Podcasts about Fiction

In this fifty-third installment of fictional horror written and narrated by Dan Cummins, we return to Jonesberg, Idaho. Sammy Alvarez is wrestling with his response to what he saw in the underground chapel. Joey Sherman gets a surprise late night visitor. And Zander asks Tissie some long-awaited questions before having one seriously f*cked up dream... For Merch and everything else Bad Magic related, head to: https://www.badmagicproductions.com Subscribe to SiriusXM Podcasts+ to listen to new episodes of Scared to Death ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

My guest this week is Suzanne Huntington, co editor of Ripperologist Magazine and author of the recently published book "The Thames Torso Murders: Fact or Fiction?" She not only talks about the “Canonical Four” Thames Torso murders and the possible killer (or killers), but she also takes a wider look at Victorian era dismemberment cases in and around London, the challenge of separating fact from long repeated myth, and the ways these crimes have been linked (rightly or wrongly) to the Whitechapel murders and Jack the Ripper. It is a fascinating deep dive into one of the most unsettling murder series of the late 19th century. The author's Facebook page: https://www.facebook.com/p/The-Thames-Torso-Murders-Fact-or-Fiction-61565822546574/ The author's US Amazon page: https://www.amazon.com/stores/Suzanne-Huntington/author/B0GHT5B8TK The author's UK Amazon page: https://www.amazon.co.uk/stores/Suzanne-Huntington/author/B0GHT5B8TK Learn more about your ad choices. Visit megaphone.fm/adchoices

Ben Maller talks about the NFL moving away from trying to outlaw the Tush Push, where Saints RB Alvin Kamara will end up in 2026, reports that Mike Evans took a lot less money to leave the Buccaneers for the 49ers, Fact or Fiction, and more!See omnystudio.com/listener for privacy information.

Neal Brennan interviews Sam Harris (Making Sense, Waking Up) about his mother Susan Harris' sitcom history, philosophy of the mind, meditation, Trump, secular rationality, fiction writing, dropping out of Stanford, psychic powers, magic, eye contact, consuming bad news, pacifism, meditation vs. political agitation, social media addiction, leftist hypocrisy and much more. Subscribe to  @samharrisorg  00:00 Intro 2:25 His mother, Susan Harris 12:09 His father 15:13 Childhood perfectionism 17:22 Fiction writing aspirations & dropping out of college 18:52 MDMA 30:40 Sponsor: Huel 32:58 Sponsor: Mars Men 35:04 Psychic Powers & Spiritual Charisma 55:50 Eye Contact 1:02:28 Sponsor: Squarespace 1:04:30 Sponsor: Rag & Bone 1:06:08 Meditation vs. Political Agitation 1:14:12 Pacifism 1:23:30 Consuming Bad News 1:27:00 Social Media Addiction 1:40:34 Sponsor: Zocdoc 1:42:23 Trumpism & Leftist Hypocrisy 1:55:20 Political Optimism Thanks to our sponsors! Limited Time Offer – Get Huel today with my exclusive offer of 15% OFF online with my code NEAL at huel.com/NEAL . New Customers Only. Thank you to Huel for partnering and supporting the show! For a limited time, our listeners get 50% off FOR LIFE, Free Shipping, AND 3 Free Gifts at Mars Men at https://www.Mengotomars.com Check out https://www.squarespace.com/NEAL to save 10% off your first purchase of a website or domain using code NEAL. Visit https://www.rag-bone.com & use promo code NEAL for 20% off your order! Stop putting off those doctors appointments and go to https://www.Zocdoc.com/NEAL to find and instantly book a doctor you love today. ---------------------------------------------------------- Follow Neal Brennan: https://www.instagram.com/nealbrennan https://twitter.com/nealbrennan https://www.tiktok.com/@mrnealbrennan Watch Neal Brennan: Crazy Good on Netflix: https://www.netflix.com/title/81728557 Watch Neal Brennan: Blocks on Netflix: https://www.netflix.com/title/81036234 Theme music by Electric Guest (unreleased). Edited by Will Hagle Learn more about your ad choices. Visit megaphone.fm/adchoices

Nightfall With a DogmanAfter fifteen years as a patrol officer and SWAT operator, a veteran responds to a frantic 911 call on a stormy October night: an elderly rancher reports a monstrous black creature—tall, fast, with eyes like fire—mauling his livestock. Arriving at the isolated property, the officer finds the chicken coop and lamb pen in savage ruin: birds shredded beyond recognition, six lambs mangled with impossible force, their bodies twisted and torn. Massive bipedal tracks, nearly seventeen inches long with clawed toes, confirm something unnatural walked upright through the mud. Drawn into the black pines by the old man's terrified warning that “it watches,” the officer confronts the entity: a hulking shadow with glowing red eyes seven feet high, radiating pure hate. A deep growl vibrates through his chest, followed by an inhuman shriek that silences the storm; the creature vanishes as quickly as it appeared. Backup searches yield nothing more, and the incident is logged as a routine “suspicious circumstance / possible livestock mauling.” The old man flees, abandoning the cursed ranch to rot. Hunters now avoid the woods, and the officer remains haunted, knowing those fiery eyes may still linger in the darkness, watching.Join my Supporters Club for $4.99 per month for exclusive stories:https://www.spreaker.com/podcast/what-if-it-s-true-podcast--5445587/support

We’re continuing our discussion of Cavan Scott’s High Republic novel, Path of Vengeance. This time, we’re talking about grief as a catalytic theme in Star Wars, the chaos happening in Dalna, and finally reaching Planet X. Also, Chris insists on telling a story. For a list of Black-owned bookstores to order from, now and always, […]

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We begin with Vincent Price in The Saint, on this week's Relic Radio Show. We'll hear his broadcast from April 30, 1950, titled, The Murder Of A Champion. (28:54) The Adventures Of The Falcon follows with, The Case Of The Puzzling Pinup, from November 19, 1950. https://traffic.libsyn.com/forcedn/e55e1c7a-e213-4a20-8701-21862bdf1f8a/RelicRadio989.mp3 Download RelicRadio989 | Subscribe | Spotify | Support The Relic Radio Show If [...]

