Podcast appearances and mentions of Dan Brown

EPISODE 157 | Bohemian Books: Gigas, Voynich & Soyga Some very old books have an air of mystery and intrigue about them. Partly, that's because they are literally hundreds of years old, and partly because of the weird things they contain.  Today, we'll take a look at three, all of which have a connection to the Czech Republic and Prague: the biggest book in the world, the Codex Gigas (also known as the Devil's Bible and which features heavily [no pun intended] in Dan Brown's latest schlock fest), the utterly baffling Voynich Manuscript, which is not written in any recognizable language; and the mysterious Book of Soyga, which disappeared for nearly 400 years, and some say that if you can decipher the final puzzles in the book, you will die. Like what we do? Then buy us a beer or three via our page on Buy Me a Coffee.  Review us here or on IMDb. And seriously, subscribe, will ya? Like, just do it.  SECTIONS 02:11 - The Codex Gigas - That's a big book, contents, legend of origin, Sweden gets it, defenestrations, the Sedlec Bone Church, The Secret of Secrets 11:00 - The Voynich Manuscript - WTF is this thing?, ownership relay, who maybe wrote it, what maybe it says, aspects of Voynichese, obscure languages, steganography, glossolalia, outsider art, a hoax, radiocarbon dating, those who have claimed decipherment, ciphers, people see what they want to, goropism, the Sun Language Theory, recent videos about Alphafold and protein folding, maybe a work of proto-fiction 43:32 - The Book of Soyga - John Dee, Edward Kelley, cryptic puzzles, 400 years lost, found in 1994 Music by Fanette Ronjat More Info The Codex Gigas – Devil's Bible on the National Library of Sweden website The Devil's Bible: My Deep Dive into the Weirdest Book I've Ever Seen Devil's Bible: Codex Gigas in Klementinum on Prague.net from 2007 loan Inside the ‘Devil's Bible,' the Largest Medieval Manuscript Ever Made on ArtNet EPISODE 109 | What's in a Name? The Shakespeare Authorship Debate with Scott Jackson EPISODE 135 | On Shakey Ground: More Shakespeare Authorship with Scott Jackson What Shakespeare Can Teach Us About Communicating with Jennifer King on the Digital Signage Done Right podcast Yale Library webpage on the Voynich Manuscript, with images The riddle of the Voynich Manuscript on the BBC Unsolved Mystery: The Voynich Manuscript An entire website about the Voynich Manuscript The Voynich Manuscript revealed: five things you probably didn't know about the Medieval masterpiece on The Art Newspaper THE VOYNICH MANUSCRIPT - "The Most Mysterious Manuscript in the World" - NSA report (PDF) Another NSA report on titled The Voynich Manuscript: An Elegant Enigma written in 1978 (PDF) A PDF of the actual Voynich Manuscript Headcanon: The Voynich Manuscript actually doesn't contain any cohesive text and is just a prank done by someone in the past on r/medieval A Scholar Has Cracked the Mystery of the Voynich Manuscript, the Encrypted Medieval Artwork That Defeated Codebreakers for Years on ArtNet Article on the Voynich manuscript on Brazilian website Revista Pesquisa Fapesp The Voynich Wiki How an Emperor Trapped a Con Man - blog on Edward kelley Magic and Mystery: Decoding the Secrets of the Book of Soyga on Discovery The Book of Soyga translated by Jane Kupin (PDF) Decoding the Book of Soyga: A Living Project of Esoteric Discovery The Book of Soyga | Literary History on House of Cadmus Soyga: the book that kills on Blog of Wonders Holy Conversations: The Impact of the Mysterious Book of Soyga on Ancient Origins Book of Soyga on the Voynich Wiki Follow us on social: Facebook X (Twitter) Other Podcasts by Derek DeWitt DIGITAL SIGNAGE DONE RIGHT - Winner of a Gold Quill Award, Gold MarCom Award, AVA Digital Award Gold, Silver Davey Award, and Communicator Award of Excellence, and on numerous top 10 podcast lists.  PRAGUE TIMES - A city is more than just a location - it's a kaleidoscope of history, places, people and trends. This podcast looks at Prague, in the center of Europe, from a number of perspectives, including what it is now, what is has been and where it's going. It's Prague THEN, Prague NOW, Prague LATER 

Send a textRewind to 26 February – 4 Mar 2006

Book corner is back on It Happened One Year! The best selling adult book from the year 2000 (discounting that fourth Harry Potter) has proved to be Angels & Demons, the precursor to the cultural phenomenon that was The Da Vinci Code in the early years of the century. But...why? How did these novels catch on? And just how popular were they really? And you're telling me Dan Brown has kept writing books, but fewer and fewer people seem aware they exist? Sarah and Joe attempt to dig into 21st century popular literature and the confounding tastes of modern readers, while also taking time to discuss the movie series, the TV adaptations, an odd amount of Harry Potter, and the first American Pope!

