which were both doing very well. They were both they were all super successful, you know, bringing in the money, and I decided, wouldn't it be nice to buy a really, really beautiful traditional country pub, one with log fires, you know, in the middle of the countryside, maybe a two, 300 year old building, and and run my own pub? So that was that was my idea. So so I found this this beautiful little country pub in Durham, in the northeast of England, and it was like a picture postcard country pub that looked beautiful. It actually had two log fires. It had, I think, it was about 300 year old. It had wooden beams, everything, and so I fell in love with it. I I bought the lease on it. I plowed 120,000 pounds of my own money into it, and within 12 months, I'd lost all that money. I was a further 60,000 pound in debt, and I couldn't see any way out. Because you say, you know, like failure. Sometimes people think failure is that's it, that's the end. They can't see past it, and stupidly, I decided that that was it. I couldn't go on anymore, so I tried to drive my car off a bridge. I was, I was drunk at the time, but you know, luckily I didn't. I just damaged the car. I didn't damage myself. I woke up the next morning feeling utterly disgusted with myself because my daughter at the time would have been seven year old. and I realized I needed to get out the pub, and I needed to change a different direction, which I did. So I ran away, and I came to the countryside where I live now in Northumberland, and moved away from all my family and and my friends, about an hour away from all my family and friends to restart my life again, and I spent probably about six months listening to positivity books and audio books, and and trying to rewind my mindset, and then take a new direction. And that's when I got into the idea of because I was in the middle of the countryside, I could run an online business training photographers in marketing and branding, and you know how to how to promote themselves on the internet, and I could do that with anybody anywhere in the world who was a photographer. So that was my idea, and that's what I went for. And you know, looking back at it, 11 years on from that, it would be 11 years in March when I tried to take my own life, and I thought that was that was the biggest worst failure I'd ever have. It was the best failure I ever had because I've never been as happy. I've never been as stress free. My work takes me all over the world, speaking and meeting photographers. I have an absolutely amazing community. No day is the same because I'm on all different time zones, speaking to different people, and and I just love it. It's stress free, but you know, if I'd stayed at the pub, that wouldn't have been stress free. So, Michael Hingson  43:33 so what happened? That why did the pub fail? Fail, or or why didn't the public pub succeed? And what did you learn from that? Jeff Brown  43:40 So, well, first of all, probably I probably fell in love with the idea of the pub, but I probably didn't do enough research. Now, funny enough, it was in an old mining village, my coal mining village, that was very, very much based around if you weren't born and bred in the area, you didn't fit in, so first of all, I think fit into the village very well. But the profitability in the pub trade is is very hard, especially if the pub, if the building is owned by a brewery and you've got to buy your beer direct from the brewery, it reduces the profit margins. And I just think everything that could go wrong in that 12 month did go wrong. We had staff stealing offers. We had a couple of sabotages to the pub, a couple of really big bills that wasn't expected, equipment going wrong and equipment failing, and yeah, the costs just spiraled out of control. Michael Hingson  44:38 Just a lot of lack of research, Jeff Brown  44:41 yeah, yeah, yeah, Michael Hingson  44:42 and I would suspect that you would say that because of that, and because you realized all that, you learned. Jeff Brown  44:50 I learned, yeah, yeah, I, I totally learned, and I think you know that I, I, I fell in love with the idea of it. I fell in love with the building, and probably, probably didn't research it. And also, you know, yeah, I was great at marketing. I was great at business, but I'd never run a pub before. And yeah, it was probably a bit of a. I'd probably sort of trying to run before I could walk. In that, you know, might have been better off going and working for somebody else and being a manager or working in a bar. And you know, the the day I opened the pub, I'd never even pulled a pint before. Never stood behind a bar and served served a drink. So, Michael Hingson  45:28 yeah, and that's that's an art in of itself. Jeff Brown  45:32 Yeah, yeah, that's right. Michael Hingson  45:34 I used to when I lived in New Jersey and worked in New York. I used to go to a restaurant called Virgil's Real Barbecue, best barbecue I think in the country, and so if you're ever in New York, it's Virgil's. Anyway, they had opened a facility in Las Vegas. Also, they opened a restaurant in Las Vegas, and so last week when I was at the Consumer Electronics Show, I went there, and one of the things I had heard early on when they I heard about them opening the restaurant several years ago, was that the people who opened the restaurant before they could open it had to go spend six months in New York at the original Virgil's, learning everything about it, so that they could make this restaurant and the food be the same as as what they experienced, because they wanted Virgil's to be the same in both places, and they did. And I can say that, from my perspective, at least, they did a really great job, and they learned from that, which was exactly what you wanted for the people in Las Vegas to do, and they survived the pandemic, and it's still open. So when you're in Las Vegas next time, Jeff Brown  46:47 yeah, I'm there next week. So yeah, I'll have to Virgil's. Yeah, I'll check it out. Michael Hingson  46:52 Virgil's real barbecue, best ribs in the country. That's my opinion, and I'm sticking to it, everybody. Well, that's cool. So. So, do you believe that things happen for a reason? I mean, a lot has happened, and of course, the pub closed and and all that. Do you believe that things happen for a reason? Jeff Brown  47:13 I do, and and you know now I I think one of the things as well when you get to that point where you you don't believe there's there's there's any way out, and and you know you you get that alone, you get depressed, but you you feel that you've got to take your own life. You are right at the very bottom. I think for you to go to the very bottom and then come back up again, it changes your mindset about stuff. And I I never get stressed. I am a very, very chilled out person. If something goes wrong now or something fails, I just go. Well, it's happened for a reason. Maybe something better is around the corner. Maybe it's the universe trying to direct me in a in a different path. You know, and and I think the less you live, the more you live by that mindset, the more it opens you up to other opportunities. Yeah, keeps you living it. You know, you're not living in the past; you're living in the future. It it was for the first six months coming up here 11 years ago. It was hard to move away from that failure in my mind. I kept playing it over and over again, but you know, playing it over and over again wasn't going to make that failure with the pub any different. The outcome had happened, and what I needed to do was focus on the future, get back together and get my myself back together, both mentally and also establish a new business and a new way of life. And that in itself was a a massive learning curve, but for the better. Michael Hingson  48:44 Well, and and the reality is, it it certainly has made a big difference in your life. And the fact is that, again, it goes back to failure isn't the end all, and failure is is probably the wrong way to put it. It's a learning experience, and I think that it's so important to do that. I am like you. I refuse to feel stress. I've been through too many experiences in my life that that caused stress, and I've learned that there are always ways to to deal with things, and so it's important to not let the stress overwhelm you. I wrote a book that was published in 2024 called "Live Like a Guide Dog: True Stories from a Blind Man and His Dogs About Being Brave, Overcoming Adversity, and Moving Forward in Faith. And moving forward in faith is part of it, but the whole issue is we focus on our lives on so many things. We think we need to control everything, and the reality is, we only control probably much less than 10% of all the things that we experience, but we worry about 100% of everything, and that doesn't help. And so, it builds up so much fear and causes so much stress. And if we would just focus on the things over which we really can control, we would be much better off. Jeff Brown  49:59 Saying that, you know, after leaving the pub, because my mindset was very, very delicate, and I had to build my my mental health back up, I decided to stop watching the news. So I used to used to get up and go downstairs and put the news on TV and have my morning coffee and and listen to all this negativity, all this drama, every single morning, which I've done for probably 40, you know, well, at least 30-five years, and and that was it. I've never watched the news since. I don't watch any live TV. I don't watch the news. People say, "Well, how do you manage? So, well, somebody will tell me something, but most of the time, half the stuff that people get worried about never actually happens. And if it does happen, quite often there's nothing you can do about it because it's the other side of the world. Michael Hingson  50:53 Well, even if it's in England, you don't have control over it, so why worry about it? Now, I watch I watch the news, but I do it because I want to get the information. But I won't worry about it. And there's so much that happens. But I feel that that at least there is information to be gained by watching the news. But what I had to learn somewhere along the line is don't take it personally because you don't have any control over it. And there are so many things that that go on, but the the trick is not to let things you don't have any control over really affect you to the point where you get nervous and stressful again. Jeff Brown  51:34 Yeah, yeah, and I think that you know the the same thing can be put into social media. You know, people say social media is negative. Social media is dangerous, and it depends how you react to it and what you engage on. You know, in my own social media, I follow a lot of photographers, a lot of people who talk about adventures and motorcycle rides and travel and nature. So my news feed is filled with a lot of positive stuff. And if if I see something negative or see something sensationalist, what I do is I don't unfriend that person. I just unfollow them, so I don't see their content again. Michael Hingson  52:09 Yeah. Jeff Brown  52:10 But from from the plus side, you know, social media has bought me more opportunity than anything else, and and effectively for free. And I've traveled traveled a lot because of my work. I have over 100,000 followers across my my social media platforms, and social media brings me customers, brings me clients. It helps me sell books, so there is a lot of positivity to it. I suppose it. The negative is only if you engage in the negative, then you will you'll find the the negative aspect. Michael Hingson  52:40 Yeah. Well, and the reality is that again, it's it's how you approach life, and you've clearly learned a lot about how to approach life in a much more positive way. You've developed, well, we'll call it an unstoppable mindset. You've developed a mindset that allows you to go through life and do the things that you need to do, and focus on the things that you can, and you leave the rest of it alone. Jeff Brown  53:06 Yeah, yeah, totally, totally. Michael Hingson  53:08 Which which makes a lot of sense. Well, for you, you you talked earlier about the fact that you have dyslexia, and you've been with dyslexia for most of your life, or maybe all of your life. It's interesting. I've talked to so many people who didn't know that they had dyslexia when they were in school and so on, and experienced a lot of the same frustrations and kinds of experiences that that you've experienced. And somewhere along the line, they finally discovered that they they had dyslexia. How did that when you when you finally realized that? What did that do for you? How did how did that really affect you? Jeff Brown  53:52 Well, funny enough, I I can remember a moment where I must have been about eight year old, where a teacher and you know, back in the 70s, teachers weren't as kind, weren't as kind to to schoolchildren as they are now. You know, and and this this teacher singled me out in front of the class and and told me that I was stupid and I wouldn't amount to anything because I kept struggling with this reading and my numbers. And at the time, I I was I was chubby. I had ginger hair, so I didn't have a I didn't have a lot going for us in in the popularity front, and also being you know the the stupid one in the class. So I found it really negative, and I found it really really personal because I didn't realize that I was dyslexic because nobody knew what dyslexia was now, and when I got to my mid 30s, and I went to train to go into the work with the intelligence services and be an image analyst, I had to redo my English and maths all level qualifications that I should have passed at school, but obviously I didn't. I had to do them through the military, and that was when I found out I was dyslexic, and I didn't actually know what dyslexia was until until I made up on it, and then it all made sense. You know why why I'd struggled for so long. I have my own workarounds. I know what my I know what my what my issues are. I mean, now with with with my work, there's so much out there that helps you as a dyslexic. You know, you you have you have spell checker, you have read aloud where you might not be able to see see it. You know, so quite often I'll do a social media post, and I'll I'll get Word document to read it out aloud so I can hear it. But if I if I if I read it back, I can't see the mistakes I've made because my mind doesn't process that. I know when I write a number down, I probably write write it down the wrong way. So if somebody gives me a phone number and I phone it and it's dead, I just change some of the digits around and figure Michael Hingson  55:58 it out. Do you agree? Do you use technology like Dragon, naturally speaking, to dictate? Jeff Brown  56:04 I tend, I tend to. So I started using only in the past six months. I was quite, I was quite sort of against AI, and well, not against it, but everybody was jumping on the chat, ChatGPT bandwagon, and I always tend to do something different than everybody else does. Six months ago, I jumped on a piece of software called Claude, and because I've because I've written five books now, I've written four business books, and I've written a travel book. I also had a lot of content to give to Claude to feed Claude, and then I had transcripts from my YouTube channel, and and then I gave them some do's and don'ts about you know tone of voice and language, and you know I would never say things like this, I would never say things like that. Told them that you know don't be spelling color without a U. Don't put a Z in sympathize because not American English. It's English, English, and the funny thing is, like over the over the past few months, he's he's pretty much replicated my tone of voice, so I can get Claude to write me a social media post, and then I I just tweak it slightly, and I'll make some changes, and then when I've written that social media post, I give it back to Claude and say, can you note? Can you identify the changes that I've made from what you've originally made, Michael Hingson  57:24 right? Jeff Brown  57:25 And take them on board for the next one, and then you give a summary of the changes. And it's yeah, it's it's it's quite impressive. It's quite scary as well because he he says things like, "Am I becoming more Jeff? Yeah, yeah, you are a bit. Michael Hingson  57:42 Well, the other thing is there are programs and technologies, as I mentioned, like Dragon, which is a a technology that you can get where you dictate, and it recognizes your voice, and it will then convert what you say directly into digitized form, which is pretty cool. I use Dragon when I write a fair amount, and and so that that goes back far earlier than AI. Although I'm sure that there are AI, there are AI components to Dragon naturally speaking today. But it's a it's a great program, and it makes writing a lot easier. So rather than typing on a keyboard, I'm speaking, and it is essentially taking what I write, and it just completely digitizes it by recognizing my voice and then putting it out in in in a digital form for me. I can use it with Microsoft Word and other things like that, Jeff Brown  58:41 yeah. And then do then do you listen back to that and then give edits on on what has been on what is being done? Michael Hingson  58:49 Yeah, I can. I just go back and read the word doc, and but it's but it literally is is transcription of what I say, so I can then go back and say, okay, let's fix this, or everything is fine, and I can go even go back and figure out what's misspelled if there are things that it misrecognized. But it works pretty well. Jeff Brown  59:12 Yeah, tech technology is is is fantastic. It's also got it's it's it's I suppose worrying sides for creative people, where there's a lot, a lot of creatives that potentially AI could could really damage their careers going forward. So it's it's interesting to see which direction it's taken. You know, work with it, but then also be aware of it. Michael Hingson  59:40 Yeah. Well, you still need to take control. Jeff Brown  59:43 Yeah, yeah. Michael Hingson  59:45 So, what's the most unusual or interesting country that you've ever visited since you do so much traveling? Jeff Brown  59:52 I've been to North Korea. So, 2019 I went to North Korea for New. New Year's Eve to celebrate New Year in in Pyongyang Square with another 100,000 North Koreans. There was only 12 Western tourists in Pyongyang at the time, and we were there for 10 days. So yes, I've I've done North Korea, which it took a bit getting into getting into North Korea. It's not as easy as just you can't go on and book a holiday. He can't choose a hotel. It all has to be done through a third-party agent, and it took about six months to get the whole thing to together. But it was-it was very interesting. It was a completely different than every anything I'd ever experienced before, and it's also supposed to be one of the safest countries you can travel to because you you're followed by the North Korean secret police everywhere you go, even inside buildings, when you're in restaurants, when you're in bars. That nothing could ever happen to you, but the North Korean people would never dare to come up and speak to you anyway, you know. But the the thing with North Korea is everything is everything is orchestrated. Everything is set for you alive and there in advance, so you only ever see what they want you to see. You never see the other side of North Korea. I've also been to Chernobyl, where the the last was that was absolutely fascinating, and last year I went to Transnistria, which is one of these countries that doesn't exist. It's not officially recognized by by the UN, and that was like stepping back into the 1980s Speaker 1  1:01:38 That was, Jeff Brown  1:01:39 but everywhere I've been, you know, I think that that's t