As Corbett Report aficionados already know, narratives can shape the world. Indeed, great writers throughout the ages have shaped the worldview and altered the political landscape of entire generations. So, who is working on that great task today? In this episode of Solutions Watch, James talks to John C. A. Manley about the writers who inspired his own resistance fiction and the line between resistance fiction and predictive programming.

Join hosts J.D. Barker, Christine Daigle, Jena Brown, JP Rindfleisch, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about Amazon categories, Spotify, and Simon & Schuster's new CEO. Then, stick around for a chat with J.R. Thornton! J.R. Thornton is a writer and the author of two novels, Beautiful Country, and Lucien. Born in London, UK, J. R. graduated from Harvard College in 2014, where he studied history, English, and Chinese. An internationally ranked junior tennis player, he later competed for Harvard and on the men's professional circuit. Shortly after graduating from Harvard, J. R. published his first novel, Beautiful Country, loosely inspired by experiences he had living in Beijing as a teenager. The novel became a best-seller in China, and the film rights were subsequently purchased by WME/IMG. J. R. returned to China in 2016 as a member of the inaugural class of Schwarzman Scholars, earning an M.A. from Tsinghua University. He speaks Chinese and Italian, and lives in Milan, where he works for AC Milan. Lucien is his second novel. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

“If we don't fight, then what are we doing?” — Jeff BoydHow do you write fiction about contemporary America when reality itself is stranger than fiction? A country in which “alternative facts” is policy rather than satire. Where “truth” has been nationalized.Jeff Boyd, an acclaimed young American novelist, sees fiction as refuge. For both writer and reader, it gets us inside the heads of people who both inflict and endure pain. And it enables the senseless to make sense. The news cycle can't do that. A novel can.Boyd's second novel, Hard Times, out today, is his latest attempt to make sense of the senseless. No, the title isn't Dickensian — it's from Curtis Mayfield. The song on the 1975 “There's No Place Like America Today” album, with its cover juxtaposing some happy Americans in a car with others waiting miserably in the unemployment line. America might be great — but for whom, exactly? That dichotomy shapes Hard Times, which is set in a school on the South Side of Chicago where an innocent student gets shot and nobody can agree on what happened or why.Is the American Dream over? Boyd isn't quite sure. “As much as it feels impossible,” he says, “some part of me always wants to believe.” His characters fight — backs against the wall, cards stacked against them, but they don't give in. That's what Curtis Mayfield was singing about in 1975 and it's what Jeff Boyd is writing about in 2026. The times are hard. A time, once again, for novelists to seize back reality. Five Takeaways•       How Do You Make Stuff Up When Reality Is Already Unbelievable? Boyd admits he sometimes wonders what the point of being a novelist is when the headlines are stranger than fiction. His answer: fiction is a refuge. It lets you get inside the heads of people who inflict pain or endure it, and try to make sense of what in reality remains senseless. The novelist can provide an answer. The news cycle can't.•       Not Dickens — Curtis Mayfield: The title comes not from the 1854 novel but from the 1975 song on There's No Place Like America Today. The album cover says it all: happy people in the car, desperate people in the unemployment line. America is great — but great for whom? That dichotomy drives the book.•       A Policeman's Son on George Floyd: One of the officers who stood by while George Floyd died was black — a man whose family had been proud of him for getting the job, who went in wanting to do good. Boyd can't write off an entire category of people. His black cop character in Hard Times exists to show the complexity of wanting to do right and getting caught up in wrong.•       Fate vs. Agency on the South Side: Boyd's grad school friend — not religious but deterministic — argued you could draw a line from where someone starts to where they'll end up. Boyd's characters fight against that line. A kid from a broken home on food stamps doesn't have to end where you think. The novel asks whether the line holds or breaks.•       The Fight Goes On: Is the American Dream over? Boyd isn't quite sure. His characters have their backs against the wall and the cards stacked against them, but they don't give in. That's what Curtis Mayfield was singing about in 1975. It's what Boyd is writing about in 2026. The times are hard. The fight goes on. About the GuestJeff Boyd is the author of The Weight (Simon & Schuster, 2023) and Hard Times (Flatiron Books, 2026). A former Chicago public school teacher and graduate of the Iowa Writers' Workshop, where he received the Deena Davidson Friedman Prize for Fiction, he lives in Brooklyn with his family.References:•       Hard Times: A Novel by Jeff Boyd (Flatiron Books, 2026) — the book under discussion, out today. Starred review from Publishers Weekly.•       The Weight by Jeff Boyd (Simon & Schuster, 2023) — Boyd's acclaimed debut novel, set in Portland.•       Curtis Mayfield, “Hard Times” from There's No Place Like America Today (1975) — the song that gives the novel its title.•       Charles Dickens, Hard Times (1854) — the Dickensian social realist tradition Boyd consciously works within.•       Studs Terkel, Hard Times: An Oral History of the Great Depression (1970) — referenced in the conversation.About Keen On AmericaNobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States — hosting daily interviews about the history and future of this now venerable Republic. With nearly 2,800 episodes since the show launched on TechCrunch in 2010, Keen On America is the most prolific intellectual interview show in the history of podcasting.WebsiteSubstackYouTubeApple PodcastsSpotify Chapters:(00:00) - Introduction: Hard Times from Dickens to today (01:19) - Not Dickens — Curtis Mayfield (02:44) - The Obama era and the fall back into hard times (05:32) - How do you fictionalize a reality stranger than fiction? (08:44) - Autobiography: teaching in a Chicago school (10:18) - Fate, predestination, and fighting the line (12:49) - The novelist as God — do your characters surprise you? (15:02) - A student is shot: the journalist-novelist (15:33) - Social realism in the Dickensian tradition (18:45) - Chicago stereotypes and the beauty between blocks (22:19) - A policeman's son on George Floyd and the black cop who stood by (25:27) - Teaching as the most underappreciated job in America (27:57) - Money, class, and Black Chicago beyond the stereotype (29:43) - Trump, alternative facts, and who controls the truth (32:19) - The American Dream: is it over?