How can trauma become a catalyst for creative transformation? What lessons can indie authors learn from the music industry's turbulent journey through technological disruption? With Jack Williamson. In the intro, Why recipes for publishing success don't work and what to do instead [Self-Publishing with ALLi Podcast]; Why your book isn't selling: metadata [Novel Marketing Podcast]; Creating a successful author business [Fantasy Writers Toolshed Podcast]; Bones of the Deep – J.F. Penn. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jack Williamson is a psychotherapist, coach, and bestselling author who spent nearly two decades as a music industry executive. He's the founder of Music & You, his latest nonfiction book is Maybe You're The Problem, and he also writes romance under A.B. Jackson. 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 Finding post-traumatic growth and meaning after bereavement, and using tragedy as a catalyst for creative transformation Why your superpower can also be your Achilles heel, and how indie authors can overcome shiny object syndrome Three key lessons from the music industry: embracing change, thinking creatively about marketing, and managing pressure for better creativity The A, B, C technique for PR interviews and why marketing is storytelling through different mediums How to deal with judgment and shame around AI in the author community by understanding where people sit on the opinion-belief-conviction continuum Three AI developments coming from music to publishing: training clauses in contracts, one-click genre adaptation, and licensed AI-generated video adaptations You can find Jack at JackWilliamson.co.uk and his fiction work at ABJackson.com. Transcript of the interview with Jack Williamson Jo: Jack Williamson is a psychotherapist, coach, and bestselling author who spent nearly two decades as a music industry executive. He's the founder of Music & You, his latest nonfiction book is Maybe You're The Problem, and he also writes romance under A.B. Jackson. Welcome to the show. Jack: Thank you so much for having me, Jo. It's a real honour to be on your podcast after listening all of these years. Jo: I'm excited to talk to you. We have a lot to get into, but first up— Tell us a bit more about you and why get into writing books after years of working in music. Jack: I began my career at the turn of the millennium, basically, and I worked for George Michael and Mariah Carey's publicist, which I'm sure you can imagine was quite the introduction to the corporate world. From there I went on to do domestic and international marketing for a load of massive artists at Universal, so the equivalent of the top five publishers in the publishing world that we all work in. Then from there I had a bit of a challenge. In December 2015, I lost my brother, unfortunately to suicide. For any listener or any person that's gone through a traumatic event, it can really make you reassess everything, make you question life, make you question your purpose. When I went through that, I was thinking, well, what do I want to do? What do I want out of life? So I went on this journey for practically the next ten years. I retrained to be a psychotherapist. I created a bucket list—a list of all the things that I thought maybe my brother would've wanted to do but didn't do. One of the things was scatter his ashes at the Seven Wonders of the world. Then one of the items on my bucket list was to write a book. The pandemic hit. It was a challenge for all of us, as you've spoken about so much on this wonderful podcast. I thought, well, why not? Why not write this book that I've wanted to write? I didn't know when I was going to do it because I was always so busy, and then the pandemic happened and so I wrote a book. From there, listening to your wonderful podcast, I've learned so much and been to so many conferences and learned along the way. So now I've written five books and released three. Jo: That's fantastic. I mean, regular listeners to the show know that I talk about death and grief and all of this kind of thing, and it's interesting that you took your brother's ashes to the Seven Wonders of the world. Death can obviously be a very bad, negative thing for those left behind, but it seems like you were able to reframe your brother's experience and turn that into something more positive for your life rather than spiralling into something bad. So if people listening are feeling like something happens, whether it's that or other things— How can we reframe these seemingly life-ending situations in a more positive way? Jack: It is very hard and there's no one way to do it. I think as you always say, I never want to tell people what to do or what to think. I want to show them how to think and how they can approach things differently or from a different perspective. I can only speak from my journey, but we call it in therapeutic language, post-traumatic growth. It is, how do you define it so it doesn't define you? Because often when you have a bereavement of a loved one, a family member, it can be very traumatic, but how can you take meaning and find meaning in it? There's a beautiful book called Man's Search for Meaning, and the name of the author escapes me right now, but he says— Jo: Viktor Frankl. Jack: Yes. Everyone quotes it as one of their favourite books, and one of my favourite lines is, “Man can take everything away from you, apart from the ability to choose one thought over the other.” I think it's so true because we can make that choice to choose what to think. So in those moments when we are feeling bad, when we're feeling down, we want to honour our feelings, but we don't necessarily want to become them. We want to process that, work through, get the support system that we need. But again, try to find meaning, try to find purpose, try to understand what is going on, and then pay it forward. Irrespective of your belief system, we all yearn for purpose. We all yearn for being connected to something bigger than ourselves. If we can find that through bereavement maybe, or through a traumatic incident, then hopefully we can come through the other side and have that post-traumatic growth. Jo: I love that phrase, post-traumatic growth. That's so good. Obviously people think about post-traumatic anything as like PTSD—people immediately think a sort of stress disorder, like it's something that makes things even worse. I like that you reframed it in that way. Obviously I think the other thing is you took specific action. You didn't just think about it. You travelled, you retrained, you wrote books. So I think also it's not just thinking. In fact, thinking about things can sometimes make it worse if you think for too long, whereas taking an action I think can be very strong as well. Jack: Ultimately we are human beings as opposed to human doings, but actually being a human doing from time to time can be really helpful. Actually taking steps forward, doing things differently, using it as a platform to move forward and to do things that maybe you didn't before. When you are confronted with death, it can actually make you question your own mortality and actually question, am I just coasting along? Am I stuck in a rut? Could I be doing something differently? One of the things that bereavement, does is it holds a mirror up to ourselves and it makes us question, well, what do we want from our life? Are we here to procreate? Are we here to make a difference? Some of us can't procreate, or some of us choose not to procreate, but we can all make a difference. And it's, how do we do that? Where do we do that? When do we do that? Jo: That's interesting. I was thinking today about service and gratitude. I'm doing this Master's and I was reading some theology stuff today, and service and gratitude, I think if you are within a religious tradition, are a normal part of that kind of religious life. Whether it's service to God and gratitude to God, or service and gratitude to others. I was thinking that these two things, service and gratitude, can actually really help reframe things as well. Who can we serve? As authors, we're serving our readers and our community. What can we be grateful about? That's often our readers and our community as well. So I don't know, that helped me today—thinking about how we can reframe things, especially in the world we're in now where there's a lot of anger and grief and all kinds of things. Jack: That's what we've got to look at. We are here to serve. Again, that can take different shapes, different forms. Some of us work in the service industry. I provide a service as a psychotherapist, you serve your listeners with knowledge and information that you gather and dispense through the research you do or the guests you have on. We serve readers of the different genres that we write in. It's what ways can we serve, how can we serve? Again, I think we all, if we can and when we can, should pay it forward. Someone said this to me once in the music industry: be careful who you meet on the way up and how you treat them on the way up, because invariably you'll meet them on the way down. So if you can pay forward that kindness, if you can be kind, considerate, and treat people how you want to be treated, that is going to pay dividends in the long run. It may not come off straight away, but invariably it will come back to you in some way, shape, or form in a different way. Jo: I've often talked about social karma and karma in the Hindu sense—the things that you do come back to you in some other form. Possibly in another life, which I don't believe. In terms of, I guess, you didn't know what was going to happen to your brother, and so you make the most of the life that we have at the moment because things change and you just don't know how things are going to change. You talk about this in your book, Maybe You're The Problem, which is quite a confronting title. So just talk about your book, Maybe You're The Problem, and why you wrote that. Put it into context with the author community and why that might be useful. Jack: Thank you for flagging my book. I intentionally crossed out “maybe” on the merchandise I did as well, because in essence, we are our own problem. We can get in the way, and it's what happened to us when we grew up wasn't our fault, but what we do with it is our responsibility. We may have grown up in a certain period or a climate. We didn't necessarily choose to do that, but what we do with that as a result is up to us. So we can stay in our victimhood and we can blame our parents, or we can blame the generation we are in, or we can blame the city, the location—however, that is relinquishing your power. That is staying in a victim mindset rather than a survivor or a thriver mindset. So it's about how can we look at the different areas in our life. Whether that is conflict, whether that is imposter syndrome, whether that is the generation we're born into. We try to understand how that has shaped us and how we may be getting in our own way to stop us from growing, to stop us from expanding, and to see where our blind spots are, our limitations are, and how that may impact us. There's so much going on in the moment in the world, whether that is in the digital realm, whether that is in the geo-climate that we're in at the moment. Again, that's going to bring up a lot for us. How can we find solutions to those problems for us so that we continue to move forward rather than be restricted and hindered by them? Jo: Alright. Well let's get into some more specifics. You have been in the author community now for a while. You go to conferences and you are in the podcast community and all this kind of thing. What specific issues have you seen in the author community? Maybe around some of the things you've mentioned, or other things? How might we be able to deal with those? Jack: With authors, I think it is such a wonderful and unique industry that I have an honour and privilege of being a part of now. One of the main things I've learned is just how creative people are. Coming from a creative industry like the music industry, there is a lot of neurodivergence in the creative industries and in the author community. Whether that is autism, whether that is ADHD—that is a real asset to have as a superpower, but it can be an Achilles heel. So it's understanding—and I know that there is an overexposure of people labelling themselves as ADHD—but on the flip side to that, it's how can we look at what's going on for us? For ADHD, for example, there's a thing called shiny object syndrome. You've talked about this in the past, Joanna, where it's like a new thing comes along, be it TikTok, be it Substack, be it bespoke books, be it Shopify, et cetera. We can rush and quickly be like, “oh, let me do this, let me do that,” before we actually take the time to realise, is this right for me? Does this fit my author business? Does this fit where I'm at in my author journey? I think sometimes as authors, we need to not cave in to that shiny object syndrome and take a step back and think to ourselves, how does this serve me? How does this serve my career? How does this work for me if I'm looking at this as a career? If you're looking at it as a hobby, obviously it's a different lens to look through, but that's something that I would often make sure that we look at. One of the other things that really comes up is that in order for any of us to address our fears and anxieties, we need to make sure that we feel psychologically safe and to put ourselves in spaces and places where we feel seen, heard, and understood, which can help address some of the issues that I've just mentioned. Being in that emotionally regulated state when we are with someone we know and trust—so taking someone to a conference, taking someone to a space or a place where you feel that you can be seen, heard, and understood—can help us and allow us to embrace things that we perceive to be scary. That may be finding an author group, finding an online space where you can actually air and share your thoughts, your feelings, where you don't feel that you are being judged. Often it can be quite a judgmental space and place in the online world. So it's just finding your tribe and finding places where you can actually lean into that. So there'd be two things. Jo: I like the idea of the superpower and the Achilles heel because I also feel this when we are writing fiction. Our characters have strengths, but your fatal flaw is often related to your strength. Jack: Yes. Jo: For example, I know I am independent. One of the reasons I'm an independent author is because I'm super independent. But one of my greatest fears is being dependent. So I do lots of things to avoid being dependent on other people, which can lead me to almost damage myself by not asking for help or by trying to make sure that I control everything so I never have to ask anyone else to do something. I'm coming to terms with this as I get older. I feel like this is something we start to hit—I mean, as a woman after menopause—is this feeling of I might have to be dependent on people when I'm older. It's so interesting thinking about this and thinking— My independence is my strength. How can it also be my weakness? So what do you think about that? You're going to psychotherapist me now. Jack: I definitely won't, but it's interesting. Just talking about that, we all have wounds and we all have the shadow, as you've even written about in one of your books. And it's how that can come from a childhood wound where it's like we seek help and it's not given to us. So we create a belief system where I have to do everything myself because no one will help me. Or we may have rejection sensitivity, so we reject ourselves before others can reject us. So it's actually about trying, where we can, to honour our truths, honour that we may want to be independent, for example, but then realising that success leaves clues. I always say that if you are independent—and I definitely align a hundred percent with you, Joanna—I've had to work really hard myself in personal therapy and in business and life to realise that no human is an island and we can't all do this on our own. Yes, it's amazing with the AI agents now that can help us in a business capacity, but having those relationships that we can tap into—like you mentioned all of the people that you tap into—it's so important to have those. I always say that it's important to have three mentors: one person that's ahead of you (for me, that would be Katie Cross because she's someone that I find is an amazing author and we speak at least once a month); people that are at the same level as you that you can go on the journey together with (and I have an author group for that); and then someone that is perceived to be behind you or in a younger generation than you, because you can learn as much from them as they can learn from you. If you can actually tap into those people whilst honouring your independence, then it feels like you can still go on your own journey, but you can tap in and tap out as and when needed. Sacha Black will give you amazing insights, other people like Honor will give you amazing insights, but you can also provide that for them. So there's that safety of being able to do it on your own. But on the flip side, you still have those people that you can tap into as and when necessary as a sounding board, as information on how they were successful, and go from there. Jo: No, I like that. If you're new to the show, Sacha Black and Honor Raconteur have been on the show and they are indeed some of my best friends. So I appreciate that. I really like the idea of the three mentor idea. I just want to add to that because I do think people misunderstand the word mentor sometimes. You mentioned you speak to Katie Cross, but I've found that a lot of the mentors that I've had who are ahead of me have often been books. We mentioned the Viktor Frankl book, and if people don't know, he was Jewish and in the concentration camps and survived that. So it's a real survivor story. But to me, books have been mostly my mentors in terms of people who are ahead of me. We don't always need to speak to or be friends with our mentors. I think that's important too, right? Because I just get emails a lot that say, “Will you be my mentor?” And I don't think that's the point. Jack: Oh, I a hundred percent agree with you. If you don't have access to those mentors—like Oprah Winfrey is one of the people that I perceive as a mentor—I listen to podcasts, I read her books, I watch interviews. There is a way to absorb and acquire that information, and it doesn't have to be a direct relationship with them. It is someone that you can gain the knowledge and wisdom that they've imparted in whatever form you may consume it. Which is why I think it is important to have those three levels: that one that is above you that may be out of reach in terms of a human connection, but you can still access; then the people at the same level as you that you can have those relationships and grow with; and again, that one behind that you can help pave the way for them, but also learn from them as well. So a hundred percent agree that that mentor that you are looking for that may be ahead of you doesn't necessarily need to be someone that is in a real-world relationship. Jo: So let's just circle back to your music industry experience. You mentioned being on the sort of marketing team for some really big names in music, and I mean, it's kind of a sexy job really. It just sounds pretty cool, but of course the music industry has just as many challenges as publishing. What did you learn from working in the music industry that you think might be particularly useful for authors? Jack: The perception of reality was definitely a lot different. It does look sexy and glamorous, but the reality is similar to going to conferences. It's pretty much flight, hotel, and dark rooms with terrible air conditioning that you spend a lot of time in. So sorry to burst the illusion. But I mean, it does have its moments as well. There is so much I've learned over the years and there's probably three things that stand out the most. The first one was I entered the industry right at the height of the music industry. In 2000, 2001. That was when Napster really exploded and it decimated the music industry. It wiped half the value in the space of four years. Then the music industry was trying to shut it down, throwing legal, throwing everything at it, but it was like whack-a-mole. As soon as one went down such as Napster, ten others popped up like Kazaa. So you saw that the old guard wasn't willing to embrace change. They weren't willing to adapt. They assumed that people wanted the formats of CDs, vinyls, cassettes, and they were wrong. Yes, people wanted music, but they actually wanted the music. They didn't care about the format, they just wanted the access. So that was one of the really interesting things that I learned, because I was like, you have to embrace change. You can't ignore it. You can't push it away, push it aside, because it's coming whether you like it or not. I think thankfully the music industry has learned as AI's coming, because now you have to embrace it. There's a lot of legal issues that have been going on at the moment with rights, which you've covered about the Anthropic case and so on. It's such a challenge, and I just think that's the first one. The second one I learned was back in 2018. There was an artist I worked on called Freya Ridings. At that time I was working at an independent record label rather than one of the big three major record labels. She had great songs and we were up against one of the biggest periods of the year and trying to make noise. At the time, Love Island was the biggest TV show on, and everyone wanted to be on it in terms of getting their music synced in the scenes. We were just like, we are never going to compete. So we thought, we need to be clever here. We need to think differently. What we did is we found out what island the show was being recorded on, and we geo-targeted our ads just to that island because we knew the sync team were going to be on there. So we just went hard as nails, advertised relentlessly, and we knew that the sync people would then see the adverts. As a result of that, Freya got the sync. It became the biggest song that season on Love Island, back when it was popular. As a result of that, we built from there. We were like, right, we can't compete with the majors. We have to think differently. We need to do things differently. We need to be creative. It wasn't an easy pathway. That year there were only two other songs that were independent that reached the top 10. So we ended up becoming a third and the biggest song that year. The reason I'm saying that is we can't compete with the major publishers. But the beauty of the independent author community is because we have smaller budgets—most of us, not all of us, but most of us—we have to think differently. We have to make our bang for our buck go a lot further. So it's actually— How can we stay creative? How can we think differently? What can we do differently? So that would be the second thing. Then the third main lesson that I learned, and this is more on the creative side, is that pressure can often work against you, both in a business sense, but especially creativity. I've seen so many artists over the years have imposed deadlines on them to hand in their albums, and it's impacted the quality of their output. Once it's handed in, the stress and the pressure is off, and then you realise that actually those artists end up creating the best material that they have, and then they rush to put it on. Whether that's Mariah Carey's “We Belong Together,” Adele with her song “Hello,” Taylor Swift did the same with “Shake It Off”—they're just three examples. The reason is that pressure keeps us in our beta brainwave state, which is our rational, logical mind. For those of us that are authors that are writing fiction, or even if we are creating stories in our nonfiction work to deliver a point, we need to be in that creative mindset. So we need to be in the alpha and the gamma brain state. Because our body works on 90-minute cycles known as our ultradian rhythm, we need to make sure that we honour our cycle and work with that. If we go past that, our creativity and our productivity is going to go down between 60% and 40% respectively. So as authors, it's important—one, to apply the right amount