What if the greatest privilege you could give a child isn't opportunity — it's being allowed to stay creative?This week I sit down with actress, filmmaker, and creator Andrea Lewis — Degrassi's Hazel, the mind behind Netflix's The Black Beauty Effect, and now the creator of Glam Culture, her regional beauty docuseries. Andrea moves through the world with a rare kind of peace about her own timeline, and this conversation is a masterclass in what that actually looks like in practice.We get into how Essence Fest became her manifestation machine, the two women who shaped her sense of style (her Kingstonian grandmother and her cowgirl-Jamaican mother), the Maya Angelou advice she got at 15 that changed how she ages, the honest reality of crowdfunding your own art — what she calls "Game of Thrones shame" — the PCOS diagnosis that reshaped how she moves through the world, why you need champions (not connections) to actually move a career forward, and why the most valuable thing she inherited was being allowed to stay creative without anyone trying to pull it back.

Have you ever felt like having a 'job' alongside your photography means you're not serious about it? That real photographers go all-in, or not at all? This episode is going to gently, thoroughly dismantle that idea.We're joined by Katrin Eismann: photographer, artist, educator, Sony Artisan of Imagery and someone who has spent over thirty years working with Adobe while maintaining a rich, evolving creative practice of her own.Her career is living proof that stability and creativity aren't in competition. And that building a sustainable life around your work doesn't have to mean compromising either. In this conversation, we talk about financial sustainability, creative identity, where inspiration really comes from, and why editing is far more creative than most photographers give it credit for.Where you can find Katrin:Instagram: https://www.instagram.com/katrin_eismann/Focus & Flourish, Photography Business Talk is a podcast for food photographers and creative entrepreneurs who want to build structured, sustainable, and profitable businesses. Hosted by Marta Grabowska and Linda Hermans, the show combines real-life experiences with practical strategies around marketing, pricing, workflows, and mindset — helping creatives step into their CEO role and grow with clarity and confidence.

In this episode, Pierre Michiels interviews John Rangel. John Rangel is a motion picture and television professor at the College of DuPage as well as an independent filmmaker. In the interview, they discuss the film and video program, the wide range of career paths available in the industry, and the key skills needed for success, including networking, creativity, and hands-on experience. They also highlight the importance of getting involved on film sets, building a portfolio, and leveraging internships to break into the field. After listening to this episode, we hope you have a better understanding of careers in the film and video industry and how to get started. Full episode transcript can be found on the episode page. Below is a general timestamp summary.  00:00–03:00 | Introduction & Program Overview Pierre Michiels introduces the episode and guest John Rangel, a motion picture and television professor and independent filmmaker. They outline the purpose of exploring the film and video field and begin discussing the College of DuPage program, which provides a broad foundation in filmmaking through exposure to directing, writing, producing, and more.  03:00–08:00 | Career Paths & Industry Roles The conversation highlights the wide range of career opportunities within film and video, emphasizing how many specialized roles exist, as seen in film credits. Rangel explains that students can pursue paths in production, videography, or related industries, while Michiels stresses the importance of recognizing these diverse options.  08:00–12:00 | Key Skills for Success Rangel identifies essential skills, including collaboration, networking, and consistent content creation. He emphasizes that success depends not just on technical ability but also on engaging with others, building connections, and actively sharing work to gain visibility.  12:00–15:30 | Gaining Experience & Internships They discuss the value of hands-on experience through working on film sets, stepping outside comfort zones, and pursuing internships. Internships are framed as critical entry points, often leading directly to job opportunities through relationships and demonstrated skills.  15:30–18:30 | Program Preparation & Student Opportunities Rangel explains how the program prepares students through frequent project work, resume and demo reel development, and a film festival that simulates real industry experiences. These opportunities help students build portfolios and confidence.  18:30–End | Final Advice & Resources The episode concludes with advice to focus on storytelling over equipment, watch diverse films, and create complete, polished projects. Rangel shares how students can learn more about the program, and the episode wraps with key takeaways on entering the field.  Resources Discussed: College of DuPage Film & Video Program webpage Contact: rangell@cod.edu for program questions Listeners in the College of DuPage community can visit our website. All other listeners are encouraged to view the resources of their local community college, WIOA training programs, or other local support centers.Send us YOUR Listener Questions at careerpodcast@cod.edu Follow us on Instagram, Facebook, Twitter, LinkedIn @codcareercenter

Welcome back to the podcast! We have had a few months "off-air" and in that time we have been busy working on a new direction for the podcast.Ask An Artist was founded in 2019, by artist friends and colleagues, Laura Boswell and Peter Keegan. In 2022, Laura stepped down as co-host to concentrate on other projects and Tom Shepherd has been keeping Peter company behind the microphone ever since. Now, 4 years on, it's time for a new chapter for Ask An Artist...We are delighted that Lisa Takahashi and the team at Jackson's Art Supplies, are going to be taking over the podcast reins. In this episode, Peter and Tom interview Lisa, find out about her artistic practice, her career at Jackson's and what is in store for Ask An Artist going forward.Peter and Tom (and producer Kimberley behind the scenes) say their goodbyes, their thank yous and hand over the microphone to Lisa, to take the podcast forward. We couldn't be more delighted about the safe hands the podcast is in with Lisa and the team at Jackson's Art Supplies. We're really excited to step out from behind the microphone and become avid listeners, along with all of you, and see how the podcast develops with its new hosts. The new episodes, from the new team, will be out from Autumn 2026.Best of luck Lisa and team! And thank you, to you, the listeners!You can read more about Lisa, and see her work, at: lisatakahashi.com, instagram.com/takahashiprints and facebook.com/artistlisatakahashi

When Burnout Becomes the Beginning of Something Better What if the thing wearing you down is pointing you toward your next chapter? Have you ever wondered if the creative spark you feel is trying to tell you something? If you've been questioning your path, this conversation will remind you that meaningful change often begins with one small step. Meet Regan Baroni In this episode, Mica McCook welcomes Chicago food photographer, educator, and former advertising art director Regan Baroni. As the creator of the Mastering iPhone Food Photography course, Regan has helped photographers and business owners create beautiful food images while building a creative career rooted in curiosity, growth, and purpose. What You'll Discover Regan shares how burnout led her to rediscover creativity through food photography and how that passion grew into a thriving business. Together, Mica and Regan explore the realities of freelancing, overcoming self-doubt, learning the business side of creativity, and building multiple income streams for long-term stability. They also discuss why expensive gear is not the key to creating meaningful work, how personal projects fuel artistic growth, and why rest, boundaries, and laughter are essential parts of a sustainable creative life. Listen In Whether you're dreaming about starting something new, navigating a creative rut, or looking for encouragement to trust your own path, this episode offers practical wisdom and heartfelt reminders that growth happens one step at a time. Final Thoughts You do not need every answer before you begin. Stay curious, keep creating, and trust that every experience is helping shape the creative life you're meant to build.