Send a textA look at how we approach theatre criticism at OnStage Colorado, plus the week's Top 10 Colorado Headliners and a conversation with the Denver Theatre Ensemble.In this episode of the OnStage Colorado Podcast, hosts Alex Miller and Toni Tresca turn the critical lens on themselves, digging into the craft — and the controversy — of writing honest theatre reviews. As Toni's criticism has grown sharper over five years of covering Colorado's stages, so has the response: from grateful notes to hurt feelings aired on social media. What does it mean to be kind and honest at the same time? And where is the line between candor and cruelty?Toni also catches up on a busy stretch of shows: Steven Dietz's intricate Fiction at Three Leeches in Lakewood, the bracingly timely Just Like Us at Su Teatro, a strong but imperfect A Chorus Line at the Lakewood Cultural Center, and the world premiere of Nina Alice Miller's lyrical Daughtering from Dirty Fish Theatre at the Dairy Arts Center in Boulder.Later, Alex sits down with Rhianna DeVries and Tess Neel, the artistic director and producing director of Denver Theatre Ensemble — a young, DU-rooted company now in its third season and gearing up for an all-world-premieres lineup that includes a collaboration with Picnic Theatre Company in Steamboat Springs.IN THIS EPISODE:- Recent show catchup: Fiction, Just Like Us, A Chorus Line, Daughtering- News: Arvada Center 2025-26 season announcement- News: Yates Theatre in Denver's Berkeley neighborhood moves closer to reopening as a 300-seat indie cinema- News: Can anyone make a living in theatre? A viral Facebook post sparks 115 comments- Main topic: Theatre criticism — honesty, kindness, community theatre and editorial integrity- Interview: Rhianna DeVries and Tess Neel, Denver Theatre Ensemble- Top 10 Colorado HeadlinersTOP 10 COLORADO HEADLINERS:- Phantom of the Opera — Denver Center Buell Theatre, March 18-April 5- Goodnight Moon — Parker Arts (stage production + Fiber Tale exhibit), through March 29- Pen Pals — Theatre Aspen, March 20-21 only- Little Women — Phamaly Theatre Company, Parsons Theatre, Northglenn, March 19-April 4- The Cottage — OpenStage Theatre, Fort Collins, March 21-April 18- Cheap Thrills — Telluride Theatre, Sheridan Opera House, March 20-21- Proof — Magic Circle Players, Montrose, through March 28- Bonnie & Clyde — Bright Heart Stages, The People's Building, Aurora, March 20-29- Women's Theatre Festival — Millibo Art Theatre, Colorado Springs, through March 22- Red Willow — Control Group Productions, South Platte Park, Littleton, March 20-April 4

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

This week on Relic Radio Science Fiction, we revisit Theater Five for their story from September 23, 1964, We Are All Alone. Listen to more from Theater Five https://traffic.libsyn.com/forcedn/e55e1c7a-e213-4a20-8701-21862bdf1f8a/SciFi924.mp3 Download SciFi924 | Subscribe | Spotify | Support Relic Radio Science Fiction

ACOFAE Podcast Presents: V for Vendetta: "It had to be now." Who knew that ACOFAE would be political this year?! Laura Marie and Jessica Marie had an inkling so they figured it's best to cover anything that may have slipped through the cracks growing up. Even if you've never seen the movie, you know the mask. You know Natalie Portman shaved her head. Join ACOFAE and find out why. PEOPLE SHOULD NOT BE AFRAID OF THEIR GOVERMENTS. TW / CW: none to our awareness For additional TW/CW information for your future reads, head to this site for more: https://triggerwarningdatabase.com/ Spoilers: V for Vendetta, Mockingjay: Part 1 Mentions: V for Vendetta, 1984 by George Orwell, The Hunger Games series by Suzanne Collins *Thank you for listening to us! Please subscribe and leave a 5-star review and follow us on Instagram at @ACOFAEpodcast and on our TikToks! TikTok: ACOFAELaura : Laura Marie ( https://www.tiktok.com/@acofaelaura) ACOFAEJessica : Jessica Marie (https://www.tiktok.com/@acofaejessica) Instagram: @ACOFAEpodcast https://www.instagram.com/acofaepodcast/ @ACOFAELaura https://www.instagram.com/acofaelaura/

In this episode, we take a deep dive into The Terminator (1984), the groundbreaking sci-fi thriller directed by James Cameron and starring Arnold Schwarzenegger in the role that made him a global icon. We break down the film's origins, its gritty low-budget production, and how it reinvented science fiction and action movies in the 1980s. From the relentless T-800 to the emotional core of Sarah Connor, we explore why this time-travel classic still feels intense and relevant more than four decades later.After the movie discussion, we have our usual draft. This time we're drafting our favorite movies (and more) starring Arnold Schwarzenegger. See where your favorite gets picked.If you love 80s movies, sci-fi classics, or action film breakdowns, this episode is for you. Come with us if you want to live.Support our show and join our Patreon!If you enjoy the show, please rate and review us on the iTunes/Apple Podcasts app or wherever you listen. Or better yet, tell a friend to listen!Follow us on your preferred social media:TwitterFacebookInstagram

Kelty charged $7 for 24 hours. What if you only have a twenty? That's how they get ya.See omnystudio.com/listener for privacy information.