of pressure; two, to work in breaks; and three, to know what kind of perspective we're looking at. Do we need to be rational and logical, or do we need to be creative? And then adjust the sails accordingly. Jo: That's all fantastic. I want to come back on the marketing thing first—around what you did with the strategic marketing there and the targeted ads to that island. That's just genius. I feel like a lot of us, myself included, we struggle to think creatively about marketing because it's not our natural state. Of course, you've done a lot of marketing, so maybe it comes more naturally to you. I think half the time we don't even use the word creative around marketing, when you're not a marketeer. What are some ways that we can break through our blocks around marketing and try to be more creative around that? Jack: I would challenge a lot of authors on that presumption, because as authors we're in essence storytellers, and to tell a story is creative. There's a great quote: “One death is a tragedy. A thousand deaths is a statistic.” If you can create a story, a compelling narrative about a death in the news, it's going to pull at the heartstrings of people. It's going to really resonate and get with them. Whereas if you are just quoting statistics, most people switch off because they become desensitised to it. So I think because we can tell stories, and that's the essence of what we do, it's how can we tell our story through the medium of social media? How can we tell a story through our creative ads that we then put out onto Facebook or TikTok or whatever platform that we're putting them out—BookBub, et cetera? How can we create a narrative that garners the attention? If we are looking at local media or traditional media, how can we do that? How can we get people to buy in to what we're selling? So it's about having different angles. For me with my new romance book, Stolen Moments, one of the stories I had that really has helped me get some coverage and PR is we recorded the songs next door to the Rolling Stones. Now that was very fortunate timing, very fortunate. But everyone's like, “Oh my God, you recorded next door to the Rolling Stones?” So it's like, well, how can you bring in these creative nuggets that help you to find a story? Again, marketing is in essence telling a story, albeit through different mediums and forms. So it's just how can you package that into a marketable product depending on the platform in which you're putting it out on. Jo: I think that's actually hilarious, by the way, because what you hit on there, as someone with a background in marketing, your story about “we recorded an album for the book next door to the Rolling Stones”—it's got nothing to do with the romance. Jack: Oh, the romance is that the pop star in the book writes and records songs. Jo: Yes, I realised that. But the fact is— For doing things like PR, it's the story behind the story. They don't care that you've written a romance. Jack: Yes. Jo: They're far more interested in you, the author, and other things. So I think what you just described there was a kind of PR hook that most of us don't even think about. Jack: I'm sure a lot of authors already know this, so it's a good reminder, and if you don't, it's great. It's called the A, B, C technique. When you get asked a question, you Answer the question. So that's A. You Build a bridge, and then you go to C, which is Covering one of your points. So whenever you get asked a question, have a list of things you want to get across in an interview. Then just make sure that you find that bridge between whatever the question is to cover off one of your points, and that's how you can do it. Because yes, you may be selling a story, like I said, about writing the songs, but then you can bridge it into actually covering and promoting whatever it is you're promoting. So I think that's always quite helpful to remember. Jo: Well, that's a good tip for things like coming on podcasts as well. I've had people on who don't do what you just mentioned and will just try and shoehorn things in in a more deliberate fashion, whereas other people, as you have just done with your romance there, bring it in while answering a question that actually helps other people. So I think that's the kind of thing we need to think about in marketing. Okay, so then let's come back to the embracing change, and as you mentioned, the AI stuff that's going on. I feel like there's so many “stories” around AI right now. There's a lot of stories being told on both sides—on the positive side, on the negative side—that people believe and buy into and may or may not be true. There's obviously a lot of anger. There's, I think, grief—a big thing that people might not even realise that they have. Can you talk about how authors might deal with what's coming up around the technological change around AI, and any of your personal thoughts as well? Jack: I was thinking about this a lot recently. I mean, I guess everyone is in their own ways and forms. One of the things that came up for me is we have genre expectations and we have generation expectations. When we look at genres, you will have different expectations from different genres. For romance, they want a happily ever after or a happy for now. For cosy mysteries, they expect the crime to be solved. So we as authors make sure we endeavour to meet those expectations. The challenge is that if we are looking at AI, we are all in our own generations. We might be in slightly different generations, but there are going to be different generation expectations from the Alpha generation that's coming up and the Beta generation that's just about to start this year or next year because they're going to come into the world where they don't know any different to AI. So they will have a different expectation than us. It will just be normal that there will be AI agents. It will just be normal that there are AI narrators. It will be normalised that AI will assist authors or assist everyone in doing their jobs. So again, it is a grieving period because we can long for what was, we can yearn for things that worked for us that no longer work for us—whether it's Facebook groups, whether it's the Kindle Rush. We can mourn the loss of that, but that's not coming back. I mean, sometimes there may be a resurgence, but essentially, we've got to embrace the change. We've got to understand that it's coming and it's going to bring up a lot of different emotions because you may have been beholden to one thing and you may be like, yes, I've now got my TikTok lives, and then all of a sudden TikTok goes away. I know Adam, when he was talking about it, he'll just find another platform. But there'll be a lot of people that are beholden to it and then they're like, what do I do now? So again, it's never survival of the fittest—it's survival of the most adaptable. I always use this metaphor where there are three people on three different boats. A storm comes. And the first, the optimist, is like, “Oh, it'll pass,” and does nothing. The pessimist complains about the storm and does nothing. But the realist will adjust the sails and use the storm to find its way to the other side, to get through. It's not going to be easy, but they're actually taking change and making change to get to where they need to go, rather than just expecting or complaining. I get it. We are not, and I hate the expression, “we're all in the same boat.” I call bleep on that. I'm not going to swear. We're not all in the same boat. We're all in the same storm, but different people are going through different things. For some, they can adjust and adapt really quickly like a speedboat. For others, they may be like Jack and Rose in the Titanic on that terrible prop where they're clinging to dear life and trying to get through the storm. So it's about how do I navigate this upcoming storm? What can I do within my control to get through the storm? For some it may be easier because they have the resources, or for some of us that love learning, it's easy to embrace change. For others that have a fear mindset and it's like, “Oh, something new, it's scary, I don't want to embrace it”—you are going to take longer. So you may not be the speedboat, but at some point we are going to have to embrace that change. Otherwise we're going to get left behind. So you need to look at that. Jo: The storm metaphor is interesting, and being in different boats. I feel I do struggle. I struggle with people who suddenly seem to be discovering the storm. I've been talking about AI now since 2016. That's a decade. Jack: Yes. Jo: Even ChatGPT has been around more than three years, and people come to me now and they're talking about stories that they've seen in the media that are just old now. Things have moved on so much. I feel like maybe I was on my boat and I looked through my telescope and I saw the storm. I've been talking about the storm and I've had my own moments of being in the middle of the storm. Now I definitely do struggle with people who just seem to have arrived without any knowledge of it before. I oscillate between being an optimist and a realist. I think I'm somewhere between the two, probably. But I think what is driving me a little crazy in the author community right now is judgment and shame. There are people who are judging other people, and there's shame felt by AI-curious or AI-positive people. So I want to help the people who feel shame in some way for trying new technology, but they still feel attacked. Then those people judge other authors for their choices to use technology. So how do you think we can deal with judgment and shame in the community? Which is a form of conflict, I guess. Jack: Of course. I think with that, there's another great PR quote: “If it bleeds, it leads.” Especially in this digital age, there's a lot of clickbait. So the more polarising, the more emotion-evoking the headline, the more likely you are to engage with that content—whether that is reading it or whether that's posting or retweeting, or whatever format you are consuming it on. So unfortunately, media has now become so much more polarising. It's dividing us rather than uniting us. So people are going to have stronger positions. There's so much even within this to look at. One is, you have to work out where people are on the continuum. Do they have an opinion on AI? Do they have a belief? Or do they have a conviction? Now you're not going to move someone that has a conviction about something, so it's not worth even engaging with them because they're immovable. Like they say, you shouldn't talk about sports, politics, and religion. There are certain subjects that may not be worth talking about, especially if they have a conviction. Because they may not even be able to agree to disagree. They may not be willing or able to hear you. So first and foremost, it's about understanding, well, where are those people sitting on the continuum of AI? Are they curious? Do they have an opinion, but they're open to hearing other opinions? Do they have a belief that could be changed or evolved if they find more information? That's where I think it is. It's not necessarily our jobs—even though you do an amazing job of it, Joanna—but a lot of people are undereducated on these issues or these new technologies. So in some cases it's just a case of a lack of education or them being undereducated. Hopefully in time they will become more and more educated. But again, it's how long is a piece of string? Will people catch up? Will they stay behind? Are they fearful? I guess because of social media, because of the media, as they say, if you can evoke fear in people, you can control them. You can control their perspectives. You can control their minds. So that's where we see it—a lot of people are operating from a fear mindset. So then that's when they project their vitriol in certain cases. If people want to believe a certain thing, that's their choice. I'm not here to tell people what to think. Like I said earlier, it's more about how to think. But I would just encourage people to find people that align with you. Do a sense test, like a litmus test, to find where they sit on the continuum and engage with those people that are open and have opinions or beliefs. But shy away or just avoid people that have convictions that maybe are the polar opposite of yours. Jo: It's funny, isn't it? We seem to be in a phase of history when I feel like you should be able to disagree with people and still be friends. Although, as you mentioned, there's certain members of my family where we just stay on topics of TV shows and movies or music, or what books are you reading? Like, we don't go anywhere near politics. So I do think that might be a rule also with the AI stuff. As you said, find a community, and there are plenty of AI-positive spaces now for people who do want to talk about this kind of stuff. I also think that, I don't know whether this is a tipping point this year, but certainly— I know people who are in bigger corporates where the message is now, “You need to embrace this stuff. It is now part of your job to learn how to use these AI tools.” So if that starts coming into people's day jobs, and also people who have, I don't know, kids at school or people at university who are embracing this more—I mean, maybe it is a generational thing. Jack: Yes. Look, there were so many people that were resistant to working from home, or corporations that were, and then the pandemic forced it. Now everyone's embraced it in some way, shape, or form. I mean, there are people that don't, but the majority of people—when something's forced on you, you have to adapt. So again, if those things are implemented in corporations, then you're going to see it. I'm seeing so many amazing new things in AI that have been implemented in the music industry that we'll see in the publishing industry coming down the road. That will scare a lot of people, but again, we have to embrace those things because they're coming and there's going to be an expectation—especially from the younger generations—that these things are available. So again, it's not first past the post, but if you can be ahead of the wave or at least on the wave, then you are going to reap the rewards. If you are behind the wave, you're going to get left behind. So that's my opinion. I'm not trying to encourage anyone to see from my lens, but at the same time, I do think that we need to be thinking differently. We need to always embrace change where we can, as we can, at the pace that we can. Jo: You mentioned there AI things coming down the road in the music industry. And now everyone's going, wait, what is coming? So tell us— What do you see ahead that you think might also shift into the author world? Jack: There are three things that I've seen. Two that have been implemented and one that's been talked about and worked on at the moment. The first, and this will be quite scary for people, is that major record labels—so think the major publishers on our side—they're all now putting clauses in their contracts that require the artists that sign with them to allow their works to be trained by their own AI models. So that is something that is now actually happening in record labels. I wouldn't be surprised, although I don't have insight into it, if Simon & Schuster, HarperCollins, et cetera, are potentially doing the same with authors that sign to them. So that's going to become more standardised. So that is on the major side. But then on the creative side, there are two things that really excite me. The music AI platforms that we're hearing about, the stories that we've seen in the press, and it's the fact that with a click of a button, you can recreate a song into a different genre. I find it so fascinating because if you think about that—turning a pop song into a country song or a rap song into a dance song—the possibilities that we have as authors with our books, if we wish to do so, are amazing. I just think, for example, with your ARKANE series, Joanna, imagine clicking a button and just with one click you can take Morgan Sierra and turn her into a romantic lead in a romance book. Jo: See, it's so funny because I personally just can't imagine that because it's not something I would write. But I guess one example in the romance genre itself is I know plenty of romance authors who write a clean and a spicy version of the same story, right? It is already happening in that way. It's just not a one-click. Jack: Well, I think you can also look at it another way. I think one of the most famous examples is Twilight. With Twilight and Stephenie Meyer, if she had the foresight—and I'm not saying she didn't, just to clarify—but fan fiction is such a massive sub-genre of works. And obviously from Twilight came 50 Shades of Gray. Imagine if she had the licensing rights like the NFTs, where she could have made money off of every sale. So that you could then, through works that you create and give licence, earn a percentage of every release, every sale, every consumption unit of your works. There are just so many possibilities where you can create, adapt, have spinoffs that can then build out your world. Obviously, there may need to be an approval process in there for continuity and quality control because you want to make sure you're doing that, but I think that has such massive potential in publishing if we wish to do so. Or like I said, change characters. Like Robert Langdon's character in Dan Brown's books—no longer being the kind of thriller, but maybe being a killer instead. There's so many possibilities. It's just, again, how to think, not what to think—how to think differently and how we can use that. So that's the second of three. Jo: Oh, before you move on, you did mention NFTs and I've actually been reading about this again. So I'm usually five years early. That's the general rule. I started talking about NFTs in mid-2021, and obviously there was a crypto crash, it goes up and down, blah, blah, blah. But forget the crypto side—on the blockchain side, digital originality, and exactly what you said about saying like, where did this originate? This is now coming back in the AI world. It could be that I really was five years early. So amusingly—and I'm going to link to it in the notes because I did a “Why NFTs Are Exciting for Authors” solo episode, I think in 2022—it may be that the resurgence will happen in the next year, and all those people who said I was completely wrong, that this may be coming back. Digital originality I think is what we're talking about there. But so, okay, so what was the other thing? Jack: So the third one is the one that I'm most excited about, but I think will be the most scary for people. Obviously consumption changes and formats change. Like I said, in music I've seen it all the time—whether it's vinyl to cassettes, to CDs, to downloads, to streaming. Again, there's different consumption of the same format, and we see that with books as well, obviously—hardbacks, paperbacks, eBooks, audiobooks. Now with the rise of AI, AI narration has made audiobooks so much more accessible for people. I know that there are issues with certain people not wanting to do it, or certain platforms not allowing AI narration to be uploaded unless it's their own. The next step is what I'm most excited about. What I'm seeing now in the music industry is people licensing their image to then recreate that as music videos because music videos are so expensive. One of my friends just shot a music video for two million pounds. I don't think many authors would ever wish to spend that. If you can license your image and use AI to create a three-minute music video that looks epic and just as real as humanly possible, imagine if those artists—or if we go a step further, those actors—license their image to then be used to adapt our books into a TV series or a film. So that then we are in a position where that is another format of consumption alongside an audiobook, a paperback, an eBook, hardcover, special edition, and so on and so forth. It potentially has the opportunity to open us up to a whole new world. Because yes, there are adaptations of books that we're seeing at the moment, but for those of us that are trying to get our content into different formats, this can be a new pathway. I'm going to make a prediction here myself, Joanna. Jo: Mm-hmm. Jack: I would say in the next five to ten years, there will be a platform akin to a Netflix, Amazon Prime, Disney Plus, Apple Plus, where you can license the rights to an image of an actor or an actress. Then with the technology—and you may need people to help you adapt your book into a TV series or a film—that can then be consumed. I just think the possibilities are endless. I mean, again, I think of your character and I'm like, oh, what would it be if Angelina Jolie licensed her image and you could have her play the lead character in your ARKANE series? I mean, again, the possibilities potentially are endless here. Jo: Well, and on that, if people think this won't happen—1776, I don't know if you've seen this, it's just being teased at the moment. Darren Aronofsky has made an American revolutionary story all with AI. So this is being talked about at the moment. It's on YouTube at the moment. The AI video is just extraordinary already, so I totally agree with you. I think things are going to be quite weird for a while, and it will take a while to get used to. You mentioned coming into the music industry in 2000, 2001—I started my work before the internet, and then the internet came along and lots of things changed. I mean, anyone who's older than 40, 45-ish can remember what work was like without the internet. Now we are moving into a time where it'll be like, what was it like before AI? And I think we'll look back and go like, why the hell did we do that kind of thing? So it is a changing world, but yes, exciting times, right? I think the other thing that's happening right now, even to me, is that things are moving so fast. You can almost feel like a kind of whiplash with how much is changing. How do we deal with the fast pace of change while still trying to anchor ourselves in our writing practice and not going crazy? Jack: Again, it's that everything everywhere all at once—you can get lost and discombobulated. I always say be the tortoise, not the hare—because you don't want to fly and die. You want pace and grace. Everyone will have a different pace. For some marathon runners, they can run a five-minute mile, some can run an eight-minute mile, some can run a twelve-minute mile. It's about finding the pace that works for you. Every one of us have different commitments. Every one of us have different ways we view the industry—some as a hobby, some as a business. So it's about honouring your needs, your commitment. Some of us, as you've had people on the podcast, some people are carers. They have to care. Some people are parents. Some people don't have those commitments and so can devote more time and then actually learn more, change more as a result. So again, it's about finding your groove, finding your rhythm, honouring that, and again, showing up consistently. Because motivation may get you started, but it's habit and discipline that sees you through. Keep that discipline, keep that pace and grace. Be consistent in what you can do. And know where you're at. Don't compare and despair, because again, if you look at someone else, they may be ahead of you, but the race is only with yourself in the end. So you've got to just focus on where you are at and am I in a better place than I was yesterday? Am I working on my business as well as in my business? How am I doing that? When am I doing that? And what am I doing that for? If you can be asking yourself those questions and making sure you're staying true to yourself and not burning out, making sure that you are honouring your other commitments, then I think you are going at the pace that feels right for you. Jo: Brilliant. Jo: Where can people find you and your books and everything you do online? Jack: Thank you so much for having me on, Joanna, today. You can find me on JackWilliamson.co.uk for all my nonfiction books and therapy work. Then for my fiction work, it is ABJackson.com, or ABJacksonAuthor on Instagram and TikTok. Jo: Well, thanks so much for your time, Jack. That was great. Jack: Thank you so much. The post Post-Traumatic Growth, Creative Marketing, And Dealing With Change with Jack Williamson first appeared on The Creative Penn.