What if the fastest way to break into film and television isn't waiting to be discovered—but making your own project? This week, writer, marketer, and filmmaker Jon Thompson joins me to talk about the rise of micro series, independent filmmaking, brand sponsorships, and why creators no longer need permission to build a career. how to launch a micro series and independent film project finding brand sponsors and funding creative work why creators don't need Hollywood gatekeepers anymore building a filmmaking team and collaborating with other creatives marketing, storytelling, and creating opportunities by making your own work Find me, Whitney Uland, on Instagram and TikTok @whitneyuland Find Jon Thompson on Instagram @jonithom Follow Co Working Micro on Instagram @coworkingmicro No ads mentioned. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kenny Feinstein from the punk rock bluegrass band Water Tower shares how busking, livestreams, and a unique creative identity helped him rebuild his band into a movement. We also talk about learning every part of the music business, building a recognizable brand, and his latest book, More Than Talent: 7 Steps To Attain the Brand, Acquire The Gigs, and Amass Lifetime Fans.Key TakeawaysCreators should understand every part of their career, even if they eventually hire experts.Strong visual identity helps people recognize you before they even hear what you do. For Water Tower, punk shirts, bluegrass instruments, and walking toward the camera became part of the brand.Good content takes experimentation. Kenny emphasized that it took years, hundreds of posts, and paying attention to comments before Water Tower understood what truly resonated.Follow Kenny Feinstein:More Than Talent (Book)Water Tower (TikTok)Water Tower (Instagram)Water Tower (Website)Work Smarter Music Marketing (Website)Follow Creatives Prevail:InstagramTikTokWebsiteSign up for our newsletter The Monthly Scramble for featured episodes, reviews and more success stories!We would love to hear from you! Please give us a review, this really helps get others to listen in. Any suggestions on how we can improve? DM us on Instagram or TikTok.Host: Mike ZimmerlichProduced by: Omelette PrevailPost-Production: EarthtoMoiraMusic by: Daphne GreeneTech Specs:Mic and Headphone Setup:Limelight Dynamic Mic (512 Audio / Warm Audio)Vocaster One (Focusrite)MBS9500 Microphone Boom Arm (On-Stage)Pro X2 Headphones (Logitech)Light Setup:Litra Beam (Logitech)Glide Lively Wall Lights (Govee)Squares (Twinkly)Key Light (Elgato)

* Listen on Spotify* Listen on Apple* Listen on Youtube* Listen on Pocketcasts* Book Launch checklist: https://BookHip.com/BDSWRRT* Millionaire Author Mastermind Facebook group: https://www.facebook.com/groups/millionaireauthormastermind/* http://hapitalist.com/* Marketing Boot Camp: https://www.skool.com/bookmarketingbootcamp* Marketing Course: https://geni.us/millionaireauthorThis episode begins with a simple catch-up between Lee and Russell, but quickly turns into one of their biggest conversations yet about the future of creative work.Lee shares how she's experimenting with live writing sprints on TikTok after pursuing an ADHD diagnosis, introducing the concept of body doubling and why simply working alongside other people can dramatically improve focus and consistency for many creative minds.From there, the conversation pivots into artificial intelligence, but not in the way most people expect.Instead of debating whether AI is good or bad, Russell argues that creators are asking the wrong question. Rather than asking how AI can help produce more books faster, he explores how AI can unlock entirely new ways for audiences to experience stories through interactive apps, games, codices, workbooks, and other formats that previously required large development teams.That leads into a larger discussion about permission.Neither traditional publishing nor modern technology determines what creators are “allowed” to make anymore. The only real limitations are imagination, willingness to experiment, and understanding the business realities behind each creative decision.The episode also explores one of the most important concepts for building a sustainable creative career:Every creative goal is built from dozens of smaller skills.Whether someone wants to become a podcaster, novelist, filmmaker, or entrepreneur, success isn't about mastering one discipline. It's about gradually stacking complementary skills until seemingly unrelated experiences suddenly converge years later into a career that feels inevitable in hindsight.Throughout the conversation, Lee explains how she coaches authors by breaking seemingly impossible goals into measurable component skills, while Russell emphasizes that many creators fail simply because they confuse different goals, like “finishing a book” versus “writing the perfect book.”The discussion continues into branding, genre, audience expectations, marketing strategy, commercial fiction versus literary fiction, and why understanding your actual goals matters far more than copying someone else's career.By the end, the conversation becomes less about books and more about designing an entire creative life around what genuinely energizes you instead of chasing someone else's definition of success.Topics Covered:* ADHD, body doubling, and productivity through co-working* Live TikTok writing sprints* Building creative momentum through accountability* Why the AI debate has become less interesting than AI's unexplored possibilities* Using AI to create interactive fiction experiences* Games, apps, codices, and alternative storytelling formats* Moving beyond simply writing more books* Escaping the “book-a-month” mindset* Delivering a consistent brand promise* Lessons from Colleen Hoover and her readership* Brand consistency versus creative freedom* Why audiences buy feelings, not formats* Permissionless creativity in the modern publishing world* Teaching yourself instead of waiting for gatekeepers* Everything changes, but nothing is wasted creatively* How unrelated skills compound over time* Why every creative pursuit strengthens future work* The hidden skill tree behind creative careers* Breaking large goals into measurable subskills* Diagnosing bottlenecks in an author's business* Identifying obvious versus non-obvious constraints* Marketing, branding, writing, and sales as separate skills* Goal clarity versus perfectionism* Finishing a book versus endlessly rewriting it* Coaching authors through creative paralysis* Living in the energy of the solution instead of the problem* Chapter-by-chapter developmental editing* Making stories “hookier” without sacrificing quality* Scene goals and narrative momentum* Book marketing bootcamps and implementation coaching* The five marketing levers:* Cover* Description* Audience* Ad creative* Ad copy* Improving conversion instead of increasing production* Hiring coaches to solve specific problems* Defining what “good” actually means* Literary fiction versus commercial fiction* Hook-driven storytelling* Character goals as reader engagement* Matching writing style to audience expectations* Understanding market size versus artistic goals* Commercial realities of genre fiction* Fantasy, romance, literary fiction, YA, and niche genres* Building businesses around niche audiences* Total addressable market* Choosing creative constraints intentionally* Dense fiction versus highly consumable fiction* Writing beautiful prose without sacrificing readability* Generating traffic versus improving conversion* Lessons from James Clear and Atomic Habits* Creating highly shareable nonfiction* The difference between broad-market products and niche products* Serving a small but passionate audience* Designing a creative life around personal values* Investing versus relying solely on book income* Aligning business models with lifestyle goals* Accepting tradeoffs instead of chasing impossible comparisons* Building a career that fits your definition of success This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.sixfigureauthorexperiment.com

Emmy- and Artios-nominated casting director Wendy S. Kurtzman joins us to discuss her book, Acting is Your Business: How to Take Charge of Your Creative Career. With over 35 years of experience in film, television, and theater, Wendy shares actionable strategies to help actors take control of their careers, position themselves as CEOs of their own creative businesses, and build lasting professional relationships. This episode offers practical insights into navigating the entertainment industry, from connecting with working professionals worldwide to leveraging tools, worksheets, and insider advice for emerging and seasoned actors alike. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ana Huang spent years living a double life: international relations scholar, Georgetown grad, geopolitical consultant by day, and secret romance novelist by night. She quietly uploaded chapters to Wattpad under a pen name no one in her life knew, and kept writing even as she built a conventional career that would make her immigrant parents proud. On this episode of She Pivots, Ana shares how COVID cracked her life open, how she taught herself TikTok before BookTok was even a thing, and how she built a community of millions one chapter at a time, all while still clocking in at her day job. She talks about the moment she finally told her family the truth, why she said no to major publishers when Twisted Love blew up, and what it means to bet on yourself. Her Twisted series has now sold over 25 million copies, been translated into 34 languages, and is headed to Netflix—and her new book, King of Gluttony, is out now. You can keep up with Ana Huang on her website anahuang.com, as well as on Instagram and TikTok @authoranahuang. Episode Chapters: 00:00 - Welcome to She Pivots 00:28 - Double Life to Literary Sensation 01:58 - Ana's Childhood and Cultural Identity 05:55 - Early Career and Secret Writing 12:14 - Rediscovering Writing During the Pandemic 13:38 - The Romance Genre and TikTok Success 24:24 - Self-Publishing and Traditional Offers 27:22 - Navigating Fame and Fan Expectations 31:16 - King of Gluttony and Future Plans 33:03 - From Low Point to Launch 34:51 - What Does Success Look Like Now? 36:32 - Do You Think You'll Pivot Again? 37:24 - Reflections on Ana's Writing Evolution 38:11 - Podcast Credits Be sure to subscribe so you never miss a pivot story, leave us a rating (it really helps!), and share this episode with a woman in your life who you think needs a little inspiration. She Pivots is a podcast created by host Emily Tisch Sussman to highlight influential women voices, share stories of bold career moves, and inspire women with interviews about career reinvention and how personal pivots can redefine professional success. Join our Substack community! Subscribe here for exclusive content and to connect with other pivoters: shepivots.substack.com Learn more about the inspiring women in our pivoter community by following us on instagram @ShePivotsThePodcast, and check out our website shepivotspod.com for resources and updates. She Pivots is proud to be an iHeart podcast.Support the show: https://www.shepivotsthepodcast.com/See omnystudio.com/listener for privacy information.

Atlanta interior design powerhouse Justin Q. Williams built a celebrated empire by launching his business at just eighteen, but the glittering television features and custom furniture lines mask years of grueling midnight grinds, raw psychological battles with clients, and a devastating early rejection that completely altered his trajectory. I strip away the glossy highlight reel of creative entrepreneurship to expose the exact operational shifts required to transform an exhausting side hustle into an aligned, impactful brand. Run to your favorite app and hit play to discover how to navigate your own professional rejections, anchor your evolving creative voice, and design a business that truly honors your soul.    Chapters 00:00 Redefining Artistic Authenticity 02:18 Dream Drives and Early Design Software 04:38 Launching a Business at Eighteen 05:27 The First Client and Viral Twitter Fame 07:12 Hustling Between the Church and the Side Business 08:53 Mastering Client Psychology and Expectations 11:14 Why Function Trumps Fashion in Interior Design 13:04 Cultivating an Evolving Design Voice 15:19 Business Lessons from Iconic Mentors 17:09 Paying It Forward and Mentoring the Next Generation 19:25 The Truth Behind the Polished Instagram Grid 24:13 Protecting Mental Health as a Creative Empath 25:16 Enhancing Black Representation on National Television 28:07 Sourcing Global Inspiration for Retail Collections 29:42 Measuring Real Success Beyond the Paycheck   Connect with Justin: Follow on Instagram: https://www.instagram.com/justinqwilliams/ Website: https://www.trademarkdesignco.com/ Support the show: Website: Martine SeverinFollow on Instagram: Martine | This Is How We CreateSubscribe to the Newsletter: Martine's Substack This is How We Create is produced by Martine Severin. This episode was edited by Daniel Espinosa. Podcast show art is designed by Violetta Encarnación. Music by Timothy Infinite. show   Subscribe wherever you get your podcasts Leave a review Follow us on social media Share with fellow creatives  

In this episode of Magic Made, Chrissy and Megan unpack one of the biggest questions artists, entrepreneurs, photographers, designers, makers, and dreamers ask themselves.Chrissy shares her experience attending design school, while Megan shares what it was like building a photography business without formal training. Together, we explore the value of education, the power of self-teaching, and why creativity isn't something that can be handed to you in a classroom.Whether you're thinking about college, changing careers, or finally giving yourself permission to pursue something creative, this conversation is for you.✨ In this episode we talk about:Design school vs being self-taughtWhy comparison keeps creatives stuckThe hidden value of formal educationWhat school can never teach youFinding your own creative voiceBuilding confidence through practiceWhy creativity is something you do, not something you're given"Creativity isn't a credential. It's a practice."If this episode encouraged you, we'd love to hear what you're creating. Tag us on Instagram and show us the project you're bringing to life. We can't wait to cheer you on.