Don’t assume, it makes an ASS of U and Mister Wrong of me.See omnystudio.com/listener for privacy information.

Lainey’s warriors are Kachina dolls, traditional Hopi figurines. And Pleiades is The Seven Sisters constellation.See omnystudio.com/listener for privacy information.

I can accept that someone my age is a grandmother, but "choco-little-latte" keeps me up at night.See omnystudio.com/listener for privacy information.

Sasquatch Terror for HikersIn 2016, while driving from Los Angeles to Portland with his girlfriend and detouring for off-roading in his new Jeep, the narrator and his partner heard repeated blood-curdling screams echoing through remote mountain roads, sounding like a woman in distress. They dismissed it at the time, but later at a tourist spot they discovered a guest book filled with locals' Bigfoot sightings, planting the first seed of curiosity in his mind. Four years later, now a committed Bigfoot believer with a new Jeep Rubicon, a massive Mastiff, and a new girlfriend, he set out on what seemed like a routine hike in the mountains near central LA County. As they descended into a bowl-shaped valley, they encountered a series of increasingly large piles of freshly uprooted shrubs and bushes deliberately blocking the narrow trail—plants too tough for any human to pull bare-handed—followed by twisted and braided tree branches high overhead. The climax came at a massive 9-foot-wide, 6-foot-tall wall of freshly torn trees and debris that completely sealed the path; after pushing through, they felt intensely watched, heard sprinting footsteps, and glimpsed a large figure scrambling up a steep cliff and hiding behind bushes, rocks tumbling in its wake. Years afterward, while camping with a friend in a Sequoia grove in Yosemite's Sierra National Forest, the narrator heard slow, deliberate knocking sounds coming from the tree line across a clearing—sounds that ceased whenever anyone approached within 25 feet and resumed once they retreated, as if something were playfully interacting with them. Though his life has since changed dramatically—his beloved dog passed away in 2020, he sold his Jeep, moved away from Southern California, and hikes far less—these encounters left him forever drawn to the outdoors and convinced of what lurks unseen in the wild.Join my Supporters Club for $4.99 per month for exclusive stories:https://www.spreaker.com/podcast/what-if-it-s-true-podcast--5445587/support

In Lionel Shriver's new novel, a family with a large and lovely house in Brooklyn invite a Honduran asylum seeker to come and live with them. The young woman is pleasant and helpful. But the adult son of the family – unemployed, idle, and disagreeable – is deeply opposed to her presence in his home. This being a Lionel Shriver novel, the drama soon goes in an unexpected direction. 'A Better Life' is a novel about immigration, gender, and political polarisation – all topics we discuss today. Lionel is the author of nineteen novels, winner of the Orange Prize for Fiction for the massive bestseller 'We Need to Talk About Kevin', and a columnist at the Spectator Magazine. Hosted on Acast. See acast.com/privacy for more information.

Georgina Godwin is joined by renowned writer Francis Spufford. They discuss his early days at Chatto & Windus, his wrangles with sceptics and latest novel, ‘Nonesuch’, which is set in London during the Blitz.See omnystudio.com/listener for privacy information.

Ted is joined by Shobha Rao, the author of the short story collection An Unrestored Woman and the novels Indian Country and Girls Burn Brighter. Shobha has won the Katherine Anne Porter Prize for Fiction and was a Grace Paley Teaching Fellow at The New School. Girls Burn Brighter was long-listed for the Center for Fiction First Novel Prize and was a finalist for the California Book Award and the Goodreads Choice Awards.Shobha's best writing tip? It involves figuring out when to let a piece of writing (or an entire novel) go—and what that actually looks like in practice.Learn more about Shobha and her books at shobharao.com. Information for requesting transcripts as well as more details about Ted and his books are available on his website, thetedfox.com.

Back to Basics: Fundamental Attribution Error; News Items: Improved Photosynthesis, Birth of a Magnetar, US Bioweapons Research, False Health Information from Chatbots; Your Questions and E-mails: Consistency; Name That Logical Fallacy; Science or Fiction

One human hour equals thirty tree hours. Winter lasts three days.See omnystudio.com/listener for privacy information.

The letter came on regular paper. Blue ink. Her handwriting was the same as when we were twelve.See omnystudio.com/listener for privacy information.

Gravensteins are The Best Apple. The bullets were smaller than I thought.See omnystudio.com/listener for privacy information.

Orion and I were psycho mimes. Chris was Phantom of the Coffee Shop-era. Willow wore wings.See omnystudio.com/listener for privacy information.