Original Release Date: Monday 23 February 2026    Description:   After discussing the latest news regarding Netflix, their attempts to purchase Warner Bros, and what the current President of the U.S.A. is demanding they do, Dean and Phil talk about more of the intriguing movies coming out in 2026 (including period pieces, biopics, and crime films). Hollywood still hasn't recovered from the dual strikes of a few years back, and with the negotiations for new contracts upcoming, the Writers Guild seems to be imploding. Dean and Phil analyze the latest labor strife. The recent movie Anaconda gets reviewed, and the French classic Amelie gets re-appraised in time for its 25th anniversary. In the return of “What We're Reading” the latest by Dan Brown and a work of historical fiction about legendary filmmaker G.W. Pabst get discussed. Finally the murders of two groundbreaking physicists has Phil troubled, so he asks Dean about whether the deaths might be part of a conspiracy. And speaking of conspiracy, Dean and Phil conclude with the latest news surrounding Ryan Coogler's reboot of “The X-Files”.

To start this week's episode, Cody enthusiastically shares with Joe the details of his most recent book haul, an exciting collection that has him buzzing with anticipation for his reading adventures ahead. Among the treasures he has acquired is Matt Dinniman's newest novel, Operation Bounce House, which promises to deliver an exhilarating blend of action and humor. Cody elaborates on Dinniman's unique storytelling style, which often combines elements of fantasy and adventure, making this latest installment an intriguing addition to his growing library. He also mentions the first book in the series Dungeon Crawler Carl, a title that has garnered much attention and praise for its inventive approach to the dungeon-crawling genre, filled with quirky characters and unexpected plot twists. In addition to these, Cody reveals that he has picked up Dan Brown's latest Robert Langdon novel, The Secret of Secrets. He discusses how Brown's works are renowned for their intricate plots that weave together history, art, and thrilling mysteries, and he expresses his eagerness to dive into this new narrative that promises to challenge Langdon's intellect and adventurous spirit once more. The last book in Cody's haul is Joe Abercrombie's The Devils, a title that has been highly anticipated by fans of Abercrombie's gritty and darkly humorous fantasy novels. Cody reflects on Abercrombie's ability to create morally complex characters and immersive worlds, making this book a must-read for any fantasy aficionado. After sharing his literary finds, the conversation shifts as the guys dive into some juicy entertainment news. The first story they discuss revolves around a potential live-action Marvin the Martian movie, a project that seemed to have great promise but ultimately went nowhere. They speculate on what could have been and the challenges that often accompany adaptations of beloved animated characters into live-action formats. Following this, Joe brings up the exciting news that Mathew Vaughn is rebooting Kick-Ass, along with plans for spin-offs that will exist within a shared universe. They delve into the implications of this move, considering how it could expand the Kick-Ass franchise and attract both new fans and long-time supporters of the original films. Cody then shifts the conversation to Paramount's recent announcements regarding new additions to the Teenage Mutant Ninja Turtles franchise. He highlights the company's ambitious plans to create new YouTube shows, develop fresh merchandise, and even launch themed restaurants, all aimed at revitalizing the beloved franchise for a new generation. The guys discuss the cultural impact of the Turtles and how these new initiatives could potentially reignite interest in the characters and their adventures. As the episode progresses, Cody shares that AppleTV has made a significant move by acquiring the intellectual property for their hit TV series Severance. He expresses curiosity about how this acquisition might influence the future of the series and its storytelling possibilities. The conversation flows into a broader discussion about the evolving landscape of television and streaming services, particularly how companies are vying for unique content to attract subscribers. To wrap up the episode, the guys tackle some exciting news about a few new electric vehicles (EVs) that are set to hit the market soon. Among them is Rivian's R2, which promises to bring innovative features and sustainability to the forefront of the automotive industry. They also discuss the rebirth of an American icon—the fully electric Scout—reflecting on the significance of this vehicle in American automotive history and its potential impact on the EV market. The episode concludes with a lively exchange of thoughts on the future of transportation and the growing importance of environmentally friendly options in the automotive landscape.Official Website: https://www.comesnaturallypodcast.comOfficial Merchandise: https://shop.spreadshirt.com/comes-naturally-podcast/iTunes: http://tinyurl.com/kqkgackFacebook: http://tinyurl.com/myovgm8Tumblr: http://tinyurl.com/m7a6mg9Twitter: @ComesNaturalPodYouTube: http://tiny.cc/5snxpy

In this exclusive interview, Don Bentley joins us to officially reveal the title of the next Mitch Rapp thriller: Double Tap.And he confirms it will take place after Denied Access as the fourth book in the American Assassin prequel series!We break down what the title means, what fans can expect from the next installment in the Vince Flynn universe, and how Bentley is shaping his own voice for the Mitch Rapp series.If you're a Mitch Rapp fan, this is can't-miss intel.—

Erinnern Sie sich an diese Szene? Professor Robert Langdon wird von der Pariser Polizei in den Louvre gerufen: Da liegt die Leiche eines Mannes, der rätselhafte Zeichen und Codes hinterlassen hat. Von der Pose des Toten bis zu den Anagrammen interpretiert Professor Langdon jedes Detail als Teil eines gigantischen, jahrhundertealten Musters. Das ist der Anfang des Romans «The Da Vinci Code» («Das Sakrileg») von Dan Brown. Er präsentiert dem Leser eine Mischung aus historischen Fakten, Bits and Pieces aus der Kunstgeschichte und Fiktion. Wir Leser (und die Figuren im Roman) werden dazu verleitet, in diesen eigentlich eher willkürlich zusammengetragenen Wissensfetzen eine zusammenhängende «Wahrheit» über den Heiligen Gral oder Geheimbünde wie die Prieuré de Sion zu sehen. Der Roman und der Film mit Tom Hanks sind beste Unterhaltung. Vor allem aber illustrieren sie sehr gut, wie wir Menschen darauf trainiert sind, Muster und Zusammenhänge zu erkennen. Unser Problem ist: Wir sind evolutionär darauf programmiert, Muster zu erkennen. Unser Gehirn erkennt lieber ein Muster zu viel als eins zu wenig. Das ist tief in uns verankert. Im Informationszeitalter macht genau das uns anfällig für Fehlurteile und Verschwörungstheorien. Doch es gibt einen Ausweg: https://www.matthiaszehnder.ch/wochenkommentar/tiger-im-gehirn/ Matthias Zehnder ist Autor und Medienwissenschaftler in Basel. Er ist bekannt für inspirierende Texte, Vorträge und Seminare über Medien, die Digitalisierung und KI.Website: https://www.matthiaszehnder.ch/Newsletter abonnieren: https://www.matthiaszehnder.ch/abo/Unterstützen: https://www.matthiaszehnder.ch/unterstuetzen/Biografie und Publikationen: https://www.matthiaszehnder.ch/about/

Jamie is joined by Nick Dougherty on this week's episode of the Sky Sports Golf Podcast.They look back on Collin Morikawa's win at the Pebble Beach Pro-Am where he held off Scottie Scheffler to seal the title. They also discuss Anthony Kim's remarkable win at LIV Adelaide which came 16 years after his last professional victory.Plus, in the second half of the pod Jamie is joined by Dan Brown who tells us about his start to life as a PGA Tour player.-Listen to every episode of the Sky Sports Golf Podcast here: skysports.com/sky-sports-golf-podcastYou can listen to the Sky Sports Golf Podcast on your smart speaker by asking it to "play Sky Sports Golf Podcast".Watch every episode of the Sky Sports Golf Podcast on YouTube here: Sky Sports Golf Podcast on YouTubeFor all the latest golf news, head to skysports.com/golfFor advertising opportunities email: skysportspodcasts@sky.uk

We're reviewing The Killer by Tom Wood — the brutal introduction to Victor, a globe-trotting assassin who refuses to play by anyone's rules.We break down the tradecraft, the twists, and whether this modern hitman thriller still hits. Full spoiler warning — we get into everything.—

This week the Buddies ask what famous people have done the most good for the world, come to the realization that Punxsutawney Phil is an American God, talk about some novels, and dig into one of the biggest current events: The Epstein Files. Oh, and we recommend a watch order for the Marvel movies. Share with a friend! Contact Us: Facebook Instagram Email Youtube Recommendations: Champagne (the alcohol, drink responsibly) Origin - book by Dan Brown, Wild Dark Shore - book by Charlotte McConaghy, Anything about the Epstein Files - government documents, read at own risk

If you tuned into our latest live stream, you know we didn't hold back. Usually, we're joined by New York Times best-sellers or indie superstars, but this week, it was just us, Chris and Chris, getting real with the community. We dove into the “unpopular opinions” that every writer thinks but few dare to say, and we launched something that could change your publishing journey forever. It was a fun conversation. Full of questions from the audience and more.Comments on the video on YouTube:“Really interesting show guys. Nice one.”“Superb show!”The “Hot Takes” That Divided the Chat.We opened the floor to the writing community's most controversial takes on literature. From the broad application of symbology in Dan Brown's work to the structural repetitiveness of the Harry Potter series, no giant was safe.While we all appreciate the success of these icons, we discussed how certain “formulaic” approaches can be a double-edged sword for new writers. Based on our Facebook thread that had hundreds of replies to the question: what highly popular book do you dislike?Why Most Books Get Rejected.The title of the show wasn't just clickbait. Rejection is the one thing every author has in common, but why does it happen? Often, it isn't the story itself, it's the package.A weak pitch, a cluttered synopsis, or a query letter that misses the mark can end a book's journey before an agent even reads Chapter One. We've seen it time and again over 380+ interviews, and that's why we decided it was time to take action.BIG ANNOUNCEMENT: The WCCS Query Clinic is OPEN!We are thrilled to officially announce the Query Clinic, hosted right here on our Substack. We wanted a way to give back to the community and provide the kind of hands-on help that usually costs a fortune.How it works:* For Paid Members: Once a month, we will open a dedicated thread where you can submit your work for critique. We will select submissions to be showcased and edited in a monthly video, explaining what we changed and why.* For Founding Members: We are offering a guarantee. Once a month, we will personally work through your first 10 pages, your synopsis, and your pitch letter. Plus, we'll provide a curated list of agents specifically suited to your work and advice on how to hit “send” with confidence.Our goal is to turn this Substack into a workshop environment where we can all develop our craft together. Don't be shy, it's all for the good of the community!What's Next for WCCS?The year is only getting busier! Mark your calendars for:* The London Book Fair (May): Chris and I will be there in person, interviewing industry leaders in a very posh setting.* Harrogate (July): We've been invited back to the world-famous crime writing festival for the 04th time in a row!* Next Week's Guest: Get ready for something a little different as we welcome Dr. Trina Reed, a Canadian sexologist. We'll be talking about her new book and perhaps asking some “inappropriate” questions about love triangles in fiction the day before valentines day.Ready to fix your query? [Upgrade to a paid subscription] to join the Query Clinic and get your work in front of us. Let's get those manuscripts out of the “reject” pile and into the hands of readers.Together as one, we get it done!Find the full video here:Our Mission: Bringing reality to the writing community. From NYT bestsellers to indie pioneers, we share the stats, the setbacks, and the strategies that define the modern author career. We help you write smarter, sell faster, and see the truth behind the numbers.With over 380 interviews and being ranked the No. 3 UK writing podcast of 2025—as well as a top-3 “Must Follow” for 2026—you are in the right place to succeed. Our motto holds true:THE WCCS - TOGETHER AS ONE WE GET IT DONE! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit thewccs.substack.com/subscribeBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-writing-community-chat-show--5445493/support.

Two elite thriller writers. One high-stakes collaboration.We're joined by Brad Thor and Ward Larsen to talk about their new co-authored espionage thriller, Cold Zero. We dive into how the collaboration came together, how they merged their writing styles, and what sets Cold Zero apart in today's spy thriller landscape.—

Ein Kind geht in die Bücherei und entdeckt die Paranoia. Es sind die Neunziger: Im TV läuft „Akte X“, am Kiosk seziert das P.M.-Magazin Aliens, Dan Brown schreibt „Illuminati“. Das Internet ist noch jung und langsam, aber schon uferlos. Eine düstere Ahnung schiebt sich unter den bunten Fortschrittsoptimismus von Spice Girls und Rotgrün. Am Ende stürzen Türme. Eine Spurensuche in die Zeit, als das paranoide Denken Mainstream wurde und wie sie uns noch heute prägt. Und nicht zuletzt eine Annäherung an einen großen Protagonisten dieses Misstrauens: Erich von Däniken, der im Januar verstorben ist. Essay von Steffen Greiner

On Episode 21 of the Full Program Golf Podcast, we break down our latest trip to sunny South Africa - a trip that's fast becoming a January rite of passage. We dive into a couple of brand-new courses alongside some of our usual favourites, sharing highlights, surprises, and standout moments from the tour.Alongside our South Africa review, we also recap the opening weeks of the PGA Tour, including dominant wins from Scottie Scheffler and Justin Rose, plus a big Dan Brown watch. And with plenty happening in the game, we ask the big question: are we starting to see the beginning of the end for LIV Golf?Tune in to hear all our thoughts in the latest episode.

By the time we arrived at Episode #149 of Fear and Loathing in Cinema Podcast, Gerarduary, the sacred month in which we collectively reflect on the brawny altar of Gerard Butler was breathing its final, heroic breaths, we chose to close it out not with subtlety or restraint, but with Tomb Raider: The Cradle of Life (2003). This is a movie whose title alone sounds like it was generated by shaking a box of rejected Dan Brown novels. This is not to be confused with Cradle 2 the Grave, a distinction worth making if only to reassure listeners that Jet Li will not be drop-kicking anyone through a stained-glass window. The post Episode #149 – Tomb Raider: The Cradle of Life (2003) first appeared on Boomstick Comics.