In this episode, I explore the concepts of ‘entrepreneurship' and ‘intrapreneurship' in the arts. The two are often framed as opposites, but actually I find they they sit on a spectrum, so I also draw on my recent conversation with Ben Luke (the previous episode to this one) as a jumping-off point while bringing in some other non-art examples.Using my own experience producing All About Art independently, I weigh the pros and cons of intrapreneurship versus going it alone. This covers the financial support and institutional credibility you gain on one side, and the editorial constraints and metric pressures you take on on the other.The question I leave you with in this episode is: where do you currently have the most room to create something meaningful?- - - - - If you love what we do, support ALL ABOUT ART on PATREON!  ⁠https://www.patreon.com/allaboutart⁠Keep up to date on Instagram @allaboutartpodcast  ⁠https://www.instagram.com/allaboutartpodcast/⁠ ABOUT THE HOST:I am an Austrian-American art historian, curator, and writer. I obtained my BA in History of Art at University College London and my MA in Arts Administration and Cultural Policy at Goldsmiths, University of London. My specializations are in contemporary art and the contemporary art market along with accessibility, engagement, and the demystification of the professional art sector.SOCIALS: Instagram⁠ @alexandrasteinacker https://www.instagram.com/alexandrasteinackerand LinkedIn at ⁠Alexandra Steinacker-Clark⁠ https://www.linkedin.com/in/alexandra-steinacker/This episode is produced at Synergy https://synergy.tech/the-clubhouse/the-podcast-studio/ COVER ART: Lisa Schrofner a.k.a Liser⁠ ⁠⁠https://www.liser-art.com/ and Luca Laurence https://www.graffitikunst.at/Research and Creative Assistant: Iris Epstein

Send us Fan MailWhat if your subtitles could whisper or shout, just like the person speaking? That's exactly what Frederik Merkel (aka Freddi) is building. We met Freddi at South by Southwest and were instantly blown away by his startup, Phont, which is developing expressive caption technology that analyzes audio and translates it into dynamic, emotionally-expressive subtitles. Think kinetic type but automated, accessible, and built for real content.In this episode, we dig into the full story: how Freddi went from finishing a master's thesis in type design to co-founding a startup with no business experience and what it really takes to go from concept to product. We also get deep into the neuroscience side of things: synesthesia, aphantasia, the Ira Glass gap, and how understanding different brains perceive the world shaped Freddi's research from the very beginning.All that and more when you listen to this episode:How Freddi's master's thesis became a startup ideaWhat expressive captions are and why they matterThe transition from type designer to co-founderHow Phont navigated public funding in GermanyBuilding demos without a parametric font (yet)The Phont Adobe plugin that's coming soonSynesthesia research and how it shaped the font design processHow to support or pilot Phont right nowConnect with Frederik MerkelPhont: https://phont.ai/ Phont on IG: https://www.instagram.com/phont.official/ Freddi on IG: https://www.instagram.com/freddimerkuri/ Freddi on LinkedIn: https://www.linkedin.com/in/frederik-merkel-design/ Mentioned in this episode:Phont: https://phont.ai/Michael Havakamp - Synesthetic DesignMelanie Scheer - AphantasiaOHno Type CompanyConnect with Katie & Ilana from GoodtypeGoodtype WebsiteGoodtype on InstagramGoodtype on YoutubeWe wrote a book! Grab a copy and sign up to access the audiobook when we release it!Love The Typecast and free stuff? Leave a review, and send a screenshot of it to us on Slack. Each month we pick a random reviewer to win a Goodtype Goodie! Goodies include merch, courses and Kernference tickets!Leave us a review on Apple PodcastsSubscribe to the showTag us on Instagram @GoodtypeFollow us on Tiktok @lovegoodtypeLearn from Katie and IlanaGrab your tea, coffee, or drink of choice, kick back, and let's get down to business!

Scottish interior designer and entrepreneur Emma Cross shares how childhood experiences, creativity, travel, and a willingness to say yes shaped her life and career.Emma Cross knew she wanted to be a designer when she was five years old.In this episode of Stories of Change & Creativity, I sit down with Emma Cross, a Scottish interior designer and entrepreneur, to explore the experiences that shaped her life and career.I first discovered Emma's shop while exploring North Berwick, Scotland. It's a 20 minute train ride from Queen Margaret University, home of our Texas State University Hub program.  Drawn in by the color and design, I was curious about the person behind the brand. Two of my Texas State University students selected Emma's business for our class branding project.  This gave me the perfect reason to reach out to Emma and learn more about her story.During our interview, Emma talked about growing up in the servants' quarters of a grand estate and how that experience shaped her dreams.  She told me she finds inspiration from travel, family and classic films. Emma was captivated by Doris Day's role as an interior designer in Pillow Talk, an early influence that helped spark a lifelong passion for design.   She still goes back to Doris Day's iconic style for ideas.  Emma's path to becoming an interior designer and entrepreneur wasn't a straight line.  She didn't get into art school. Instead, she built her career through experience, curiosity and a willingness to say yes when opportunities appeared—even when she didn't have everything figured out. She said yes.  In This Episode• How childhood experiences influence creativity and career choices• Doris Day, Pillow Talk, and early influences on design• The role of color, creativity, and personal style• Building an interior design business through experience and opportunity• Lessons from entrepreneurship and creative business ownership• Learning to say yes before everything is figured outConnect with Emma CrossInterior Designer | Entrepreneur | Creative Business OwnerWebsite: emmacrossonline.comEmma Cross - The Store Did you enjoy this episode? send me a text! Stories of Change & Creativity explores the defining moments that shape who we become—and the lessons we learn along the way. Hosted by professor, storyteller, and proud Texan Judy Oskam. Together, we explore what happened and what we learn from the experiences that define us. Whether you're navigating a career transition, seeking personal growth or looking for inspiration to take your next step, you'll discover practical wisdom you can apply to your own life.Learn, grow, teach.   Do you have an idea for a guest interview?  Please let me know. Check out my TEDx talk.  Why you should take action - then figure it out.

Send us Fan MailIn today's episode we speak with Patrick Stout, a producer, director, and writer. We discuss the creation of his indie project, "Sentinel 6", how he finds story inspiration, and the purpose of creation. Sentinel Six's Instagram: http://www.instagram.com/sentinel_sixPatrick's Instagram: http://www.instagram.com/StoutSaiyanCreating in Color is a podcast show casing the creative endeavors of Black, Indigenous and People of Color. Anyone from production, illustration, interior design and technology!Creating in Color's SocialsYouTube: https://www.youtube.com/@creatingincolorInstagram: https://www.instagram.com/creating.in.color/Twitter: https://twitter.com/Create_inColorKo-fi: https://www.ko-fi.com/creatingincolorIntro/Outro song by NamikazeSound Cloud: https://soundcloud.com/namikazeYoutube: https://www.youtube.com/user/NamiKazeCapKaybe's SocialsYoutube: https://www.youtube.com/@MaybeitsKaybeInstagram: https://www.instagram.com/maybeitskaybe/Twitter: https://twitter.com/maybeitskaybeTwitch: https://www.twitch.tv/maybeitskaybeGuest opinions are their own and are not necessarily a reflection of Creating in Color/Kaybe Woods. 

From Rural Pennsylvania to the World's Greatest Opera HousesFor most kids who grow up in a small rural town, the world's great opera houses can feel unimaginably far away.For Melanie Henley Heyn, they became home.In this episode of HarmonyTALK, host Lisa Champeau sits down with the internationally acclaimed opera singer whose journey began at age ten in a production of Amahl and the Night Visitors and eventually carried her from Wayne County in Northeastern Pennsylvania to stages across Europe and beyond.Fresh off a performance at The Cooperage Project in Honesdale, Melanie reflects on the winding path from small-town dreamer to professional artist, the discipline required to pursue a career in opera, and why she believes great art has the power to bring people together rather than drive them apart.The conversation explores the realities of pursuing one of the world's most demanding art forms, overcoming self-doubt, and learning to trust your own voice.Melanie also shares her belief that artists have a responsibility to help people see beyond labels and assumptions, finding connection through stories that reveal both the beauty and complexity of human nature.Filled with warmth, humor, honesty, and inspiration, this episode offers an intimate look at a remarkable artistic journey that began in rural Pennsylvania and continues to unfold on stages around the world.

Andrew Rooney and Danny McCrum are weird. Breaking a variety of stereotypes, these two are both musicians with a mind for business. In today's episode, cohost Mike puts on the interviewing hat to find out how they've both sustained careers in music for over two decades, without living on the bones of their asses.Send us Fan MailSupport the show

How do you turn a love of movies into a career? This week, Josh Calder sits down with comedian, filmmaker, podcaster and one of Australia's most trusted voices on cinema, Alexei Toliopoulos. From hosting trivia at the iconic Golden Age Cinema to building a career across stand up, documentaries, ABC film reviews and podcasting, Alexei has spent more than a decade helping audiences discover films that truly mean something to them. They chat about building a creative career across multiple passions, why collaboration matters when motivation disappears, and the challenge of balancing creativity with burnout. Alexei shares his thoughts on Australian cinema, why genre films often break through, and how specificity in storytelling can actually become universal. Plus, film school lessons, physical media rabbit holes, why Hook deserves way more love, and the movie recommendations every filmmaker should see. Whether you're a filmmaker, a film lover, or someone trying to turn passion into purpose, this episode is packed with insight, honesty and a genuine love for cinema. Produced, Hosted and Edited by Josh Calder

Send us Fan MailWhat happens when the thing you love most becomes the thing you can never completely walk away from?This week on Here's What We Know, conductor and pianist Robert Emery returns for a conversation about creativity, music, and the curious ways our minds work. From practice rooms to Abbey Road Studios, Robert shares what life is really like for a professional musician, why creative people often struggle to switch off, and what he's learned from spending a lifetime immersed in music.Gary and Robert also trade stories about family, parenting, travel, questionable hotel experiences, and the challenges that come with building a career around passion. They explore the lives of Mozart, Franz Liszt, and Berlioz, uncovering the very human struggles, quirks, and triumphs behind some of history's most celebrated composers.Robert also shares the story behind Orchestral Meditations, his latest project featuring meditation music recorded at Abbey Road Studios with a full symphony orchestra and choir.In This Episode:• Why musicians never really leave work behind• The truth about practicing and mastering a craft• What Mozart and Michael Jackson may have had in common• How creativity affects everyday life• Stories from Abbey Road Studios• The fascinating history of Franz Liszt and musical celebrity• Why travel helps reset the mind This episode is sponsored by: Reed Animal Hospital Bio:Robert Emery is a conductor, pianist, and serial entrepreneur. He is lucky enough to travel the world; ranging from performances in London's Royal Albert Hall, through to the Sydney Opera House, Robert has seen them all.Besides music, he is the Founder & Director of The Arts Group, one of the most diverse entertainment companies in the UK. Within the portfolio is a national music tuition agency, symphony orchestra, choir, artist agency, record label, and production company.Aside from that, he lives in London and Cambridge, has a wife (Mrs. E), a toddler (Master T), a baby (Master A), and 4 cats.Website: https://robertemery.com/Orchestral Meditation: http://orchestralmeditation.comYouTube: https://www.youtube.com/robertemeryofficial/Facebook: https://www.facebook.com/robertemeryofficial/Instagram: https://www.instagram.com/robertemeryofficial/Tags: Robert Emery, Creativity, Classical Music, Professional Musician, Music Career, Mozart, Franz Liszt, Music History, Conducting, Pianist, Abbey Road Studios, Orchestral Meditations, Creative Process, Creative Life, Music Industry, Composers, Arts & Culture, Creativity and Purpose, Work-Life Balance, Performing Arts, Creative Careers, Music Education, Connect with Gary:Gary's WebsiteFollow Gary on InstagramGary's TiktokGary's FacebookWatch the episodes on YouTubeAdvertise on the PodcastThank you for listening. Let us know what you think about this episode. Leave us a review!