669. Part 2. We continue Women's History Month by concluding our conversation with Marcelle Bienvenu. Whe is an author working on the history of Creole cooking. Marcelle Bienvenu's highly anticipated new release of her timeless classic, Who's Your Mama, Are You Catholic, and Can You Make A Roux? is a treasure trove of over two hundred recipes, revised with a Foreword by Emeril Lagasse and sumptuous color photography capturing the essence of every season. Marcelle is a cookbook author and food writer who has been preparing Cajun and Creole dishes since the 1960s. She has written on Creole/Cajun Cooking for The Times Picayune, Time-Life Books, and has been featured in Garden & Gun, Food & Wine, Saveur, Southern Living, Redbook, The New York Times, Louisiana Life, and Acadiana Profile. Now available: Liberty in Louisiana: A Comedy. The oldest play about Louisiana, author James Workman wrote it as a celebration of the Louisiana Purchase. Now it is back in print for the first time in 222 years. Order your copy today! This week in the Louisiana Anthology. Meghan F. McDonald.'NOLA: An Interactive Street Performing Experience.'     Before embarking on my street performing tour of the U.S., one aspect I said I would investigate on the road was how influencial setting is for creating music.     Admittedly, this question was buried under piles of other questions that surfaced during my earlier stops, D.C., Nashville, Asheville and Atlanta. But that changed once I arrived in New Orleans.     Music and culture ' especially along Royal Street ' ooze from NOLA's pores, pumping through its streets as if the heart of all music can be found somewhere within the veins of the French Quarter. It is New Orleans, after all, that mothered music greats ranging from Louis Armstrong and Fats Domino to Lil Wayne. And that variety is not accidental ' it's part of NOLA's appeal.     On one street you may walk into an impromptu jazz ensemble performance, complete with an upright bass, saxophone player and a singer throwing out some hot scats. Five blocks down, you could stumble upon a high-energy brass group filled with trumpets, trombones and a tuba. Not to mention the multiple solo acts scattered throughout NOLA's streets at all hours of the day and night.     One factor that makes NOLA an ideal street performing city is the layout. The Quarter's tight streets, filled with sheltered sidewalks due to the vast amounts of layered decks, create a rich acoustic experience for buskers. The sound stays contained from having a ceiling of sorts, which then bounces off the parallel building in full circle. This week in Louisiana history. March 13, 1815. Gen. Andrew Jackson declares the end of martial law in New Orleans at the end of War of 1812. This week in New Orleans history. The City Park property was famous as a dueling ground long before it was a park ' more Affaires d'honneur were fought in New Orleans than in any other American city. They resulted from serious affronts, petty insults, or deliberate confrontations for the sole purpose of displaying fencing skills. Weapons of choice included swords, sabers, pistols, rifles, even bare hands. During the 1800s a series of duels were fought between fencing masters ' the most famous, Spaniard Pepe Llula was known as a duelist who met any man with any weapon. Times-Democrat on March 13, 1892, reported, "Between 1834 and 1844 scarcely a day passed without duels being fought at the Oaks'. Dueling had been outlawed two years before under the death penalty (if a death resulted) but it was seldom enforced.  This week in Louisiana. Black Bayou Lake National Wildlife Refuge 480 Richland Place Monroe, LA 71203 Open daily from sunrise to sunset Website: fws.gov/refuge/black-bayou-lake Email: blackbayoulake@fws.gov Phone: (318) 387‑1114 March is one of the best months to visit Black Bayou Lake, with mild temperatures, active wildlife, and early spring blooms along the trails and boardwalks: Boardwalk Trail: A scenic walk over the cypress‑studded lake, ideal for birdwatching and photography. Visitor Center & Nature Exhibits: Located in a restored plantation house with hands‑on displays. Wildlife Viewing: Frequent sightings of herons, egrets, turtles, and alligators in their natural habitat. Postcards from Louisiana. Sporty's Brass Band. Listen on Apple Podcasts. Listen on audible. Listen on Spotify. Listen on TuneIn. Listen on iHeartRadio. The Louisiana Anthology Home Page. Like us on Facebook. 

What is scarier than a leprechaun? Both of these stories that are leprechaun free! Today we are talking about a short story by Oscar Wilde about the only generous millionaire ever and a story about a man who realized someone wasn't into him and so he said "jk". Become a supporter of this podcast: https://www.spreaker.com/podcast/book-cult--5718878/support.

Bigfoot Pie ThiefA 12-year-old boy finishing lunch at his grandparents' farm watched in shock as a furry hand reached through the open kitchen window and snatched one of Grandma's freshly baked apple pies from the sill. Grandma charged in swinging her hickory switch like a sword, cracking the knuckles of the thief and sending both hand and pie flying out the window. Racing to look outside, the boy saw a six-foot-tall, hairy creature sprinting toward the woods with the pie in its grip, grunting and laughing the whole way. Grandpa arrived just in time to see it vanish into the trees, then calmly sat the boy down on the porch and explained that the creature was a “Booger”—one of a small family living several miles over the ridge. The young male thief had been bold enough to test Grandma's cooking before, but the clan generally kept its distance and meant no real harm. Over the years the now-57-year-old narrator had many more encounters with the Boogers, some face-to-face, yet he always remembered Grandpa's advice: lower any weapon, raise empty hands, smile, and back away slowly. Treating them with the same respect given to any wild predator—giving them room and never crowding them—kept every meeting peaceful. The creatures sometimes passed through at night or watched from the woods, but they could also be surprisingly considerate; the morning after the pie theft, six fresh apples appeared on Grandma's windowsill as repayment. The narrator lives with the firm knowledge that these beings exist, neither crazy nor delusional, and believes people and Boogers can coexist just fine if both sides show a little courtesy.Join my Supporters Club for $4.99 per month for exclusive stories:https://www.spreaker.com/podcast/what-if-it-s-true-podcast--5445587/support