Send us a textWhen we talked with Dan Brown about his HOF choices in episode 645 we noted that just before our prior podcast the Mets signed Bo Bichette. Right after the podcast with Dan, the #Mets traded for #Brewers #1 starter Freddy Peralta. What will happen this week after our podcast? Will Framber Valdez sign with the #Orioles as Gordon says in this podcast? Where else might he go? What about Tarik Skubal's arbitration case?  If the #Tigers lose and have to pay him $32M, are they more likely to trade him than if they win and only have to pay hin $19M? What about the AL East? It looks tough. Four of the five teams could claim the divisional title. We let you in on who we think will be the non-contender in the AL East.Intro & Outro music this season courtesy of Mercury Maid! Check them out on Spotify or Apple Music!  Please subscribe to our podcast and thanks for listening! If you can give us 4 or 5 star rating that means a lot. And if you have a suggestion for an episode please drop us a line via email at Almostcooperstown@gmail.com.  You can also follow us on X @almostcoop or visit the Almost Cooperstown Facebook page or YouTube channel.  And please tell your friends!www.almostcooperstown.com

Een geheime sekte doet er alles aan om een verloren gewaande sleutel in handen te krijgen waarmee de geheimen van de Nag Hammadi-geschriften ontraadseld kunnen worden. Voor fans van Dan Brown. Uitgegeven door Uitgeverij De Fontein Spreker: Margo Dames

What makes a bestseller? Is it the quality of the writing, or just the right book at the right time? This week Kate is joined by co-host Laura Potter and returning guest Phil Chaffee to find out.Between us we've tackled six of the biggest bestsellers out there – Dan Brown's The Secret of Secrets, Freida McFadden's The Housemaid, Andy Weir's Project Hail Mary, Matt Dinnerman's Dungeon Crawler Carl, SenLinYu's Alchemised, and Sarah Adams' In Your Dreams – and we have some opinions.We're sharing our honest experiences of each one: what worked, what didn't, and whether these books truly earned their place on the bestseller lists. But this isn't just a round of verdicts. We're also pooling our recommendations for the bestsellers we genuinely think are worth your time, like The Correspondant by Virginia Evans – because there are some real gems out there among the hype.And as always, we round off with our current and upcoming reads.Press play to find out which bestsellers passed the test – and which ones didn't.Support the pod on PatreonExplore all the benefits of membership. Kate's weekly reading diary is available to free members. Paid tiers include ad-free episodes, extra shows, chat group access and our monthly book club at Patreon.com/thebookclubreview. BooklistYou can also find all the books mentioned in The Book Club Review bookshop on Bookshop.org, the online bookstore that supports independent bookshops.The Secret of Secrets by Dan BrownThe Da Vinci Code by Dan BrownThe Housemaid by Frieda McFaddenGone Girl by Gillian FlynnIn Your Dreams by Sarah AdamsAlchemized by SenLinYuGideon the Ninth by Tamsyn MuirDungeon Crawler Carl by Matt DinnimanThe Hitchhikers Guide to the Galaxy by Douglas AdamsProject Hail Mary by Andy WeirThe Martian by Andy WeirNobody's Fool by Harlen CobdenThe Correspondant by Virginia EvansThe Count of Monte Cristo by Alexandre Dumas (Robin Buss)Rivals by Jilly CooperThe novels of Stephen KingThe Time Traveller's Wife by Audrey NiffeneggerThe Smiley books by John Le CarreThe Underground Railroad by Colson WhiteheadThe Night Always Comes by Willy VlautinIce by Jacek Dukaj (Author) , Ursula Phillips (Translator)The Virgin in the Garden by A.S. ByattI'll Take The Fire by Leïla Slimani(also The Country of Others and Watch US Dance)Lullaby / The Perfect Nanny by Leïla SlimaniNearly Departed by Lucas OakeleyCaptain Corelli's Mandolin by Louis de BernieresThe Covenant of Water by Abraham VergheseDemon Copperhead by Barbara KingsolverSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of No Limits: The Thriller Podcast, we break down Andrews & Wilson's major move into independent publishing with the launch of Andrews & Wilson Entertainment and their new short-story-driven release model.We discuss why the duo is shifting their craft, what this imprint means for the future of thriller fiction, and how short-form releases fit into today's action, military, and espionage thriller landscape.We also review First Ranger, the first short story released under the new imprint, looking at its American revolution history-driven pacing, action, and whether the short format delivers the same punch fans expect from Andrews & Wilson—or serves as a preview of what's coming next.If you're interested in military thrillers and the evolving business of publishing, this episode takes a close look at one of the most interesting moves in the genre right now.—

This week the Buddies discuss what technology they want to see in their lifetimes, a social movement to explore and clean up the Earth, how 2016 was the best time for video games, tips for finding a career you can stick with, and the interaction between dating and hobbies. Share with a friend! Contact us: Facebook Instagram Email Youtube Recommendations: Rental Family (movie, 2025), Star of Providence (video game, 2017), Inferno (book by Dan Brown 2013)

RIP Jeff Burke -- I am so sad to see you leave us. We are bassoonless. Jeff Burke was a beautiful soul, a true original, and giant among us. I mean, he played the bassoon and Theremin! I remember asking Bob Wiseman: "Do you know any bassoon players in town?" ...and the rest is a rich history. I'm forever grateful to Bob for helping forge that connection, and to Jeff for every musical adventure we had together. I cherish each of them. When the Sun Ra Arkestra came to Toronto, Jeff quickly put on the space smock and joined the band. They tried to abduct him back to live with them in their interstellar jazz house. Jeff was honoured to be asked, as you could imagine. But he stayed in Toronto, wanting to be close to his daughter Seren, his family, his partner Juliann, and of course, the community of musicians that he knew and loved. That was JB. He was famously late for gigs, but I quickly realized that the art of booking Jeff was one of deep anticipation. Who gives a shit about time, the downbeat, the venue, or the gig, even? The excitement of when he'd eventually arrive through those doors, with his giant duffle bag of tricks, his slightly broken glasses, dangling together with a piece of piano wire -- a true magician. In the end, Jeff was never really late, as Gandalf reminds us: "A wizard is never late, nor is he early. He arrives precisely when he means to". He was a beautiful man and always added such joy to any stage or space that we ever shared. He once played all of Master of Puppets on the bassoon at The Brampton Indie Arts Festival, and of course, when I arranged Rush "A Farewell to Kings", his bassoon loomed large. Of course, he's the very first episode of my podcast, Industry Tactics. He's a dear friend, who I will hold with me, as I move forward both on and off the stage. In 2008, The Lollipop People lived together for a week in Montreal when we were presenting The Friendly Rich Show. It was so special being in Jeff's orbit; he'd stay up all night talking on the phone, or re-reading some Dan Brown novel he had already read. Jeff squeezed the most out of life, and when he hugged you, that was an instrumental part of the squeezing. His epic hugs would last forever, and I wish I could have one more. I know so many of us in this city love Jeff Burke and are so thankful to have known him. He will never be forgotten, legendary busker, creative musician, caring father, sci-fi lover, gentle human. Safe passage, fellow dreamer.

Årets tredje podd bjuder på en blandning av NOTY del 2, film, koreanskt och en ny Westeros-rapport! Först kastar vi oss in i ett långt nyhetsflöde: om mer nedläggningar i spelbranschen, denna gång Ubisoft, en ny version av Nintendos Virtual Boy kommer till Switch, en animerad Star Wars-serie om Darth Maul, uppföljaren The Testaments till The Handmaid's Tale är på gång, Supergirl som blir film i sommar, Jackass-gänget som också är tillbaka, Greta Gerwig som eventuellt ska göra 7 Narnia-filmer på Netflix, MAD och Batman som möts i en crossover-serietidning och Dan Browns bok Den yttersta hemligheten, som var den mest lästa i Sverige 2025. Sedan får Tove leverera sin NOTY 2025 eftersom hon missade det i tidigare avsnitt (se alla listor i bloggen). Niklas har sedan sett den nya remaken av Arnold Schwarzenegger-rullen The Running Man. En Koreakoll blir det också förstås, och Tove har sett thrillern The Price of Confession. Eftersom det nu har kommit en ny spinoff-serie i Game of Thrones-universumet kickar vi också igång en ny Westeros-rapport. Vi dissekerar avsnitt ett och två av A Knight of the Seven Kingdoms säsong ett. Tack & förlåt! Puss hej!

Send us a textFor the third straight year The Athletic's writer Daniel Brown who is also a BBWAA voter, discussed his and his fellow writer's votes for the Hall-of-Fame.  Center fielders Carlos Beltran and Andruw Jones both were elected with a few players making big strides in the their voting totals.  We talked about trends in voting, who's on the ballot next year and why the process might be changing. Dan is a terrific writer and you should look for his pieces in The Athletic.Intro & Outro music this season courtesy of Mercury Maid! Check them out on Spotify or Apple Music!  Please subscribe to our podcast and thanks for listening! If you can give us 4 or 5 star rating that means a lot. And if you have a suggestion for an episode please drop us a line via email at Almostcooperstown@gmail.com.  You can also follow us on X @almostcoop or visit the Almost Cooperstown Facebook page or YouTube channel.  And please tell your friends!www.almostcooperstown.com

In this spoiler-filled review, we break down Dead Ringer by Chris Hauty, a political thriller centered on JFK assassination conspiracy theories, Cold War espionage, and modern intelligence operations.We analyze the full plot, major twists, and dual-protagonist structure, dig into how the novel reimagines the JFK conspiracy, and discuss what works, what strains credibility, and how Dead Ringer compares to other conspiracy-driven thrillers.If you enjoy political thrillers, CIA intrigue, historical conspiracies, and deep spoiler discussions, this episode goes all in.—

Een thriller voor fans van Dan Brown. Een geheim kerkgenootschap doet alles om de locatie van ‘De verborgen bibliotheek van Alexandrië' te vinden. Uitgegeven door Uitgeverij De Fontein Spreker: Margo Dames

Qué tuvo que pasar para que un autor desconocido en los 90s cambiara la jugada y se convirtiera en uno de los escritores más vendidos del planeta? Para encontrar esa respuesta viajé a Carandá con una sola misión: analizar de cerca el regreso de Dan Brown después de 8 años de silencio. Porque Dan no es cualquier autor. Es un super nerd multipotencial que está en la lista de los escritores más ricos del mundo. Sus películas El Código Da Vinci, Ángeles y Demonios e Inferno han generado 1.4 billones de dólares en taquilla! Hans Zimmer compuso la música y ha vendido más de 250 millones de libros en todo el planeta. El día de la presentación llegué al teatro. Se apagaron las luces. Y su papá subió al escenario. El lo presentó! Y lanzó una pregunta: Cómo criamos a un niño para que se convirtiera en uno de los autores más grandes del planeta?. Esa pregunta se volvió mi filtro. Entendí que no estaba ahí solo para celebrar un lanzamiento. Estaba ahí para descifrar el origen de su éxito y entender cómo funciona realmente una mente creativa de alto rendimiento. Este episodio es un caso de estudio completo sobre eso.   Links mencionados:     ⭐️ Únete a Academia de Escritores ✍

Many people only know the version of the non-canonical gospels popularised by Dan Brown's Da Vinci Code. The Church did away these 'lost' texts, and their recovery promises to reveal a more primitive version of Jesus that Orthodoxy suppressed. But how much truth is there to this narrative? What really are the non-canonical gospels? In this episode, Helen and Lloyd are joined by Simon Gathercole to uncover the true story of the non-canonical or 'apocryphal' gospels. Simon J. Gathercole is Professor of New Testament and Early Christianity at the University of Cambridge and a Fellow of Fitzwilliam College. He is a world leading authority on the non-canonical gospels, and is the author of The Gospel of Judas (2007), The Gospel of Thomas (OUP, 2007), The Gospel of Thomas: Introduction and Commentary (Brill, 2014) and The Apocryphal Gospels (Penguin, 2021). SUPPORT BIBLICAL TIME MACHINEIf you enjoy the podcast, please (pretty please!) consider supporting the show through the Time Travellers Club, our Patreon. We are an independent, listener-supported show (no ads!), so please help us continue to showcase high-quality biblical scholarship with a monthly subscription.DOWNLOAD OUR STUDY GUIDE: MARK AS ANCIENT BIOGRAPHYCheck out our 4-part audio study guide called "The Gospel of Mark as an Ancient Biography." While you're there, get yourself a Biblical Time Machine mug or a cool sticker for your water bottle.Support the showTheme music written and performed by Dave Roos, creator of Biblical Time Machine. Season 4 produced by John Nelson.

Jeff and Amber debate the merits of pandering to the audience, puzzles, and Tom Hanks' performance in Ron Howard's 2006 film adaptation of Dan Brown's best-selling novel The DaVinci Code! Check out our NEW YouTube Channel and subscribe now! If you're one of the first 100 subscribers, you'll be entered to win a weekend pass for one of several comic cons happening in 2026!Head over to our Patreon and get started with a FREE 7-day trial. We've got plenty of exclusive content and episodes that you'll only find there! You can also sign up as a free member! www.afilmbypodcast.com/ for more information.Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.Find us on Instagram, X, and Facebook @afilmbypodcast.