On this special Behind The Geeks, Justin and Nate sit down with Casey Baron, Senior Programmer for Tribeca Games, to discuss the growing role of video games within the Tribeca Festival and the evolving relationship between games and film. Casey shares what it actually means to be a Senior Programmer, the games that shaped his perspective on interactive storytelling, and how his experience across both film and games influences the way he approaches the festival. We also explore the role games play in the future of storytelling, the recognition of independent game developers, and which titles attendees should keep an eye on at this year's Tribeca Festival. Plus, Casey joins us for our signature “Whatchya?” segment to share what he's currently watching, playing, and recommending. Attending Tribeca this year? Be sure to visit the free, public Games Gallery at Pier 57 from June 10–14, where you'll have the chance to play exclusive demos of exciting unreleased games featured as part of the Tribeca Games Program. Learn more about Tribeca Games:https://tribecafilm.com/festival/games Learn more about the Tribeca Storytelling Summit:https://tribecafilm.com/storytellingsummit Explore the Tribeca Festival:https://tribecafilm.com/festival Follow Tribeca:https://www.instagram.com/tribeca Check out Geekcentric onYouTube | Instagram | Twitter | TikTokJoin the Geekcentric Discord HEREFollow Eatcentric - Same geeks. New Eats

Adam Chase Rani and Christine Chen celebrate reaching 188 episodes of the Get Reelisms filmmaking podcast and reflect on nearly six to seven years of documenting their careers. They discuss recent Oscars results, including a tie and Sam Davis winning after their interview, and debate why genre films like Sinners may struggle for Best Picture despite winning Best Original Screenplay, while One Battle After Another wins Best Picture and PTA earns Best Director. They talk about attention spans, frustration with people assuming indie films are “on Netflix,” and Christine's behind-the-scenes photo from Shakespeare on the Range being featured in the Academy Museum, a milestone linked to early career growth. Christine shares her decision to pause First AD work to focus on directing, developing a sketch-based branded micro-series, and adapting to vertical content trends. Adam plugs his “Create Your Own Content” course on getreelisms.com.   Christine W. Chen is a Taiwanese American filmmaker, Academy member (Short Films Branch), and versatile producer, director, and writer known for bold, character-driven storytelling. Through her production company, Moth to Flame, she has created award-winning short films, features, and branded content—including Erzulie, a feminist swamp thriller that had a limited theatrical run and now streams on major platforms. In addition to her directorial work, Christine is a seasoned DGA 1st Assistant Director and co-author of Get Reelisms and ABCs of Filmmaking, as well as the co-host of the Get Reelisms Podcast. For more information about Christine Chen: christinewchen.com   Adam Chase Rani is a production designer and set dresser working in the Austin film market, bringing a sharp eye for visual storytelling and practical creativity to every project. During the pandemic, he co-founded the Get Reelisms Podcast with Christine Chen to foster community within the film industry. Together, they've built a platform that blends education, candid conversations, and industry insights to help filmmakers connect, learn, and grow.   00:00 Movies All Day 00:22 Podcast Origins 00:54 188 Episodes In 02:03 Oscar Winner Interview 02:54 Oscars Predictions 06:15 Awards Drama Talk 07:07 Short Attention Spans 09:20 Netflix Question Rage 12:36 Academy Museum Photo 14:31 Shakespeare On The Range 18:02 OG Crew Lessons 20:16 BTS Photo Insecurities 20:56 Film History Connections 21:30 How We First Met 22:34 From Stress to Podcast 24:05 Hiatus From First AD 27:30 Friends in Film Sketches 30:29 DIY Filmmaking Revival 32:26 Vertical Video Future 35:43 Budgets and Crew Reality 38:10 Housekeeping and Farewell   WEBISODE version of the Podcast Official Get Reelisms PageGet Reelisms Amazon StoreInstagram

If you've ever felt stuck in a job that looks good on paper but doesn't feel right for you, this episode is for you. Today we are talking about career switching and how to actually change your career to a job that's more aligned to you. Growing up, I was told that you should pick a career and stick to it but the world of work has changed and so has the way we see our careers/jobs. I'm joined by Priya Raj, a fashion and lifestyle journalist who has written for Vogue India and worked at Business Insider and The Telegraph among other big global publications. Both me and Priya started our careers in Finance and in our 20s realised that it wasn't what we wanted to do for the rest of our lives so we decided to change. It wasn't easy to start a new career in our 20s, but in this episode we are going to share how we did it, what motivated us to take that leap, how we keep our imposter syndrome in check and whether or not we regret it. So if you are someone who's struggling with their career or having a little bit of a career crisis and don't know what to do- then this is the episode for you! In the episode: 00:00:00 Intro00:01:37 Why did we start working in Finance? 00:05:29 What made us want to change careers? 00:12:27 Mental Health at work 00:14:07 How have careers changed in 2026?00:15:23 The rise of portfolio careers00:16:14 How to change your career- practical steps00:17:41 Priya's journey to writing for Vogue India00:20:42 Balancing working in Finance and Fashion 00:21:37 Dealing with imposter syndrome 00:23:10 Career switching internally in tech 00:27:55 The importance of good co-workers00:30:38 Dealing with rejection00:31:12 How to build confidence in a new career00:34:24 Telling family about being a journalist 00:37:46 Priya's experience on BBC News 00:40:16 Corporate 9-5 to creative career 00:44:58 How to reach out to journalists to pitch your brand?00:48:40 What is a press release?Don't forget to follow or subscribe to It's Preeti Personal and leave a 5★ review as it helps other South Asian girls find the podcast and feel a little less alone

Comedy writer Jenny Hagel has six Emmy nominations. The other week, she wrote 20 jokes. One made it to television. She doesn't see this as failure, though. It's the nature of the job. And it might offer the most useful career lesson you'll hear all year. Jenny is a writer on Late Night with Seth Meyers, where she also regularly appears on camera in the popular segment Jokes Seth Can't Tell. She is also the author of a new book of essays called Advice No One Asked For. In this episode, Jessi Hempel sits down with Jenny to talk about the arc of her non-traditional career, and what it actually takes to keep going in the face of failure. In this episode, Jessi and Jenny discuss: The live advice show Jenny built during the writer's strike, and how a room full of strangers asking earnest questions accidentally became the most community-building thing she's ever done How humor acts as a spoonful of sugar that lets us endure the heavy stuff a little longer The 411 call that landed Jenny a grad school internship Why the find-yourself period matters, and what gets lost when young people skip it The writing advice Jenny gives everyone: the part where you create and the part where you judge have to be two completely separate steps How growing up queer in the '80s and '90s inadvertently became a blueprint for every out-the-box decision she's made since Why a creative career isn't all-or-nothing, and what the middle actually looks like Find Advice No One Asked For wherever books are sold, and follow Jessi Hempel on LinkedIn.

Lauren Smyth is an economics and journalism student at Hillsdale College. Since signing her first publishing contract at age 13, she has written three young adult action/adventure novels, coded two story-based video games, and started a blog enjoyed by readers and writers around the world. When she's not writing, you'll find her flying right seat in a Piper PA-30 aircraft, recording episodes of her Grammar Minute writing podcast, or heading upriver on her paddleboard. Connect with Jon Dwoskin: Twitter: @jdwoskin Facebook: https://www.facebook.com/jonathan.dwoskin Instagram: https://www.instagram.com/thejondwoskinexperience/ Website: https://jondwoskin.com/LinkedIn: https://www.linkedin.com/in/jondwoskin/ Email: jon@jondwoskin.com Get Jon's Book: The Think Big Movement: Grow your business big. Very Big! Connect with Lauren Smyth:Website: www.laurensmythbooks.com Instagram: www.instagram.com/lsmythbooks *E - explicit language may be used in this podcast.

Bobby Clark is a Melbourne-based artist combining her own experiences and outlining her 'interactions of the world.' She vulnerably interprets her experiences into a unique and distinct visual style. As well as working for herself as an artist, she is also a creator, collaborator and photographer, sharing her passion for motherhood, interiors and style online. In this chat, Liv and Bronte find out more about how Bobby balances her various roles and how she started as a creative, moving from overseas. We also talk a lot about knowing if opportunities and relationships are aligned and managing limited time and priorities in motherhood.To follow Bobby for to @bobbyclark____ or bobbyclark.com.au.Follow our page @howdoyoudoitpod or @rattle_style. Hosted on Acast. See acast.com/privacy for more information.

Episode Summary In this episode of the Work at Home Rockstar Podcast, Tim Melanson chats with author and voiceover artist Aaron Ryan about building a creative career through self-employment, storytelling, and persistence. Aaron shares how he transitioned from wedding videography into voiceover work and authorship, creating a business rooted in creativity and independence while navigating major industry changes like AI disruption. Along the way, he opens up about early struggles in self-employment, the temptation to quit, and the mindset shift required to push through and reach breakthrough moments. This conversation is packed with real-world lessons on pricing, persistence, and building a loyal audience over time. Who is Aaron Ryan? Aaron Ryan is an author and voiceover artist who creates dystopian and post-apocalyptic fiction, along with nonfiction books on topics like business and personal growth. He also works as a voiceover storyteller, helping bring other people's messages and stories to life through his voice. Based in Washington, Aaron has been self-employed since 2007 and has built a creative career focused on writing, performance, and entrepreneurship. Connect with Aaron Ryan: Website: https://authoraaronryan.com All Links: https://dot.cards/authoraaronryan Host Contact Details: Website: https://workathomerockstar.com Facebook: https://www.facebook.com/workathomerockstar Instagram: https://www.instagram.com/workathomerockstar LinkedIn: https://www.linkedin.com/in/timmelanson YouTube: https://www.youtube.com/@WorkAtHomeRockStarPodcast Twitter: https://twitter.com/workathomestar Timestamps 00:00 Meet Aaron Ryan 00:32 Voiceover Career Shift 02:10 Murphys Law Lessons 05:34 Pricing Value Clients 12:31 Turning Audience Into Fans 17:30 Starting Writing Later 20:14 First Book Reflections 21:51 Late Start Advantage 22:42 Inspiration and Seasons 23:11 Bubby Town Studios 26:12 Mentors and Coaching 30:53 Reverse Engineering Books 33:04 AI Disruption and Consent 40:13 Favorite Rockstars 41:44 Final Thanks and Outro

Rachael has a craving that could bring about a big lifestyle change. She discusses with Lauren coming to a realization that she no longer feels at home in the environment she's settled into— and the choice between staying the course or starting a new adventure. The hosts share how they have gained clarity, direction, and the courage to embrace the unknown in the quest to continually live creatively. Rachael's new book “Prioritize Play” is now available for pre-order! Grab your copy today. Post on desire by Yumi Sakugawa Poetry Unbound - Seventh Circle of Earth by Ocean Vuong All Fours by Miranda July Chaotic Creatives Ep 12 - The Spark: How Advice for Dating is Advice for Creating Check out Lauren's Mural Mockups For a transcript of this episode, contact us at chaoticcreativespodcast@gmail.com Cover art designed and photographed by Kristle Marshall for Hom Sweet HomIf you love what we are doing and want to support us, head to patreon.com/chaoticcreativesFollow the pod on Instagram @chaoticcreativespod and tag us in the projects you're working on while listening!Say hi or tell us a silly lil joke: chaoticcreativespodcast@gmail.comLauren's links:WebsiteInstagramOnline ClassesRachael's links:WebsiteInstagramThe Juice BoxCreative Coaching

Indira Cesarine is an artist, curator, and the founder of The Untitled Space, one of New York City's most vital independent galleries. She has built a practice that refuses to be contained by a single role, and this conversation is a behind-the-scenes look at how she does it. We sat down to talk about her current exhibition "In Full Bloom," a group show featuring 34 women artists working with floral and botanical imagery as a vehicle for transformation, identity, and power. But we went much further than the show itself. Indira shares what it took to open and sustain an independent gallery in New York, how she thinks about building a curatorial vision that is both intellectually honest and visually compelling, and what it means to remain a practicing artist while running an institution. If you have ever wondered what it looks like to hold multiple creative identities at once and build something meaningful across all of them, this episode is for you. In this episode: What led Indira to found The Untitled Space and what the early years actually looked like How she develops a curatorial concept from first instinct to finished exhibition The way her own studio practice informs how she reads and selects the work of other artists What she looks for in a group show and how individual voices come together into something larger Sustaining creative leadership over the long term without losing the work that started it all Links and resources: "In Full Bloom" is on view at The Untitled Space, 45 Lispenard Street, New York, NY through May 22, 2026. Visit www.untitled-space.com for full details. Submit your work to Create! Magazine. We are currently accepting submissions for upcoming issues and exhibitions. Visit https://www.createmagazine.co/call-for-art to apply. Free masterclass: Sell More Art. Build a sustainable practice and start earning consistently from your creative work. Register at https://courses.createmagazine.co/sell-more-art-free-training-2026.