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In this episode of Million Dollar Flip Flops, Rodric sits down with Shannon Russell — former TV producer turned franchise owner, coach, and author — to talk about leaving a “successful” career, starting a second act, and navigating the fears that come with walking away from the safe path.Shannon spent 16 years as a television producer, living her childhood dream… until motherhood made her realize the cost: missed birthdays, skipped dinners, and no real control over her time. That wake-up call led her to: •Leave TV •Buy and build a Snapology STEM franchise for kids •Eventually sell it •And now coach women through their own second act — from 9–5 to entrepreneurshipTogether, they dive into: •

Erin and I both adored Kin by Tayari Jones, and we decided to do a whole episode discussing it!  The first 15ish minutes are spoiler free, so if you haven't read it yet, you can listen and decide if the vibes sound right for you.  After that, we get into everything we loved about the characters, the prose, the plotting and the themes! Kin by Tayari Jones Synopsis Vernice and Annie, two motherless daughters raised in Honeysuckle, Louisiana, have been best friends and neighbors since earliest childhood, but are fated to live starkly different lives. Raised by a fierce aunt determined to give her a stable home in the wake of her mother's death, Vernice leaves Atlanta at eighteen for Spelman College, where she joins a sisterhood of powerfully connected Black women and marries into an affluent family. Annie, abandoned by her dissolute mother as a child, and fixated on the idea of finding her and filling the bottomless hole left by her absence, sets off on a journey that will take her into a world of peril and adversity, as well as love and adventure, and culminate in a battle for her life.   Tayari Jones Oprah Interview Tayari Jones on The Stacks Erin's Interview with ReShanda Tate about With Love From Harlem Check Out Author Social Media PackagesCheck out the Bookwild Community on PatreonCheck Out My Stories Are My Religion SubstackGet Bookwild MerchFollow @imbookwild on InstagramOther Co-hosts On Instagram:Gare Billings @gareindeedreadsSteph Lauer @books.in.badgerlandHalley Sutton @halleysutton25Brian Watson @readingwithbrianMacKenzie Green @missusa2mba

A philosopher, a mage, and a swordsman are sent on an impossible quest from which they know they will not return alive. Genre: Mythology   Excerpt:The philosopher felt her heart go still. She felt the cold steel of the swordsman's sword quivering by her right side. She felt the warm spark of the mage's magic prickling by her left side.  In that moment, and none other since, she had wished her friends would unleash their might and fury…   The Wheel of Fiction Turns. What did it land on this time?Each Season 9 story follows a theme chosen by the Wheel of Fiction. Thirteen spokes. Eight are the themes from previous seasons. One is "Turn Again." One is a wild card. And three are covered in question marks and will be revealed when the wheel lands on them. See a story trailer and a (satisfying) video of the wheel turning here: The Last Night of Grief This episode landed on CREATURES. Find more stories and episodes about creatures here: Year of Creatures.   MERCH!Interested in merch, like mugs and notebooks, featuring my artwork?Please visit my Store page for info on where you can buy: STORYFEATHER STORE   The Store page also has sign-up forms for my two email newsletters: Storyfeather Gazette (if you'd like to keep up with the fiction I create)Fictioneer's Field Guide (if you'd like writing tips and guidance from me) Choose what you want. (Either way, you're choosing high jinks.)   MY FIRST BOOK (yay)Ever wonder how I've gotten all these hundreds of stories written? I have a method. You can learn it in my book called Fictioneer's Field Guide: A Game Plan for Writing Short Stories. It's now available from Amazon as an eBook, paperback, and hardcover. You can also get there from my Store page: STORYFEATHER STORE   CREDITS Story: "The Last Night of Grief" Copyright © 2022 by Nila L. PatelNarration, Episode Art, Editing, and Production: Nila L. Patel   Music:"Flames on ice" by NICHOLAS JEUDY (Intro)"Haven" by NICHOLAS JEUDY (Outro)"Abstract Vision #5" by ANDREW SITKOV (Outro)   Music by NICHOLAS JEUDY (Dark Fantasy Studio)"Whispers""Scroll of the wind walker""Wide place""Fallen leaves (seamless)""To Falgalown""Signs of desolation""The last stand""Adventure""Haven""Runes""Compass""In the shadows""Flames on ice"   Music by Nicholas Jeudy and Andrew Sitkov is licensed from GameDev MarketSound effects from AudioJungle, GameDevMarket, and Soundly (through Hindenburg)Vocal effects created with Audacity Changes made to the musical tracks? Just cropping of some to align with my narration.  Find more music by Nicholas Jeudy and Andrew Sitkov at gamedevmarket.net Find more stories by Nila at storyfeather.com   Episode Art Description:Digital drawing. Facing forward stands a creature with three dog-like heads with different fur colors. The heads emerge from serpent-like necks attached to a central body from which the top heads of three legs are visible. All eyes are glowing. All the snouts are contracted as if growling, mouths parted, revealing fangs. All ears are perked up. A forked tongue emerges from the head at right. Snake-like fangs drip a drop of venom from the head at left. Behind and above the heads, an armored segmented body is visible extending up out of frame. Extending down from top left of frame is a segmented spiked tail curling upward. Behind the creature is the opening of a cave. Rectangular image is made square with top and bottom borders that reflect blurred versions of the faces in the main image. Watermark of "Storyfeather" on cave wall, along right side of torso.