Is David McCloskey the best spy writer of our generation?In this episode of No Limits: The Thriller Podcast, we deliver a FULL SPOILER review of The Persian by David McCloskey — breaking down the plot, characters, themes, and real-world intelligence tradecraft behind one of today's most talked-about espionage novels.Drawing on McCloskey's CIA background, The Persian pushes modern spy fiction toward deeper realism and moral complexity. We analyze how it compares to classic and contemporary masters of the genre and debate whether McCloskey belongs at the very top of modern espionage writing.⚠️ SPOILER WARNING: This episode contains complete plot spoilers for The Persian.---

How can you build iconic characters that your readers want to keep coming back to? How can you be the kind of creator that readers trust, even without social media? With Claire Taylor In the intro, Dan Brown talks writing and publishing [Tetragrammaton]; Design Rules That Make or Break a Book [Self-Publishing Advice]; Amazon's DRM change [Kindlepreneur]; Show me the money [Rachael Herron]; AI bible translation [Wycliffe, Pope Leo tweet]. Plus, Business for Authors 24 Jan webinar, and Bones of the Deep. Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Claire Taylor is a humour and mystery author, the owner of FFS Media, and a certified Enneagram coach. She teaches authors to write stronger stories and build sustainable careers at LiberatedWriter.com, and her book is Write Iconic Characters: Unlocking the Core Motivations that Fuel Unforgettable Stories. 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 Claire left social media and how she still markets her books and services What the Enneagram is and how core fears and desires shape character motivation Using Enneagram types (including Wednesday Addams as an example) to write iconic characters Creating rich conflict and relationships by pairing different Enneagram types on the page Coping with rapid change, AI, and fear in the author community in 2026 Building a trustworthy, human author brand through honesty, transparency, and vulnerability You can find Claire at LiberatedWriter.com, FFS.media, or on Substack as The Liberated Writer. Transcript of the interview with Claire Taylor Joanna: Claire Taylor is a humour and mystery author, the owner of FFS Media, and a certified Enneagram coach. She teaches authors to write stronger stories and build sustainable careers at LiberatedWriter.com, and her book is Write Iconic Characters: Unlocking the Core Motivations that Fuel Unforgettable Stories. So, welcome back to the show, Claire. Claire: Thank you so much for having me back. I'm excited to be here. Joanna: It's great to have you back on the show. It was March 2024 when you were last on, so almost two years now as this goes out. Give us a bit of an update. How has your writing craft and your author business changed in that time? Claire: One of the things I've been focusing on with my own fiction craft is deconstructing the rules of how a story “should” be. That's been a sort of hobby focus of mine. All the story structure books aren't law, right? That's why there are so many of them. They're all suggestions, frameworks. They're all trying to quantify humans' innate ability to understand a story. So I'm trying to remember more that I already know what a story is, deep down. My job as an author is to keep the reader's attention from start to finish and leave them feeling the way I hope they'll feel at the end. That's been my focus on the craft side. On the author business side, I've made some big shifts. I left social media earlier this year, and I've been looking more towards one-on-one coaching and networking. I did a craft-based Kickstarter, and I'd been focusing a lot on “career, career, career”—very business-minded—and now I'm creating more content again, especially around using the Enneagram for writing craft. So there's been a lot of transition since 2024 for me. Joanna: I think it's so important—and obviously we're going to get into your book in more detail—but I do think it's important for people to hear about our pivots and transitions. I haven't spoken to you for a while, but I actually started a master's degree a few months back. I'm doing a full-time master's alongside everything else I do. So I've kind of put down book writing for the moment, and I'm doing essay writing and academic writing instead. It's quite different, as you can imagine. It sounds like what you're doing is different too. One thing I know will have perked up people's ears is: “I left social media.” Tell us a bit more about that. Claire: This was a move that I could feel coming for a while. I didn't like what social media did to my attention. Even when I wasn't on it, there was almost a hangover from having been on it. My attention didn't feel as sharp and focused as it used to be, back before social media became what it is now. So I started asking myself some questions: What is lost if I leave? What is gained if I leave? And what is social media actually doing for me today? Because sometimes we hold on to what it used to do for us, and we keep trying to squeeze more and more of that out of it. But it has changed so much. There are almost no places with sufficient organic reach anymore. It's all pay-to-play, and the cost of pay-to-play keeps going up. I looked at the numbers for my business. My Kickstarter was a great place to analyse that because they track so many traffic sources so clearly. I could see exactly how much I was getting from social media when I advertised and promoted my projects there. Then I asked: can I let that go in order to get my attention back and make my life feel more settled? And I decided: yes, I can. That's worth more to me. Joanna: There are some things money can't buy. Sometimes it really isn't about the money. I like your question: what is lost and what is gained? You also said it's all pay-to-play and there's no organic reach. I do think there is some organic reach for some people who don't pay, but those people are very good at playing the game of whatever the platform wants. So, TikTok for example—you might not have to pay money yet, but you do have to play their game. You have to pay with your time instead of money. I agree with you. I don't think there's anywhere you can literally just post something and know it will reliably reach the people who follow you. Claire: Right. Exactly. TikTok currently, if you really play the game, will sometimes “pick” you, right? But that “pick me” energy is not really my jam. And we can see the trend—this “organic” thing doesn't last. It's organic for now. You can play the game for now, but TikTok would be crazy not to change things so they make more money. So eventually everything becomes pay-to-play. TikTok is fun, but for me it's addictive. I took it off my phone years ago because I would do the infinite scroll. There's so much candy there. Then I'd wake up the next morning and notice my mood just wasn't where I wanted it to be. My energy was low. I really saw a correlation between how much I scrolled and how flat I felt afterwards. So I realised: I'm not the person to pay-to-play or to play the game here. I'm not even convinced that the pay-to-play on certain social media networks is being tracked in a reliable, accountable way anymore. Who is holding them accountable for those numbers? You can sort of see correlation in your sales, but still, I just became more and more sceptical. In the end, it just wasn't for me. My life is so much better on a daily basis without it. That's definitely a decision I have not regretted for a second. Joanna: I'm sorry to keep on about this, but I think this is great because this is going out in January 2026, and there will be lots of people examining their relationship with social media. It's one of those things we all examine every year, pretty much. The other thing I'd add is that you are a very self-aware person. You spend a lot of time thinking about these things and noticing your own behaviour and energy. Stopping and thinking is such an important part of it. But let's tackle the big question: one of the reasons people don't want to come off social media is that they're afraid they don't know how else to market. How are you marketing if you're not using social media? Claire: I didn't leave social media overnight. Over time, I've been adjusting and transitioning, preparing my business and myself mentally and emotionally for probably about a year. I still market to my email list. That has always been important to my business. I've also started a Substack that fits how my brain works. Substack is interesting. Some people might consider it a form of social media—it has that new reading feed—but it feels much more like blogging to me. It's blogging where you can be discovered, which is lovely. I've been doing more long-form content there. You get access to all the emails of your subscribers, which is crucial to me. I don't want to build on something I can't take with me. So I've been doing more long-form content, and that seems to keep my core audience with me. I've got plenty of people subscribed; people continue to come back, work with me, and tell their friends. Word of mouth has always been the way my business markets best, because it's hard to describe the benefits of what I do in a quick, catchy way. It needs context. So I'm leaning even more on that. Then I'm also shifting my fiction book selling more local. Joanna: In person? Claire: Yes. In person and local. Networking and just telling more people that I'm an author. Connecting more deeply with my existing email lists and communities and selling that way. Joanna: I think at the end of the day it does come back to the email list. I think this is one of the benefits of selling direct to people through Shopify or Payhip or whatever, or locally, because you can build your email list. Every person you bring into your own ecosystem, you get their data and you can stay in touch. Whereas all the things we did for years to get people to go to Amazon, we didn't get their emails and details. It's so interesting where we are right now in the author business. Okay, we'll come back to some of these things, but let's get into the book and what you do. Obviously what underpins the book is the Enneagram. Just remind us what the Enneagram is, why you incorporate it into so much of your work, and why you find it resonates so much. Claire: The Enneagram is a framework that describes patterns of thoughts, feelings, and actions that tend to arise from nine different core motivations. Those core motivations are made up of a fear–desire pair. So, for instance, there's the fear of lacking worth and the desire to be worthy. That pair is the Type Three core motivation. If you're a Type Three, sometimes called “The Achiever,” that's your fundamental driver. What we fear and desire above all the other fears and desires determines where our attention goes. And attention is something authors benefit greatly from understanding. We have to keep people's attention, so we want to understand our own attention and how to cultivate it. The things our attention goes to build our understanding of ourselves and the world. Being intentional about that, and paying attention to what your characters pay attention to—and what your readers are paying attention to—is hugely beneficial. It can give you a real leg up. That's why I focus on the Enneagram. I find it very useful at that core level. You can build a lot of other things on top of it with your characters: their backstory, personal histories, little quirks—all of that can be built off the Enneagram foundation. Why I like the Enneagram more than other frameworks like MBTI or the Big Five is that it not only shows us how our fears are confining us—that's really what it's charting—but it also shows us a path towards liberation from those fears. That's where the Enneagram really shines: the growth path, the freedom from the confines of our own personality. It offers that to anyone who wants to study and discover it. A lot of the authors I work with say things like, “I'm just so sick of my own stuff.” And I get it. We all get sick of running into the same patterns over and over again. We can get sick of our personality! The Enneagram is a really good tool for figuring out what's going on and how to try something new, because often we can't even see that there are other options. We have this particular lens we're looking through. That's why I like to play with it, and why I find it so useful. Joanna: That's really interesting. It sounds like you have a lot of mature authors—and when I say “mature,” I mean authors with a lot of books under their belt, not necessarily age. There are different problems at different stages of the author career, and the problem you just described—“I'm getting sick of my stuff”—sounds like a mature author issue. What are some of the other issues you see in the community that are quite common amongst indie authors? Claire: One that comes up a lot, especially early on, is: “Am I doing this right?” That's a big question. People say, “I don't know if I'm doing this right. I'm going to mess it up. This person told me this was the way to do things, but I don't think I can do it this way. Am I doomed?” That's the fear. A lot of what I help people with is seeing that there isn't a single “right” way to do this. There's a way that's going to feel more aligned to you, and there are millions of ways to approach an author career because we're all constructing it as we go. You were there in the early days. We were all just making this up as we went along. Joanna: Exactly. There was a time when ebooks were PDFs, there wasn't even a Kindle, and there was no iPhone. We were literally just making it up. Claire: Right. Exactly. That spirit of “we're all making it up” is important. Some of us have come up with frameworks that work for us, and then we tell other people about them—“Here's a process; try this process”—but that doesn't mean it's the process. Understanding what motivates you—those core motivations—helps you see where you're going to bump into advice that's not right for you, and how to start making decisions that fit your attention, your life, your desires in this author role. Early on we do a lot of that work. Then there are the authors who started a while ago and have a bunch of books. They hit a point where they say, “I've changed so much since I started writing. I need to figure out how to adjust my career.” Joanna: Tell us more about that, because I think that's you and me. How do we deal with that? Claire: Well, crying helps. Joanna: That is true! There's always a bit of crying involved in reinvention. From my perspective, my brand has always been built around me. People are still here—I know some people listening who have been with the podcast since I started it in 2009—and I've always been me. Even though I've done loads of different things and changed along the way, at heart I'm still me. I'm really glad I built a personal brand around who I am, rather than around one genre or a single topic. How about you? How do you see it? Claire: I'm the same. I just can't stick with something that doesn't feel right for me anymore. I'll start to rebel against it. There's also that “good girl” part of me that wants to do things the way they're supposed to be done and keep everybody happy. I have to keep an eye on her, because she'll default to “this is the way it should be done,” and then I end up constricted. As we advance through our careers, positioning around what motivates us and what we love, and allowing ourselves to understand that it's okay to change—even though it's painful—is crucial. It's actually destructive not to change over time. We end up forfeiting so many things that make life worth living if we don't allow ourselves to grow and change. We end up in this tiny box. People sometimes say the Enneagram is very restrictive. “It's only nine types, you're putting me in a box.” It's like: no. These are the boxes we've put ourselves in. Then we use the Enneagram to figure out how to get out of the box. As we start to see the box we've put ourselves in with our personality—“that's me, that's not me”—we realise how much movement we actually have, how many options we have, while still being ourselves. Joanna: So many options. This kind of brings us into your book, because part of the personal brand thing is being real and having different facets. Your book is Write Iconic Characters, and presumably these are characters that people want to read more about. It uses the Enneagram to construct these better characters. So first up— What's your definition of an iconic character, as opposed to any old character? And how can we use the Enneagram to construct one? Claire: An iconic character, in my imagination, is one that really sticks with us after we've finished the story. They become a reference point. We'll say, “This person is kind of like that character,” or “This situation feels like that character would handle it this way.” It could be our friends, our enemies, someone we meet on the bus—whoever it is might remind us of this character. So they really get lodged in our psyche. An iconic character feels true to some fundamental part of the human condition, even if they're not strictly human. So, all the alien romance people listening, don't worry—you're still in! These characters take on a life of their own. With an iconic character, we may hear them talking to us after the book is done, because we've tapped into that essential part of them. They can become almost archetypal—something we go back to over and over again in our minds, both as writers and as readers. Joanna: How can we use the Enneagram to construct an iconic character? I'm asking this as a discovery writer who struggles to construct anything beforehand. It's more that I write stuff and then something emerges. But I have definitely not had a hit series with an iconic character, so I'm willing to give your approach a try. Claire: It works with whatever your process is. If you're a discovery writer, start with that spark of a character in your head. If there's a character who's just a glimmer—maybe you know a few things about them—just keep writing. At some point you'll probably recognise, “Okay, it's time to go deeper in understanding this character and create a cohesive thread to pull all of this together.” That's where the Enneagram becomes useful. You can put on your armchair psychologist hat and ask: which of the nine core fears seems like it might be driving the parts of their personality that are emerging? Thankfully, we intuitively recognise the nine types. When we start gathering bits for a new character, we tend to pull from essentially the same constellation of personality, even if we don't realise it. For instance, you might say, “This character is bold and adventurous,” and that's all you know. You're probably not going to also add, “and they're incredibly shy,” because “bold and adventurous” plus “incredibly shy” doesn't really fit our intuitive understanding of people. We know that instinctively. So, you've got “bold and adventurous.” You write that to a certain point, and then you get to a place where you think, “I don't really know them deeply.” That's when you can go back to the nine core fears and start ruling some out quite quickly. In the book, I have descriptions for each of them. You can read the character descriptions, read about the motivations, and start to say, “It's definitely not these five types. I can rule those out.” If they're bold and adventurous, maybe the core fear is being trapped in deprivation and pain, or being harmed and controlled. Those correspond to Type Seven (“The Enthusiast”) and Type Eight (“The Challenger”), respectively. So you might say, “Okay, maybe they're a Seven or an Eight.” From there, if you can pin down a type, you can read more about it and get ideas. You can understand the next big decision point. If they're a Type Seven, what's going to motivate them? They'll do whatever keeps them from being trapped in pain and deprivation, and they'll be seeking satisfaction or new experiences in some way, because that's the core desire that goes with that fear. So now, you're asking: “How do I get them to get on the spaceship and leave Earth?” Well, you could offer them some adventure, because they're bold and adventurous. I have a character who's a Seven, and she gets on a spaceship and takes off because her boyfriend just proposed—and the idea of being trapped in marriage feels like: “Nope. Whatever is on this spaceship, I'm out of here.” You can play with that once you identify a type. You can go as deep with that type as you want, or you can just work with the core fear and the basic desire. There's no “better or worse”—it's whatever you feel comfortable with and whatever you need for the story. Joanna: In the book, you go into all the Enneagram types in detail, but you also have a specific example: Wednesday Addams. She's one of my favourites. People listening have either seen the current series or they have something in mind from the old-school Addams Family. Can you talk about [Wednesday Addams] as an example? Claire: Doing those deep dives was some of the most fun research for this book. I told my husband, John, “Don't bother me. I need to sit and binge-watch Wednesday again—with my notebook this time.” Online, people were guessing: “Oh, she's maybe this type, maybe that type.” As soon as I started watching properly with the Enneagram in mind, I thought: “Oh, this is a Type Eight, this is the Challenger.” One of the first things we hear from her is that she considers emotions to be weakness. Immediately, you can cross out a bunch of types from that. When we're looking at weak/strong language—that lens of “strength” versus “weakness”—we tend to look towards Eights, because they often sort the world in those terms. They're concerned about being harmed or controlled, so they feel they need to be strong and powerful. That gave me a strong hint in that direction. If we look at the inciting incident—which is a great place to identify what really triggers a character, because it has to be powerful enough to launch the story—Wednesday finds her little brother Pugsley stuffed in a locker. She says, “Who did this?” because she believes she's the only one who gets to bully him. That's a very stereotypical Type Eight thing. The unhealthy Eight can dip into being a bit of a bully because they're focused on power and power dynamics. But the Eight also says, “These are my people. I protect them. If you're one of my people, you're under my protection.” So there's that protection/control paradox. Then she goes and—spoiler—throws a bag of piranhas into the pool to attack the boys who hurt him. That's like: okay, this is probably an Eight. Then she has control wrested from her when she's sent to the new school. That's a big trigger for an Eight: to not have autonomy, to not have control. She acts out pretty much immediately, tries to push people away, and establishes dominance. One of the first things she does is challenge the popular girl to a fencing match. That's very Eight behaviour: “I'm going to go in, figure out where I sit in this power structure, and try to get into a position of power straight away.” That's how the story starts, and in the book I go into a lot more analysis. At one point she's attacked by this mysterious thing and is narrowly saved from a monster. Her reaction afterwards is: “I would have rather saved myself.” That's another strong Eight moment. The Eight does not like to be saved by anyone else. It's: “No, I wanted to be strong enough to do that.” Her story arc is also very Eight-flavoured: she starts off walled-off, “I can do it myself,” which can sometimes look like the self-sufficiency of the Five, but for her it's about always being in a power position and in control of herself. She has to learn to rely more on other people if she wants to protect the people she cares about. Protecting the innocent and protecting “her people” is a big priority for the Eight. Joanna: Let's say we've identified our main character and protagonist. One of the important things in any book, especially in a series, is conflict—both internal and external. Can we use the Enneagram to work out what would be the best other character, or characters, to give us more conflict? Claire: The character dynamics are complex, and all types are going to have both commonalities and conflict between them. That works really well for fiction. But depending on how much conflict you need, there are certain type pairings that are especially good for it. If you have a protagonist who's an Eight, they're going to generate conflict everywhere because it doesn't really bother them. They're okay wading into conflict. If you ask an Eight, “Do you like conflict?” they'll often say, “Well, sometimes it's not great,” but to everyone else it looks like they come in like a wrecking ball. The Eight tends to go for what they want. They don't see the point in waiting. They think, “I want it, I'm going to go and get it.” That makes them feel strong and powerful. So it's easy to create external and internal conflict with an Eight and other types. But the nature of the conflict is going to be different depending on who you pair them with. Let's say you have this Eight and you pair them with a Type One, “The Reformer,” whose core fear is being bad or corrupt, and who wants to be good and have integrity. The Reformer wants morality. They can get a little preachy; they can become a bit of a zealot when they're more unhealthy. A One and an Eight will have a very particular kind of conflict because the One says, “Let's do what's right,” and the Eight says, “Let's do what gets me what I want and puts me in the power position.” They may absolutely get along if they're taking on injustice. Ones and Eights will team up if they both see the same thing as unjust. They'll both take it on together. But then they may reach a point in the story where the choice is between doing the thing that is “right”—maybe self-sacrificing or moral—versus doing the thing that will exact retribution or secure a power-up. That's where the conflict between a One and an Eight shows up. You can grab any two types and they'll have unique conflict. I'm actually working on a project on Kickstarter that's all about character dynamics and relationships—Write Iconic Relationships is the next project—and I go deeper into this there. Joanna: I was wondering about that, because I did a day-thing recently with colour palettes and interior design—which is not usually my thing—so I was really challenging myself. We did this colour wheel, and they were talking about how the opposite colour on the wheel is the one that goes with it in an interesting way. I thought— Maybe there's something in the Enneagram where it's like a wheel, and the type opposite is the one that clashes or fits in a certain way. Is that a thing? Claire: There is a lot of that kind of contrast. The Enneagram is usually depicted in a circle, one through nine, and there are strong contrasts between types that are right next to each other, as well as interesting lines that connect them. For example, we've been talking about the Eight, and right next to Eight is Nine, “The Peacemaker.” Eights and Nines can look like opposites in certain ways. The Nine is conflict-avoidant, and the Eight tends to think you get what you want by pushing into conflict if necessary. Then you've got Four, “The Individualist,” which is very emotional, artistic, heart-centred, and Five, “The Investigator,” which you're familiar with—very head-centred and analytical, thinking-based. The Four and the Five can clash a bit: the head and the heart. So, yes, there are interesting contrasts right next to each other on the wheel. Each type also has its own conflict style. We're going into the weeds a bit here, but it's fascinating to play with. There's one conflict style—the avoidant conflict style, sometimes called the “positive outlook” group—and it's actually hard to get those types into an enemies-to-lovers romance because they don't really want to be enemies. That's Types Two, Seven, and Nine. So depending on the trope you're writing, some type pairings are more frictional than others. There are all these different dynamics you can explore, and I can't wait to dig into them more for everyone in the relationships book. Joanna: The Enneagram is just one of many tools people can use to figure out themselves as well as their characters. Maybe that's something people want to look at this year. You've got this book, you've got other resources that go into it, and there's also a lot of information out there if people want to explore it more deeply. Let's pull back out to the bigger picture, because as this goes out in January 2026, I think there is a real fear of change in the community right now. Is that something you've seen? What are your thoughts for authors on how they can navigate the year ahead? Claire: Yes, there has been a lot of fear. The rate of change of things online has felt very rapid. The rate of change in the broader world—politically, socially—has also felt scary to a lot of people. It can be really helpful to look at your own personal life and anchor yourself in what hasn't changed and what feels universal. From there you can start to say, “Okay, I can do this. I'm safe enough to be creative. I can find creative ways to work within this new environment.” You can choose to engage with AI. You can choose to opt out. It's totally your choice, and there is no inherent virtue in either one. I think that's important to say. Sometimes people who are anti-AI—not just uninterested but actively antagonistic—go after people who like it. And sometimes people who like AI can be antagonistic towards people who don't want to use it. But actually, you get to choose what you're comfortable with. One of the things I see emerging for authors in 2026, regardless of what tools you're using or how you feel about them, is this question of trustworthiness. I think there's a big need for that. With the increased number of images and videos that are AI-generated—which a lot of people who've been on the internet for a while can still recognise as AI and say, “Yeah, that's AI”—but that may not be obvious for long. Right now some of us can tell, but a lot of people can't, and that's only going to get murkier. There's a rising mistrust of our own senses online lately. We're starting to wonder, “Can I believe what I'm seeing and hearing?” And I think that sense of mistrust will increase. As an author in that environment, it's really worth focusing on: how do I build trust with my readers? That doesn't mean you never use AI. It might simply mean you disclose, to whatever extent feels right for you, how you use it. There are things like authenticity, honesty, vulnerability, humility, integrity, transparency, reliability—all of those are ingredients in this recipe of trustworthiness that we need to look at for ourselves. If there's one piece of hard inner work authors can do for 2026, I think it's asking: “Where have I not been trustworthy to my readers?” Then taking that hard, sometimes painful look at what comes up, and asking how you can adjust. What do you need to change? What new practices do you need to create that will increase trustworthiness? I really think that's the thing that's starting to erode online. If you can work on it now, you can hold onto your readers through whatever comes next. Joanna: What's one concrete thing people could do in that direction [to increase trustworthiness]? Claire: I would say disclosing if you use AI is a really good start—or at least disclosing how you use it specifically. I know that can lead to drama when you do it because people have strong opinions, but trustworthiness comes at the cost of courage and honesty. Transparency is another ingredient we could all use more of. If transparency around AI is a hard “absolutely not” for you—if you're thinking, “Nope, Claire, you can get lost with that”—then authenticity is another route. Let your messy self be visible, because people still want some human in the mix. Being authentically messy and vulnerable with your audience helps. If you can't be reliable and put the book out on time, at least share what's going on in your life. Staying connected in that way builds trust. Readers will think, “Okay, I see why you didn't hit that deadline.” But if you're always promising books—“It's going to be out on this day,” and then, “Oh, I had to push it back,” and that happens again and again—that does erode the trustworthiness of your brand. So, looking at those things and asking, “How am I cultivating trust, and how am I breaking it?” is hard work. There are definitely ways I look at my own business and think, “That's not a very trustworthy thing I'm doing.” Then I need to sit down, get real with myself, and see how I can improve that. Joanna: Always improving is good. Coming back to the personal brand piece, and to being vulnerable and putting ourselves out there: you and I have both got used to that over years of doing it and practising. There are people listening who have never put their photo online, or their voice online, or done a video. They might not use their photo on the back of their book or on their website. They might use an avatar. They might use a pen name. They might be afraid of having anything about themselves online. That's where I think there is a concern, because as much as I love a lot of the AI stuff, I don't love the idea of everything being hidden behind anonymous pen names and faceless brands. As you said, being vulnerable in some way and being recognisably human really matters. I'd say: double down on being human. I think that's really important. Do you have any words of courage for people who feel, “I just can't. I don't want to put myself out there”? Claire: There are definitely legitimate reasons some people wouldn't want to be visible. There are safety reasons, cultural reasons, family reasons—all sorts of factors. There are also a lot of authors who simply haven't practised the muscle of vulnerability. You build that muscle a little bit at a time. It does open you up to criticism, and some people are just not at a phase of life where they can cope with that. That's okay. If fear is the main reason—if you're hiding because you're scared of being judged—I do encourage you to step out, gently. This may be my personal soapbox, but I don't think life is meant to be spent hiding. Things may happen. Not everyone will like you. That's part of being alive. When you invite in hiding, it doesn't just stay in one corner. That constricted feeling tends to spread into other areas of your life. A lot of the time, people I work with don't want to disclose their pen names because they're worried their parents won't approve, and then we have to unpack that. You don't have to do what your parents want you to do. You're an adult now, right? If the issue is, “They'll cut me out of the will,” we can talk about that too. That's a deeper, more practical conversation. But if it's just that they won't approve, you have more freedom than you think. You also don't have to plaster your picture everywhere. Even if you're not comfortable showing your face, you can still communicate who you are and what matters to you in other ways—through your stories, through your email list, through how you talk to readers. Let your authentic self be expressed in some way. It's scary, but the reward is freedom. Joanna: Absolutely. Lots to explore in 2026. Tell people where they can find you and your books and everything you do online. Claire: LiberatedWriter.com is where all of my stuff lives, except my fiction, which I don't think people here are necessarily as interested in. If you do want to find my fiction, FFS Media is where that lives. Then I'm on Substack as well. I write long pieces there. If you want to subscribe, it's The Liberated Writer on Substack. Joanna: Brilliant. Well, thanks so much for your time, Claire. That was great. Claire: Thanks so much for having me.The post Leaving Social Media, Writing Iconic Characters, and Building Trust With Claire Taylor first appeared on The Creative Penn.