This episode examines a Bluesky thread where cartoonists self-reported their financial realities. While the original question was thoughtful — seeking insight into full-time and part-time comic careers — the resulting discussion revealed a common problem: an echo chamber of discouragement. Brad and Dave emphasize that these threads often skew negative due to self-selection bias. Many successful creators don't participate—either because they're busy, uncomfortable sharing income, or wary of backlash. The result? A distorted picture where it appears that no one is succeeding, even though many are. TODAY'S SHOW Nobody makes a living in comics ComicLab LIVE at the NCS Conference and Reuben Awards, Aug. 6-8, Columbus, Ohio — nationalcartoonists.com Tattoos Baby Blues and Zits announce retirement Death of syndication   You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

How can you navigate uncertainty in a constantly changing market? Why is persistence the key to a sustainable creative career? Plus why distribution is so important, and the four ways to monetise your creative work. All this and more with Adam Leipzig. In the intro, my reflections on running an author-publisher business after a fantastic e-commerce workshop run by Blubolt, and why you will always pay for marketing with either your time or your money; AI-Assisted Artisan Author webinars; and last call for my Kickstarter Bones of the Deep – J.F. Penn. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Adam Leipzig is a producer, former studio executive, and educator whose work spans film, media, and technology. He served as a senior executive at Walt Disney Studios and as President of National Geographic Films. His film credits include March of the Penguins and Dead Poets Society, with projects recognised by the Academy Awards, BAFTA, the Emmys, and Sundance. He is the author of several books on filmmaking and his latest book is Fearless Persistence: Creative Life, Creative Work, and the Ten Laws of Culturenomics. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why writing books still matters in a world saturated with visual media The Jeffrey Katzenberg “next” lesson and the power of fearless persistence How uncertainty and the “long middle” are essential parts of the creative process What film editing can teach writers about cutting, shaping, and refining their work The 10 Laws of Culturenomics, including why awareness is not desire and why distribution is everything How generative AI is changing filmmaking — and why creatives should be the architects, not the tools You can find Adam at AdamLeipzig.com. Transcript of Interview with Adam Leipzig Jo: Adam Leipzig is a producer, former studio executive, and educator whose work spans film, media, and technology. He served as a senior executive at Walt Disney Studios and as President of National Geographic Films. His film credits include March of the Penguins and Dead Poets Society, with projects recognised by the Academy Awards, BAFTA, the Emmys, and Sundance. He is the author of several books on filmmaking and his latest book is Fearless Persistence: Creative Life, Creative Work, and the Ten Laws of Culturenomics. Welcome to the show, Adam. Adam: Thank you so much for having me, Jo. Jo: I'm excited to talk to you today. You have written several books, but you have worked on many more films. So I wondered, why do you think books still have a part to play in reaching people? What do you love about writing books that is different to your filmmaking work? Adam: You can put so much information in a book, and the beautiful thing about a book is that you can pick it up wherever you want, whenever you want, and leave it off and go back to it. It's just waiting for you and it's there. It really allows me, and other authors like me, to share information in a different way, with more details and more stories and more specificity. I love the ability to just share that information and have it always available. You don't need a device, you don't need to have a subscription. You can just go to it whenever you want. You asked me what I love about writing. Like a lot of writers, I'm not sure I love writing, but I do love having written. The thing about a book is that it's a very solitary exercise. A film is a highly collaborative exercise. No movie gets made by one person. It's made by hundreds or sometimes thousands of people. But this book is just me and a laptop and notes and a lot of thought. It's a very introverted, almost monkish existence while you're doing that, and then it has to go out into the world—and that's when it really starts to interact with people. So there's this huge difference between being alone and being always in a collaborative environment, which is what happens when I'm making a movie. Jo: Most listeners will be independent authors in some way, and a lot of us do this because we're control freaks. We like being the only people. So how is that different? You mentioned collaboration in the film industry, but is it almost freeing to do a book without having that? I mean obviously you have editors and publishers and stuff, but— Is it freeing in some creative way? Adam: It is really nice, because there is not another point of view in the room and I can just say what I feel and know that that's there. At the same time, you're right—I have had some amazing editor help and I've had some great early readers that have given me feedback on it and helped me make it so much better than it was when I finished the first draft. I knew that going in. I always test and share what I'm doing to make sure that it lands in the way that I wanted it to land, and it can be helpful for people. Jo: Getting into the book, you have a chapter on “what you do matters.” I feel like this is super hard. This is not a political show, so we're not doing politics, but there are a lot of big things going on in the world. It can be very hard as writers to think, is writing my book actually going to make a difference? So how can you encourage people? Adam: That's the hardest thing, Jo, because there is a lot going on in the world right now. Everything that's going on in the world right now exists because it's following a certain narrative. I don't believe that narratives are come up with because people look at things that are happening and say, “Oh, well let's just write what happened.” I think that we do things from micro experiences that we have with ourselves, our relationships, our families, to the macro experiences of politics and global situations. I believe that happens because there is a narrative that is being followed. So what I say to all creative people is that it's our job to craft and express the narratives that matter—and different narratives—so those narratives can be followed. One of the points that I make in the book is that poets are not overtly really dangerous people. Poets are generally lovely people, a lot of them don't talk too much. They're great to have dinner with, and they just work with words—and often not a lot of words, right? Because beautiful poetry is often concise and simple and spare. Yet there are places where poets are in jail. Because the narratives of those concise, spare, gorgeous idealistic words matter so much that those voices need to be silenced, which means those narratives are dangerous sometimes. Those narratives present an alternate world, an alternate view of reality. I think it's really our job as creative people, as entrepreneurs, as people who are essentially creating narratives out of the soul of our lives and our experience—we want to express those to the world. It's really important for us to express those to the world, especially now, especially because so much is going on. Those narratives are going to become pathways that others can look at and maybe follow. I think that's really important. It's the reason why we do our work. Jo: I absolutely agree with you around writing the narratives that we want in the world. “Be the change you want to see in the world” and all that. I also want to call out the fact that there are hundreds of thousands of books now published, and you come from the film industry, and many more people really watch films or play games than read books. I've wondered about this myself. I've written a few screenplays and sometimes it feels that wouldn't it be better to try and put our words into a visual medium? A lot of authors listening will do micro video like TikTok and all of this. So this is back to the question of— Why books? How can we change these narratives when we feel like we're drowned out by all the media? Adam: I think it's great for authors to express themselves in other media. I have a pretty active Instagram channel, and I love doing that, but it's a really different thing. I'm talking to people in two-minute bursts with very specific things. It's not the same and not the same detail as a book. If we let our understanding of the ocean of content that is always coming to us stop us from doing anything, we wouldn't do anything. That's also true about movies. There are probably 10,000 movies made every year. There are a few hundred that are released. So if every day I thought, “Oh, the movie that I'm working on is maybe not going to be released because there's only a small percent of movies that are made that are released.” Or worse than that, “Of all the movies that are made, there's 500 different shows on Netflix and Apple and Amazon and there's so many choices.” If I thought that everything I was going to do is going to be drowned out, I wouldn't do anything. I just don't believe that's true. I think it's our job to do things. Yes, there's an ocean of content out there, but what we do really matters, and it doesn't have to matter at gigantic scale. We don't know the scale that our work is going to achieve over time. One of the early films that I worked on is a film called Dead Poets Society, and that script was passed on by every studio at least three times. It's probably a film that I couldn't get made now for all kinds of reasons, because it's not a sequel and it doesn't have superheroes or visual effects. When we made that movie, we didn't know the impact it was going to have. It could have been drowned out by things, but it rose to a level that everywhere in the world I go, someone has seen that movie, including people who were not born when that movie was made. We don't know the long arc of our work and the people that it affects. Jo: I love that movie too. “Oh Captain, my Captain.” I can hear everyone saying that behind the screens. This brings us to the title, Fearless Persistence, because of course Dead Poets Society ended up being an incredible success, but not everything turns out so well. I wondered if you could talk about this persistence. How do you keep creating after something you perceived as a failure, or perhaps all the things that didn't get made? Why is persistence so important that you use it in the title? Adam: I've been super fortunate. I've worked with amazing people and on great projects. I've made 40 films at this point, and I'm making more. I've tried to make 400 films. I failed at getting them made 90% of the time, and that's okay. I just keep going. When I was working at Disney and I was an executive at Walt Disney Studios for seven years, there was one movie that we were opening and nobody had really high expectations for it. But it opened huge on a weekend and it beat the competition. We were in our Monday morning meeting and we were dancing on the tables and we were so excited. Jeffrey Katzenberg, who was running the studio at that time, came in, looked around the room, put his hands on his hips, and said, “Next.” We just had to move on. I really learned the meaning of the word “next” about four months later when we had a film that we all knew was going to be hugely successful and make a lot of money and give everyone their bonuses, and it completely bombed at the box office. It was like you gave a party and nobody showed up to eat the hors d'oeuvres. We were in the Monday morning meeting, very glum and not sure what was going to happen. Were we going to be fired? What was going to happen? And Jeffrey walked into the room and said, “Next.” Jo: Mm-hmm. Adam: And we just keep going. I think that is the great and defining quality of people who really have sustainable lives, either as creatives or business people or entrepreneurs. We're persistent. We're just like those little birds—you put their beak in water and they just keep bobbing up. We just keep going. It's not about the people who are the most talented, because I'm certainly not the most talented. I'm certainly not the smartest. I'm certainly not the most creative. There are people who are smarter and more talented and more creative than me all the time, and I get so much energy in being able to know them and work with them. But I am super persistent. I don't stop. If there's something that I really believe in, I'll just keep going. I started taking notes on this book 10 years ago. There are movies that took 12 years to get made. You just keep going. There are times, as a producer, where everybody's fallen away. There was a director attached, there was a star attached. They all left, they did other projects. The material is no longer under option. You don't even have legal rights to it anymore. You just keep blowing on the embers and then eventually maybe it gets made. That's what it's about. Jo: Do you think there's some kind of serendipity or something more that makes a book or a film? Is it timing? Is there just some chemistry? You talked earlier about testing and sharing things to see if they're going to work, but as you mentioned, some films you think are going to be amazing and they bomb. Other things are a slow burn. How do you know when to make a film if you just can't predict this stuff? Adam: You can never predict it, but I think you start with: do you really, really think about it all the time? Do you really care about it? It's not like you're in a meeting or you read a script or you hear an idea and you're super excited about it—but are you still excited about it tomorrow morning? The next day and the next? If you keep waking up every morning thinking, “Wow, that's great, I've got to get that forward,” then I think that is the first indication for me that it's going to have some staying power. I don't think I am that different from everybody else. So if it's something that consistently excites me, I feel like there's going to be at least some other people in the world that it's also going to excite. Jo: Do you think you have a voice, I guess, as a filmmaker as much as a writer? Are there things that excite you consistently that you're drawn to? Or do you think it's much wider as a filmmaker than a writer? Adam: I think it's a lot wider as a filmmaker. Part of it's also just my capacity right now as a writer. I really like the writing in Fearless Persistence and I also recorded the audiobook. I love listening to the audiobook experience. I think it's some of the best writing I've ever done. I have not yet found the capacity to write a novel or to write fiction in the way that other people can. So part of it's just my skill and capacity at this point in my writing career, where I think I'm pretty good at expressing ideas in a nonfiction setting, but I haven't developed the skill set for fiction. In movies, I make documentaries. I make fiction feature films. What attracts me is character. It's always the character, the people, the journey. Are the people really interesting? Do I want to spend two hours of my life in a cinema with them, or 10 hours of my life watching those episodes on a streaming channel? That's what always starts with me. If the character is interesting, then I'll keep going. Jo: I think the book, Fearless Persistence, has a lot of your character in it and your experience. It's not just a nonfiction book of prescriptive rules. You did bring a lot of voice into it, I think. Adam: Thank you. I try to make it be like we're sitting down and we're talking and we're having a conversation. Jo: Coming back to the book—a quote from the book: “Uncertainty isn't the enemy of creativity. It's its greatest ally.” You talk about these messy and unpredictable times. I'm what we call a discovery writer. Some people say “pantser.” It mostly is quite chaotic and unpredictable. Could you talk about this uncertainty and messy creativity? Adam: One of the things I really try to do in Fearless Persistence is give support to all of us in this messy, unpredictable—what I call “the long middle”—where stuff is happening, but you're not seeing obvious results out there. You're either in the world or in your project, and you're just in this mess. That mess is a beautiful place, and I'm trying to give support to the fact that that mess is gorgeous and it's part of the process. It's part of everybody's process. We shouldn't feel as though we are not doing our job when we're in that long, unpredictable, uncertain middle. Because out of that, we discover what we actually want. It gives us a way to refine our taste and refine our direction because we are so uncertain. Then there's this moment—and I don't know if you find this in your own writing, Jo—but there's this moment where that uncertainty changes into: there's no choices here at all. This is just what I have to do. I actually think that the greatest freedom is when there's no choices. Where the path is just there, but we've got to get through the thicket to get to that path. And there's always a thicket. Jo: There's a moment for me where the chaos becomes more certain and I'm like, okay, that's the story. I thought it might have been something else, but now that's what it is. I often have too much material as well. So I wanted to ask you about this too, because as an author with a book, editing is hard for us. Of course there are lots of words and we have to go through it all, but editing on a film—I can't even imagine how hard the editing process is. Could you talk about editing and how you cut and organise these massive projects? Adam: Yes, editing is really hard, but it's also so fun. I think being on a set is great. It's the most fun a kid could have. But being in an editing room is also the most fun a kid could have, because you have all of the pieces and there are so many ways to do it. This is where a film is actually made—in the editing room. Probably the way books are made also is in the editorial process between the writer and your own brain as the editor, or if you have someone who's helping you edit it. Editing is really interesting