Ben Maller talks about what Kyler Murray is looking for in his next NFL team, the Vikings being the favorite to land Murray and who else is window shopping for the little guy, Daniel Jones' extension with the Indianapolis Colts, Fact or Fiction, and more!See omnystudio.com/listener for privacy information.

When author and singer Ashley Hibbler found herself surrounded by toxic relationships, silent competition, and spiritual upheaval, she turned it all into a story. On this episode of Marketer of the Day, Ashley shares how she transformed a lifetime of “frenemies,” heartbreak, and a profound spiritual journey into Soul Family Six: The Chosen Series, a multi‑generation, angel‑to‑human saga about revenge, protection, and finding your true purpose. https://youtu.be/WIEFqk_2n8E Ashley reveals how her childhood imagination, spending hours alone in a closet inventing characters and worlds, later became the blueprint for an epic four‑series universe. She explains how real people in her life inspired angelic characters like Ariel and Jermaine, how villains Lucifer and Lily embody revenge and ego, and why she chose fiction as a safer, more powerful way to process personal pain. Along the way, she talks about leaving a traditional job after her father's passing, navigating a bumpy publishing experience, and launching a Book-to-Video and music channel on YouTube so readers can see and hear her world come to life. Quotes: “You can't always control what people do to you, but you can always change the narrative of your life.” “I stopped giving energy to drama and competition; the moment I did, I started creating the life I actually wanted.” “Fiction lets me tell the truth about my pain without exposing anyone, turning toxic relationships into a story of protection, purpose, and healing.” Resources: Author Ash Books Soul Family Six: The Chosen Series on Amazon Ashley Hibbler on Facebook

Breaking Shame: The Villain's Favorite, The Hero's Way OutShame can destroy stories—and characters—if writers let it dominate the narrative. In this episode of The Storyteller's Mission, Zena Dell Lowe dives into why shame is the villain's favorite weapon and how heroes must break its hold. Learn how shame impacts character arcs, storytelling structure, and audience engagement, and discover the difference between shame and conviction in redemptive storytelling.From coercion to clarity, we explore:-Why writers are tempted to use shame-How shame freezes character arcs and collapses moral nuance-The distinction between shame and conviction-How heroes preserve dignity, see complexity, & confront evil without becoming it-A deep dive into the climax of About Schmidt and how it demonstrates redemptive storytellingIf you want to write stories with moral clarity, avoid turning your narrative into propaganda, and create arcs where shame loses its power, this episode is a must-watch.Watch this episode on YouTubeWatch Ep06 first (optional for added context)Free Resources for Writers:Seven Deadly Plot Points FREE TRAINING VIDEO Free Video Tutorial for ScreenwritingSign up for The Storyteller's Digest, my exclusive bi-monthly newsletter for writers and storytellers. Each edition delivers an insightful article or practical writing tip straight from me, designed to help you master your craft and tell compelling stories.The Storyteller's Mission Podcast is now on YouTube.  Subscribe to our channel and never miss a new episode or announcement.

What if the tale of Genesis were reframed as a story of humanity's ascent into awareness of mortality and entropy? How are both connectedness and a “mattering project” key to flourishing as an individual? Rebecca Goldstein is the author of several fiction and non-fiction books, including The Mattering Instinct: How Our Deepest Longing Drives Us and Divides Us, 36 Arguments for the Existence of God: A Work of Fiction, Plato at the Googleplex: Why Philosophy Won't Go Away, and The Mind-Body Problem. Greg and Rebecca discuss how the ideas in her new book, The Mattering Instinct, trace back to her novel, The Mind-Body Problem. Rebecca details a long-developed theory of human motivation: beyond survival and pleasure, humans are “creatures of matter who long to matter,” driven to justify themselves in their own eyes (homo justificans). To Rebecca, this is linked to self-reflection, theory of mind, and existential “absurdity.” This episode will outline some mattering strategies and also discuss personality links, ethics, and concerns about AI. *unSILOed Podcast is produced by University FM.* Episode Quotes: We are creatures of matter who long to matter 08:21: What we are are creatures of matter who long to matter. I love that we can do that in English. You know, we can't do it; it can't be replicated in other languages. But thank goodness for English, two amazing words: the noun matter and the verb matter. Why everyone needs to feel like they matter 04:23: Look, everybody needs to feel like they matter. Then there's a great diversity of ways in which we might try to prove to ourselves that we matter. The human search for values 15:11: Entering into this world of entropy, where everything eventually runs out of energy and does die, the universe itself will run out of energy and thermal equilibrium that awaits the universe, with that stepping out of paradise. They took on the burden, but the dignity of being human, of trying to justify becoming Homo Justific, becoming creatures who are in search of values that will justify them in their own eyes. We come up with a whole bunch of values, and we disagree tremendously about these values, but there's something so grand about being creatures who need values in order to be able to  live with themselves, even if they're bad values, but that we bring values into the universe because we are creatures longing to matter. Show Links: Recommended Resources: Ludwig Wittgenstein Aristotle Book of Genesis Baruch Spinoza Eudaimonia Happiness Economics Sigmund Freud Entropy Second Law of Thermodynamics Theory of Mind Blaise Pascal “The unexamined life is not worth living.” Darwinism William James Guest Profile: RebeccaGoldstein.com Wikipedia Profile Profile on the National Endowment for the Humanities Guest Work: Amazon Author Page The Mattering Instinct: How Our Deepest Longing Drives Us and Divides Us Incompleteness: The Proof and Paradox of Kurt Gödel 36 Arguments for the Existence of God: A Work of Fiction Plato at the Googleplex: Why Philosophy Won't Go Away The Mind-Body Problem Betraying Spinoza: The Renegade Jew Who Gave Us Modernity Kurt Gödel The Dark Sister Mazel Properties Of Light Late Summer Passion of a Woman of Mind The Mattering Map | Substack Newsletter Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