In this exclusive interview, Jack Carr joins No Limits: The Thriller Podcast to go behind the scenes and break down the creation of his upcoming thriller novel, The Fourth Option. Get ready for a conspiracy, Western-inspired story featuring former Navy SEAL, Chris Walker, and his K-9 companion. From early story ideas and research to character decisions to differentiate from James Reece and The Terminal List universe, Jack takes us inside the process of co-authoring one of the most anticipated thrillers of the year.Whether you're a longtime fan of Jack Carr or a thriller reader curious about how elite-level novels are crafted, this is a must-listen conversation.---

Chris & Mike react to an exclusive leak of the plot for next Mitch Rapp book by Don Bentley! #MitchRappLives"Mitch Rapp signed up to be an assassin. A lone wolf who hunts and kills his nation's enemies on their turf. Now, he has a new mission – penetrate a jihadi cell intent on stealing a stockpile of chemical weapons as they transit from Iraq to Syria.But Mitch Rapp isn't the only one who wants those weapons. The heist is an opportunity of a lifetime. An opportunity that will fray alliances, force enemies to seek common ground and resurrect long-settled vendettas.As the events triggered by the heist cascade out of control, Mitch Rapp must stop the chain reaction before the Middle East reaches critical mass" -Amazon.co.uk---

What is Consciousness? Is it produced by the brain or is the brain a receiver of some greater field of consciousness? We explore these within the context of Dan Brown's new book "Secret of Secrets". What do you think? Be well, wonder deep.

Spisovatel Dan Brown po 11 letech znovu přivedl na scénu profesora Roberta Langdona, a tentokrát přímo do Prahy. Právě spojení s českou metropolí a autorův návrat po delší pauze udělaly z románu Tajemství všech tajemství jednu z největších literárních událostí roku. „Toto město je nesmírně inspirativní, máte hlubokou mystickou historii a některé pohledy ve městě, obzvlášť z Karlova mostu směrem k Hradu, působí skoro neskutečně,“ pochvaloval si Brown.