because it's the only craft that did not exist before filmmaking. Everything else existed, right? There were scripts, there were actors, there were costumes, there was art direction, there was production design, there was music. Editing was a craft that had to be invented for film. So it's a craft that's only about 120 years old. When we make a film, the first thing that the editor does is just put all of the scenes together in a first editor's cut, a rough assembly. It's basically every scene that was in the script as it was shot, and the editor just tries to choose the best angles. That generally comes out maybe a week or two after we wrap photography, and that first cut could be three or four hours long because it's got everything in it. Then the process is: let's take that out. Let's take that out. You don't need this. You can move this scene here and move it there before the other scene. We don't really need that shot. Or can we get to a closeup there? And you get it down, down, down—just like in writing where you kill your darlings. I actually find editing the most fun I have. “Oh, I don't need that sentence.” Or, “I can take out three words here and the sentence is better.” We go through exactly the same process in film editing and squinch it all down to the most compelling and efficient way to tell the story. Jo: I'm glad you say it's fun because I also like editing. I find the editing much more creatively fulfilling because I actually can figure out the book that way. It's so funny, I think as writers, many people either love the editing or they love the first draft. It seems like you enjoy the whole process. Adam: I like the editing so much more than the first draft. I feel like I had to get through the first draft. That was my long middle, that was my uncertain period, that was my thicket. Then my editing was, “Oh, great. Let's cross this out. Let's change that word. Let's lose that paragraph.” That was fun. Jo: So let's say we now have a book or we have a film. In your book, law eight of culturenomics is that “without distribution, there is nothing.” So now we have to get this out there, and this is really difficult. Can you talk about how film distribution has changed? Can you also reflect on how it is for writers, because our distribution has changed a lot too? Adam: So, as you mentioned in the last section of the book, I've observed over the past 30 years that when a work is both aesthetically really excellent and also economically viable and sustainable for the creators, it always observes these ten principles. I call them the 10 Laws of Culturenomics. One of them is “without distribution, there is nothing,” by which I mean: unless your audience, your market, the people that you are seeking to share or serve with the work—unless they can get it, it doesn't really matter. It's like that tree falling in the forest and no one's around to hear it. I always think about my market and my distribution before I start making the movie. I was thinking about that as I was writing the book, because I really want it to be there to meet people where they are and I want them to be able to get it. Film distribution has changed a lot, especially during the pandemic. People stayed home and cinema admissions have fallen off 30% from pre-pandemic levels, so people are going out to cinemas less. That means fewer films are being distributed in cinemas for any viable period of time. Sometimes some movies will be out there for one or two days, literally, in cinemas, and then they go right to streaming. On the streaming side, there was a glut of streaming content. All the streaming channels overinvested in streaming. There were too many shows. I don't know about your Netflix queue or your Amazon queue, but it's unnavigable. There is so much stuff. Now they've cut back a lot—they're just doing a lot less. We're in a situation now where anything can get out there somehow. The question is, does your market, does your audience know about it? Do they want to invest the time to experience it? One of the other Laws of Culturenomics is that “awareness is not desire.” There's a lot of things that we're aware of that we don't want to spend our time with. Everybody was aware of Disney's new Snow White movie. Nobody wanted to go see it. Jo: I must say, I'm not the key demographic for that! Adam: But you knew about it? Jo: Was that a live action one? Adam: Yes. Jo: I don't understand those live action ones, to be honest. Maybe that's why— Adam: I think we are sequelled out. I look at the movie business and I just think what audiences really want is something new, please. Something we haven't seen before. We don't want the 95th iteration of something from the MCU. The studios, because the movies cost so much and they're so risk-averse, talk a lot about “pre-aware titles.” In other words, titles that you've heard of before, so you're going to go see the movie. It works to a certain extent, but I just think it's cinematically boring. In that world, you never could have predicted Oppenheimer. You never could have predicted Barbie. Movies that really don't have a precedent, but they did so well because they're different. I think audiences are craving something different right now. Jo: It's interesting though, isn't it? I agree on one level, but then I also watch Bridgerton and we watched the latest series as soon as it came out. I guess that is pre-aware to a point. I don't read historical romance, yet I really like the show. I think it's because of Shonda Rhimes. I watched Grey's Anatomy for about 20 years. Adam: She's great. Jo: She's amazing. So I feel like this is why it's hard, isn't it? It's hard to know. As fiction writers particularly listening, we have very specific genre audiences, and they often don't cross over into other genres. They love their genre fiction. So it is hard to balance original work that may not be easily sold and the other stuff. I guess that's why the studios do it, right, because they think they can make enough money with the next Marvel movie. Adam: Yes, but I'm curious to know what you think about this, because even within a genre, a really good genre movie or a really good genre book is not the same as all the other books or films in the genre. It's familiar in that it does what the genre says you have to do, but it's different. It's got those unique things that make us feel like super fans, that we really love it. It's familiar enough to fall within the genre—and yes, genres have rules that you've got to follow—but then there's something unique and different that's exciting. And that's why we say, “Hey Jo, you've got to read this book.” Jo: I agree with you. I love that you said “awareness is not desire.” This is another problem with our creative work, right? We have to do marketing. We can throw all this stuff out there, and yet it may or may not work. So let's talk about your book marketing. Obviously you are on this podcast, and I presume your publicists are pitching lots of podcasts, but— What are you doing to promote the book that might be different to a film release? Adam: Well, I don't have a hundred million dollars. Jo: Surprise! Adam: Right? I've got a few hundred dollars, so we're just doing it this way. As you know, once upon a time, legacy publishers actually did marketing. Legacy publishers barely do any marketing now. Every author has to do it themselves. So we have to do this ourselves. It's been the hardest thing. I think it's the hardest thing that we've all had to adopt, that we have to do this thing where there used to be a marketing department and you just hand it over to them and we could just be in our own little creative space. But no, we've got to do this also. So what am I doing? I've amped up my social media. I'm speaking. I am on podcasts like this. I'm sharing as much as I can. I'm asking circles of people who have been early readers of the book. I'm really grateful because I've had really enthusiastic response to it, both from creatives and also some business people, which was surprising to me, but really great. Someone said, “This is the best business book in the past 10 years,” which is really interesting, right? Because you read it, Jo, as an author, but she read it as someone who sits on the board of major companies. That was a pretty interesting response. I'm just asking them to be advocates and share it around. I'd just like to be those people who blow on the embers and let's see if we can make a fire. Jo: We talked about the fun bits earlier. I'm enjoying our conversation, but I know that marketing is not necessarily in the fun bucket. Are you finding bits of the marketing you enjoy? Adam: Yes, I love meeting the audience. I love meeting the people that I'm writing the book for and sharing it with. I've been fortunate enough to be asked to run a writer's workshop in Greece for the past few years. It's a retreat centre called Rosemary's House. It's on the east coast of Greece. A dozen writers. I work with writers all the time, but they're always writing a specific thing, like a screenplay or something. This was a dozen writers all writing different things, and I'd never done that before. I had an extraordinary time. The first year I went, I'd had all these notes for this book, Fearless Persistence, that I'd been compiling for some time. But there I was in the room and I was with the people that I was really intending to write the book for, and that kicked me in the butt and I wrote the book. Then the next year I was back and I finished it while we were there at the writer's retreat. So that was great, and I was with another group of writers. I'll be back there again later this year and the book will be out. So it's this fabulous continuation of really engaging with and meeting the people that I'm seeking to serve with this book. I really enjoy encouraging and mentoring and sharing the systems that are undergirding the creative process, and then the process of how do you build a sustainable life, including all these super practical things that they don't teach you in art school or writing school or film school or even business school. How do you actually build a sustainable life in this practice? I love that. I guess that's marketing, but it's also just being with the people that you're there to serve. Jo: I love that you use “serve.” I use the same word. I say, “Who do you serve?” And that can help people, because I feel like creative people are like, “We don't want to be marketers, we don't want to be salesy.” So if you reframe it as service—who are you trying to help, who are you trying to entertain—that actually helps. Coming to the business side, you mentioned systems. You are right, the book has a lot of business in it, which I love because we talk a lot about business on this show. In one section you say there are only four ways to monetise your creative work. So could you talk a bit about those different ways to monetise your creative work? Adam: Yes. This has been true for maybe 5,000 years because it's not about technology, it's just about how work is monetised. There are only four ways that any piece of work is monetised. For sale. You have a book, and you go to your favourite bookstore and you buy the book, and now you own the book. For rent. You could rent a book from your library, or in a movie context, what you're really renting is the seat for two hours to watch the movie. On subscription. People have subscriptions to Kindle Unlimited or other platforms, or people have subscriptions to a streaming service. Free. When it's ad-supported. That's like linear television where there's ads, or Amazon where there's ads and you don't pay for it. For sale, for rent, on subscription, or free—those are the only ways anything is ever transacted. When it's ad-supported, for example, some people have YouTube channels that are very successful. YouTube is free, and then YouTube is making money from the ads and the creators are getting a tiny little slice of the ad revenue. Jo: Like this podcast. I have sponsors who pay, and they're all related to the author industry. They're companies that I use and work with. I personally recommend them, and that means this podcast is free. Adam: Thank you, sponsors. Jo: Yes, thank you, sponsors! I also have patrons—people who subscribe to the show to support it as well. So I guess we don't have to be in one bucket or another. We can have our work in different buckets. Adam: Ideally, you can have your work in every single one of them. Not always, not necessarily always at exactly the same simultaneous moment, but at a certain point as the work gets out there into the world, as it's lived long enough, it probably will be in every bucket. That's great because we want our work to be as accessible to the people that we're serving in any way they want to get it. Jo: I totally agree. And your audiobook, as you mentioned, will be available in those different formats as well. Adam: Yes. Jo: I find that, especially with nonfiction audio, what I love is being able to listen to just a chapter, just a chapter in a specific part. Someone could actually listen to the 10 Laws of Culturenomics separately to some of the rest of the book. I love that. Adam: I'd never done that before. It was so powerful to record the audiobook because up until that moment, my relationship with this book was fingers typing keyboards, electrons on a screen. It was a completely silent experience. Then I was in this recording booth in Los Angeles and I started speaking the words, and I was visualising the people that I was writing it for as I was doing it. It was so powerful. Then I listened to it and I thought, wow, this is actually a really good experience. It was so powerful that I was recently in Paris because I'm working on some films that are in Europe, and I decided to create a special advanced listener edition of the audiobook, where I took the chapters and put them into individual or grouped listening units. In a recording studio in Paris, I recorded some prefaces and reflections on those listening units, which are now thematic. I'm really proud of that edition. It's not for everybody. The regular Audible audiobook is going to be out there, but this version, which is on my website, I think is a really wonderful version for someone who just wants me to walk with you as you go through the experience of the book. Jo: Are you selling that direct from your website? Adam: Yes, I'm selling it direct on the website. Jo: Brilliant, because we all do that too. You can actually make more money selling audio direct than you do from the streaming. Adam: Yes. Jo: I realise we don't have much time left, but I need to ask you this because the film industry and publishing are in this great time of change with the advent of generative AI. We've seen in the last week the actor Ben Affleck's company, InterPositive, has been acquired by Netflix. So it seems like technology is disrupting a lot. How do you think we can navigate this time? What are your feelings around this new wave of generative AI? Adam: It's a great tool. It's not a great writer. It's actually really a terrible writer. You can always tell when generative AI has written something because it has a certain very annoying style, but it's a great tool. I use it in my production. I teach at the business school at UC Berkeley. We train people on how to use it for various kinds of problems and solutions. But the important thing is that you are the architect of the machine. It's a machine. It is like a paintbrush, but it is not the hand that holds the paintbrush. So I am not concerned that AI is going to go make movies that we all care about, and I am not concerned that it's going to disrupt, in the largest sense, the employment picture. Certainly some jobs are being lost, but new jobs are being gained. It's really interesting. For example, you mentioned Ben Affleck's company, which Netflix just partnered with. It's not making new content. It's creating a better production workflow. It's taking what is shot or what is planned in the production workflow and just making it better and more efficient and implementing it and adding to it. That is a really good use of AI. All the creative power retains within the hands of the creative humans, but it's giving the humans more tools. Jo: I've been reflecting on the idea of the film director, in that people often know their names and they win awards, and yet they didn't necessarily write the script. Some do, obviously, but they didn't act in it, they didn't do all the editing, they didn't do all the different jobs, but it's their creative vision. So is that how you see us playing that part? Adam: I do. I think that's a really good analogy. And look, AI—it's good. It's going to keep getting better. It still has massive error rates, so we still have to be very careful about what we attribute to it and what powers we give it, and what facts we believe from it. Jo: So what are you excited about next? Obviously you are promoting this book, you are doing speaking things, but are you looking to your future continuing to work across film and books? What are you excited about in terms of your creative projects? Adam: The big arc of my creative life is creating ecosystems where creative people can do their best work. This book is part of that. With the movies that I make, as a producer, I try to create the ecosystems where people can do their best work. I envision, and I'm excited about, continuing to do that. Whether it is in a book or in a workshop or in a film that I'm making. I just want to keep doing that: creating these ecosystems where people can really do great work and express themselves creatively, entrepreneurially, and with a positive view of the world to come. Because that is a responsibility, coming back to the first question you asked me. Jo: Brilliant. So where can people find you and your book and everything you do online? Adam: You can find me at my website, which is AdamLeipzig.com, just like the city. Of course, the book is available wherever you buy your books, and the Kindle and the audiobook are exactly where you would expect to find them. You can also find me on Instagram at @AdamLeipzig, and you can find me on LinkedIn as Adam Leipzig. I love interacting with people, so come and find me. AdamLeipzig.com is the best place to find everything. Jo: Brilliant. Well, thanks so much for your time, Adam. That was great. Adam: Jo, thank you so much for having me. It was great talking with you.The post Navigating Uncertainty And Fearless Persistence In A Long Term Creative Career With Adam Leipzig first appeared on The Creative Penn.