Puntata speciale del Cacciatore di libri dedicata ai romanzi di maggior successo dell'anno che si sta per chiudere. Parliamo solo di romanzi, come si fa sempre questo programma, e non prendiamo in considerazione saggi o altre pubblicazioni.Il 2025 è stato l'anno del ritorno in libreria (e del grande successo) di scrittori stranieri come Dan Brown, Joel Dicker e Ken Follet. C'è poi il vincitore del premio Strega Andrea Bajani. Sempre molto gettonati gli autori e le autrici di gialli, thriller e noir da Antonio Manzini a Donato Carrisi, da Cristina Cassar Scalia a Maurizio de Giovanni. La leggerezza e i toni ironici di Alessia Gazzola con la serie Miss Bee e di Felicia Kingsley. Il 2025 ha visto anche la conclusione della serie "M" di Antonio Scurati e un nuovo romanzo che trae spunto da fatti reali di Viola Ardone. Le storie d'amore dell'inossidabile Sveva Casati Modignani, ma anche il Romance della giovane Rokia. E ancora gli esordi di successo come quello di Bibbiana Cau. In questo puntata speciale diamo uno sguardo ad alcuni dei romanzi che hanno avuto maggior successo di pubblico, quelli insomma che hanno animato le classifiche dell'anno.

Jack Carr's explosive new thriller Cry Havoc takes us deep into Vietnam's shadow wars—where a young Tom Reece faces ruthless spycraft, betrayal, and carnage that shapes the Terminal List universe. In this full spoiler breakdown, Tyler joins Chris and Mike to dissect every twist, character arc, and tactical masterstroke, revealing why this might be Carr's best espionage thriller entry yet.---

De la mano de nuestro companero Jesus Ortega y en absoluta exclusiva para 'El Colegio Invisible', mantuvimos esta interesante y extensa charla con el best-seller Dan Brown, autor del exito internacional 'El Codigo da Vinci'.

Brad Thor. Jack Carr. Dan Brown. AND MORE! In this special 2025 Year-in-Review, we break down every thriller novel that kept us turning pages this year. From blockbuster releases and hidden indie gems to unexpected disappointments, we're ranking, debating, and revisiting the best (and worst) of 2025's thriller fiction.---

Magen Mintchev is a social media strategist, content creator, and founder of Social with Magen, a boutique social media agency helping authors, brands, and executives grow with clarity and strategy. After 20+ years in marketing communications for global tech companies, banks, and newspapers, she launched her agency in 2023 and now partners with clients across the B2B tech, publishing, writing, and education industries to craft authentic, data-driven social media strategies.Magen also runs the popular Bookstagram account @bonechillingbooks and co-leads a virtual book club with nearly 3,000 members worldwide, uniting readers around their shared love of thrillers and mysteries. Through her platform, she has collaborated with major publishers and entertainment brands including Penguin Random House, Simon & Schuster, HarperCollins, Amazon Prime Video, Netflix, Paramount+, and Peacock. Her work has taken her from the Sharjah International Book Fair in Dubai to Prague for Dan Brown's international launch event, and she's been a speaker at both Bouchercon and the International Thriller Writers (ITW) conference.Born in Maine, Magen now lives in Tulsa, Oklahoma, with her husband and two sons, and when when she's not reading thrillers, she's likely strategizing social campaigns or watching true crime documentaries.Killer Women Podcast is copyrighted by Authors on the Air Global Radio Network#podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #bookstagrammer #bonechillingbooks

Magen Mintchev is a social media strategist, content creator, and founder of Social with Magen, a boutique social media agency helping authors, brands, and executives grow with clarity and strategy. After 20+ years in marketing communications for global tech companies, banks, and newspapers, she launched her agency in 2023 and now partners with clients across the B2B tech, publishing, writing, and education industries to craft authentic, data-driven social media strategies. Magen also runs the popular Bookstagram account @bonechillingbooks and co-leads a virtual book club with nearly 3,000 members worldwide, uniting readers around their shared love of thrillers and mysteries. Through her platform, she has collaborated with major publishers and entertainment brands including Penguin Random House, Simon & Schuster, HarperCollins, Amazon Prime Video, Netflix, Paramount+, and Peacock. Her work has taken her from the Sharjah International Book Fair in Dubai to Prague for Dan Brown's international launch event, and she's been a speaker at both Bouchercon and the International Thriller Writers (ITW) conference. Born in Maine, Magen now lives in Tulsa, Oklahoma, with her husband and two sons, and when when she's not reading thrillers, she's likely strategizing social campaigns or watching true crime documentaries. Killer Women Podcast is copyrighted by Authors on the Air Global Radio Network #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #bookstagrammer #bonechillingbooks

Dan Brown is the bestselling author of the Robert Langdon thriller series, including The Da Vinci Code, Angels & Demons, The Lost Symbol, Inferno, and Origin. His novels have sold 250 million copies worldwide. Brown's work has defined a modern genre of high-concept, research-driven thrillers that fuse art, history, religion, and science, and several of his books have been adapted into major feature films. His latest book, The Secret of Secrets, released in September 2025, returns to the Robert Langdon character in a new contemporary thriller.

Description: If you've been lucky enough to stumble upon ‘The Keeper of Lost Things' the bestselling debut novel by British author Ruth Hogan, you know exactly why it captured our hearts and was selected as our JHBC November Fireside Read selection. This book is a whimsical, tender, and deeply human story about a man who collects seemingly insignificant lost objects — and the woman who inherits both his home and this strange little mission. As she begins to return these “lost things” to their owners, we discover that every object holds a story, every story holds a loss, and every loss holds a little bit of light. Ruth's own story is just as moving — she began writing after recovering from a serious car accident, during a time when she felt a bit lost herself. And from that season came this debut novel that went on to charm readers all over the world. This book feels like a love letter to brokenness — to the idea that what's been lost can still be redeemed. It's a generous, tender book — one that invites us to look closer at the world around us and remember that meaning lives everywhere, even in the smallest things. Thought-provoking Quotes: “I was one of those people who thought, ‘I'll write a book one day… it'll happen one day.' But you should never wait for one day. You should get on with it.” – Ruth Hogan “You can't control what life throws at you but you can control what you do with it.” – Ruth Hogan “I think I write in quite an unusual way, speaking to other authors. I don't worry about planning and plotting. I like it to just come out organically. I will sit down, the story is in my head and it will come out. But what I do do is I edit chapter by chapter, which is a very bizarre way of working. And I'm so finicky that sometimes I can't move on if one word isn't right.” – Ruth Hogan “I'm a great believer that the universe will tell you the right thing to do.” – Ruth Hogan “I love to explore the emotional attachment that we form with objects. And I think it's all about maintaining connections. We will give an object disproportionate significance because it relates to a person that we loved or a memory or a place. I think we all do that. all have objects and we have connections to these objects that make them much more valuable than their intrinsic worth.” – Ruth Hogan “In one of my other books I described my characters as being ‘cracked in the kiln'. Those are the people that I'm interested in. I'm not interested in perfect people. I'm interested in the people who are lost, who have made mistakes. I love that idea of people being repaired and being more beautiful and more valuable because of their life experience.” – Ruth Hogan Resources Mentioned in This Episode: The Keeper of Lost Things: A Novel by Ruth Hogan - https://amzn.to/4nGYy3p To the Sea by Train: The Golden Age of Railway Travel by Andrew Martin - https://amzn.to/3Jl7fT5 The Secret of Secrets: A Novel by Dan Brown - https://amzn.to/4oQTx9j The Golden Hour by Kate Lord Brown - https://amzn.to/4qMvslX Guest's Links: Website - https://www.ruthhogan.co.uk/ Instagram - https://www.instagram.com/ruthmariehoganauthor/ Twitter - https://x.com/ruthmariehogan Facebook - https://www.facebook.com/RuthHoganAuthor/ Connect with Jen!Jen's Website - https://jenhatmaker.com/ Jen's Instagram - https://instagram.com/jenhatmakerJen's Twitter - https://twitter.com/jenHatmaker/ Jen's Facebook - https://facebook.com/jenhatmakerJen's YouTube - https://www.youtube.com/user/JenHatmaker The For the Love Podcast is presented by Audacy.  To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

We have such a good list of books for you this week. There is nothing more motivating than the month of December and not having all your bookmarks on Goodreads! Hence, a great selection of books. Jayme's Shelf: The Most Wonderful Crime of the Year by Ally Carter The Things We didn't Know by Elba Iris Perez I Let You Go by Clare Mackintosh   Sarah's Shelf: Everyone This Christmas Has a Secret by Benjamin Stevenson Moon of the Turning Leaves by Waubgeshig Rice The Secret of Secrets by Dan Brown

Support the podcast on Patreon, where you can hear our latest 280 Mysteries with special guest Dan Deacon, and be the first to learn what book is next! https://patreon.com/372pages This is it, the final episode of Dan Brown's Deception Point, a book so dumb it raises (lowers?) the level at which a 372 book can … Continue reading "372 Pages #196 – Deception Point Ep 4 – Corky Coats Himself in His Own WHAT?!*"

In this mid-season members-only installment, Pete and Tommy trade Halloween stories, debate the ethics of haunted-house waivers, revisit emotionally scarring escape-room adventures, and brainstorm how a man in his 50s should celebrate his birthday (spoiler: laser tag turns him into a war criminal). There's also pirate television, Dan Brown shade, and the ongoing mystery of why holiday pine-cone scent exists at all.They wrap with early scheming for next month's holiday-food-themed Feeling Friends special, plus a reminder to hold onto as much patience and generosity as you can during the emotionally bonkers weeks ahead.Want to hear the whole episode? Become a Feeling Friend today and you'll be ready when the next season starts! ---Learn more about supporting this podcast by becoming a member. Visit allthefeelings.fum/join to learn more!

  Move over, Rhonda Byrne. The Secret is old news. We were joined by Dr. Sarah Bay, a woman in STEM and our Dan Brown correspondent, to read The Secret of Secrets by Dan Brown. Thanks (?) to our Beloved Patrons … Continue reading →

This edition, I take my first deep dive into what my guest maintains is the biggest secret ever kept from humanity - the almost total erasure from the official history books of the once-mighty Tartarian empire and its influence on the world.Drawing on content from his two books, ‘Tesla & The Cabbage Patch Kids: Exploring the lost Empire of Tartaria and the Reset of 1776': 2 (Tartaria & the Reset of 1776)/ ‘Rise of the Clones: The Cabbage Patch Babies,' British researcher Guy Anderson joins me for a far-reaching chat encompassing:Freemasonry; Dan Brown's role as a probable gatekeeper; Tartaria; suppressed technologies including those of Nikola Tesla; mud floods' World's Fairs; orphan trains; ‘Cabbage Patch” babies; the proliferation of Victorian Era “lunatic asylums'; the Georgia Guidestones; systematic population reduction; family bloodlines; Revelation of the Method; the “elite' belief in karmic retribution, and more.Guy's website is here:https://thetartarianempire.co.uk/His books can be found here:https://www.amazon.co.uk/stores/Guy-Anderson/author/B0DJBRW42W?ref=sr_ntt_srch_lnk_4&qid=1763026792&sr=8-4&isDramIntegrated=true&shoppingPortalEnabled=true#Become a supporter of this podcast: https://www.spreaker.com/podcast/good-vibrations-podcast--2594848/support.

This week on From the Front Porch, it's another New Release Rundown! Annie, Erin, and Olivia share the November releases they're excited about to help you build your TBR. When you purchase or preorder any of the books they talk about, enter the code NEWRELEASEPLEASE at checkout for 10% off your order! To purchase the books mentioned in this episode, stop by The Bookshelf in Thomasville, visit our website (search episode 554) or download and shop on The Bookshelf's official app: How About Now by Kate Baer Like Family by Erin O. White Lightbreakers by Aja Gabel With Friends Like These by Alissa Lee The Sunshine Man by Emma Stonex 59 Minutes by Holly Seddon Helm by Sarah Hall The Tortoise's Tale by Kendra Coulter Family of Spies by Christine Kuehn From the Front Porch is a weekly podcast production of The Bookshelf, an independent bookstore in South Georgia. You can follow The Bookshelf's daily happenings on Instagram and Facebook, and all the books from today's episode can be purchased online through our store website, www.bookshelfthomasville.com.  A full transcript of today's episode can be found here. Special thanks to Dylan and his team at Studio D Podcast Production for sound and editing and for our theme music, which sets the perfect warm and friendly tone for our Thursday conversations.  This week, Annie is reading Journey Towards Morning by Victoria Safford. Olivia is reading The Secret of Secrets by Dan Brown. Erin is reading The Tortoise's Tale by Kendra Coulter. If you liked what you heard in today's episode, tell us by leaving a review on Apple Podcasts. You can also support us on Patreon, where you can access bonus content, monthly live Porch Visits with Annie, our monthly live Patreon Book Club with Bookshelf staffers, Conquer a Classic episodes with Hunter, and more. Just go to patreon.com/fromthefrontporch. We're so grateful for you, and we look forward to meeting back here next week. Our Executive Producers are...Beth, Stephanie Dean, Linda Lee Drozt, Ashley Ferrell, Wendi Jenkins, Martha, Nicole Marsee, Gene Queens, Cammy Tidwell, Jammie Treadwell, and Amanda Whigham.

You've Got Plague  Tom Hanks is back as Robert Langdon, this time recovering from amnesia in an Italian hospital while the clock ticks down to the release of a deadly virus. But why did Ron Howard skip a novel to make Dan Brown's fourth book, Inferno, the conclusion to the movie trilogy? And is Felicity Jones (Rogue One) any help stopping a madman obsessed with Dante, or aiding the symbologist as he tries to top The Da Vinci Code and Angels & Demons? Join Brock, Justin, and Arnie to find out if this 2016 thriller should burn in the seventh level of Hell. Listen Now!