What happens when pursuing a creative dream becomes a catalyst for major life changes? In this episode, Rachael and Lauren discuss instances when following the creative path has taken them into unexpected territory. Episode Mentions Rachael's new book “Prioritize Play” is now available for pre-order! Grab your copy today. Learn more about Luis Barragán. Watch Rachael's Bedroom Makeover Reel Filterworld - How Algorithms Flattened Culture by Kyle Chayka Check out Lauren's Mural Mockups here! We are now booking workshops and speaking engagements as a duo! To bring us to your conference or organization, reach out to us at chaoticcreativespodcast@gmail.com.  For a transcript of this episode, contact us at chaoticcreativespodcast@gmail.com Cover art designed and photographed by Kristle Marshall for Hom Sweet HomIf you love what we are doing and want to support us, head to patreon.com/chaoticcreativesFollow the pod on Instagram @chaoticcreativespod and tag us in the projects you're working on while listening!Say hi or tell us a silly lil joke: chaoticcreativespodcast@gmail.comLauren's links:WebsiteInstagramOnline ClassesRachael's links:WebsiteInstagramThe Juice BoxCreative Coaching

B. Jeffrey, a teacher at Parsons School of Design and author of Creative Careers, discusses how to make a living from your ideas without chasing false definitions of success. He explores the difference between having a vision and proving a concept, why obsession is a necessary condition for building empires like Ralph Lauren or Apple, and how most creative people never ask themselves what success actually looks like to them. Hosted on Acast. See acast.com/privacy for more information.

Today's guest proves that a creative career doesn't have to rely on algorithms, going viral, or luck. If you've ever wondered how to strategize your creativity like a real profession—and build a living from your work—this conversation is for you.Kern Carter is a former indie and current traditionally published author writing books for Penguin and Scholastic. He writes essays at the intersection of publishing and pop culture, offering candid insight into what it actually takes to make a living as an author and creative entrepreneur.www.kerncarter.comhttps://www.linkedin.com/in/kerncarter/In the past year alone, Kern has sold approximately 15,000 books—without being popular on any social media platform—by intentionally building and leveraging community. His journey includes dropping out of high school at 18 when he became a father, earning a full athletic scholarship, self-publishing his first books, securing an agent, and signing multiple traditional publishing deals beginning in 2021.Beyond books, Kern runs a thriving creative business spanning film production (with a film on Amazon Prime Video), ghostwriting, and platforms that support emerging writers. His story is one of perseverance, planning, and playing the long game.1) Designing a Creative Career on PurposeKern, you've said you're living the life you told yourself you'd live at eight years old—and that it didn't happen by accident. How did you approach building a creative career the way someone might approach a traditional profession, with strategy, planning, and long-term vision?2) Prioritizing Yourself While Raising a ChildYou became a father very young, yet you still prioritized your creative ambitions. That's a difficult balance for many people. How did you navigate that tension—and what impact did that decision have on both your career and your relationship with your daughter?3) Selling Books Without Social Media FameYou've sold roughly 15,000 books in the last year without being popular on social media, which goes against most advice writers hear today. What role has community building played in your success, and how can writers start building real relationships instead of chasing followers?4) Playing the Long GameYour journey took 15 years to reach what many would call “overnight success.” How did you stay motivated through the slower seasons, and what mindset shifts helped you keep going when results weren't immediate?5) Education, Income, and the Future of Creative WorkYou've been outspoken about what formal education gets wrong when it comes to preparing writers to earn a living. What do you think aspiring authors really need to learn—and how are you personally adapting to changes like AI entering creative industries?For creatives listening who feel behind, discouraged, or unsure if their plan is working—what's one thing you want them to remember about patience, strategy, and belief in themselves?

Ever wonder how your favorite illustrators design their workspaces? Jake Parker, Sam Cotterill, and Lee White take you into their studios, past, present, and future. Plus, discover the accessories they can't live without! 3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

Can you hold your own against all the other illustrators in the world? In this minisode, Jake Parker and Anthony Wheeler reframe how you think about success and competition. 3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

In this episode, Brad and Dave tackle a question every cartoonist eventually asks: Where should I invest my time and energy? From gallery shows to professional organizations to keeping up with “the kids,” this conversation is packed with practical, experience-tested advice. But first things first! Here's Brad's 2021 blog post about the science behind why vampires don't cast a reflection in a mirror. Are Art Galleries Worth It? A listener asks whether exhibiting in a gallery helps grow a comics career. Key takeaways: • Gallery exposure rarely converts into comic readers • If it's not clickable, it's not effective promotion • Sales are often split (sometimes 50/50), cutting into profits • You can usually sell original art more effectively on your own platform • The biggest benefit? Personal satisfaction and a nice ego boost Should Beginners Join Professional Organizations? Brad and Dave revisit a classic question: Are groups like the National Cartoonists Society (NCS) worth it? • 10–15 years ago: Limited practical value• Today: Much more actionable, community-driven, and educational What You Actually Get • Real-world, practical learning (panels, talks, workshops) • Networking with professionals who actually understand comics • Access to events, meetups, and tabling opportunities • Career insight you won't get from general audiences Pro tip: For younger creators, discounted memberships make this a much easier entry point. ComicLab at the Reubens Brad and Dave will be presenting at this year's Reuben Awards Weekend, August 6-8 in Columbus, Ohio. Their session: “Actionable Advice in a Time of Change” • Practical, career-focused insights • Guest cartoonists joining a live panel format • A mix of strategy, storytelling, and real-world experience They'll also be around all weekend — panels, conversations, and (possibly questionable) lunch recommendations. Get on the mailing list so you don't miss out! Call the ComicLab Talkback Line Got a question or something to share?

Should you let trends drive your creativity? How concerned should you be about saturated markets? Sam Cotterill, Lee White, and Jake Parker discuss the state of the publishing industry and how to navigate it successfully in 2026. 3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

Want the key to original storytelling that resonates with audiences? Jake Parker, Sam Cotterill, and Lee White teach the principles of making meaningful art (even if you're short on new ideas).  3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

Ever wondered if your business idea is viable? If there's a market for your product? If you can succeed in this chaotic climate? Dusty Droz of Dux Somnium Games joins Jake Parker and Samantha Cotterill to share how you can create a thriving business from the most niche ideas in 2026 and beyond. 3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

Why does fostering community matter? Jake Parker, Sam Cotterill, and Lee White share the benefits of a solid creative network (with a bonus discussion about what makes a best-seller!). 3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.