What separates fluency from understanding? Léon Bottou joins Vasant Dhar in Episode 103, Brave New World, to explore the deep question at the heart of AI. Useful Resources: 1. Léon Bottou2. Léon Bottou - The Fiction Machine3. Hopfield Network in AI4. Yann LeCun5. J. L. McClelland, D.E. Rumelhart and G.E. Hinton - The Appeal of Parallel Distributed Processing6. Claude Shannon - Entropy and Redundancy in English 7. Marvin Minsky - Music, Mind and Meaning8. Stafford Beer9. Navier-Stokes Equations10. Terry Sejnowski - Parallel Networks that Learn to Pronounce English Text 11. Christopher D. Manning12. Brave New World Episode 58: Sam Bowman on ChatGPT & Controlling AI13. De Morgan's laws Check out Vasant Dhar's newsletter on Substack. The subscription is free! Order Vasant Dhar's new book, Thinking With Machines  

L'IA va-t-elle détruire l'économie mondiale ?Block, la fintech de Jack Dorsey, vient de licencier 4 000 employés — soit près de 40 % de ses effectifs — en invoquant directement l'intelligence artificielle. Et ce n'est pas un cas isolé : UPS, Amazon, Microsoft, Intel… les suppressions de postes massives se multiplient dans des entreprises qui se portent bien.En parallèle, un rapport publié sur Substack par Citrini Research affole Wall Street en imaginant un scénario catastrophe : d'ici 2028, l'IA automatise le travail intellectuel, les emplois s'évaporent et l'économie mondiale s'effondre. Fiction ou anticipation réaliste ?Et pendant ce temps, Washington lance Freedom.gov : un VPN officiel pour permettre aux Européens de contourner leurs propres lois numériques. L'ingérence américaine assume désormais.On décrypte tout ça avec mes invités.===========================

Send a textToday on Bookish Flights, I'm joined by Katherine Scott Crawford, award-winning author of The Miniaturist's Assistant and Keowee Valley, history enthusiast, and self-proclaimed recovering academic. An eleventh-generation Southerner, Katherine directs writing retreats at a remote mountain lodge in Western North Carolina, where she lives with her family and would much rather be in the woods with her dog than anywhere else. A former backpacking guide and adjunct professor, her writing has appeared in newspapers across the country and abroad. If you love historical fiction, this conversation is for you.Episode Highlights:The deep, layered history of the American SouthHer novel The Miniaturist's Assistant, set in Charleston and the research and imagination behind bringing 1804 and 2004 to lifeWhy historical fiction is the best form of time travelHer writing process and the rhythms of a creative lifeThe idea that reading is a hobby you actively choose above all elseHow living in Western North Carolina means you can't “trip over a rock without tripping over history”Katherine describes herself as a history nerd, and it shows in the best way. We talk about time as something mysterious and porous,  how the past presses into the present, and how fiction allows us to experience that overlap in deeply human ways. Her biggest hope for readers? A truly transportive experience into both 1804 and 2004 Charleston.Connect with Katherine:InstagramFacebookWebsiteShow NotesSome links are affiliate links, which are no extra cost to you but do help to support the show.Books and authors mentioned in the episode:Anne of Green Gables by L.M. MontgomeryThe Black Wolf by Louise PennyThe Everlasting by Alix E. HarrowThe Electricity of Every Living Thing by Katherine MayBook FlightThe Frozen River by Ariel LawhonThe Lost Book of Eleanor Dareby Kimberly BrockThe Literary Undoing of Victoria Swann by Virginia Pye✨ Find Your Next Great Read! We just hit 175 episodes of Bookish Flights, and to celebrate, I created the Bookish Flights Roadmap — a guide to all 175 podcast episodes, sorted by genre to help you find your next great read faster.Explore it here → www.bookishflights.com/read/roadmapSupport the showBe sure to join the Bookish Flights community on social media. Happy listening! Instagram Facebook Website

Namwali Serpell is the author of On Morrison, available from Hogarth Press. Serpell was born in Lusaka and lives in New York. Her debut novel, The Old Drift, won an Anisfield-Wolf Book Award, the Arthur C. Clarke Award for Science Fiction, and the Los Angeles Times's Art Seidenbaum Award for First Fiction. Her second novel, The Furrows, was a finalist for a National Book Critics Circle Award for Fiction and was selected as one of The New York Times Ten Best Books of the Year. Her book of essays, Stranger Faces, was a finalist for a National Book Critics Circle Award for Criticism. She is a recipient of the Windham-Campbell Prize for Fiction, the Caine Prize for African Writing, and a Rona Jaffe Foundation Award. She is a professor of English at Harvard University. *** ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Otherppl with Brad Listi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is a weekly podcast featuring in-depth interviews with today's leading writers. This episode is sponsored by Ulysses. Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ulys.app/writeabook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to download Ulysses, and use the code OTHERPPL at checkout to get 25% off the first year of your yearly subscription." Available where podcasts are available: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, etc. Get ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠How to Write a Novel,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ the debut audio course from DeepDive. 50+ hours of never-before-heard insight, inspiration, and instruction from dozens of today's most celebrated contemporary authors. Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Brad's email newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support the show on Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email the show: letters [at] otherppl [dot] com The podcast is a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠proud affiliate partner of Bookshop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Jack and Miles are joined by novelist/humorist/TikToker Jason Pargin to talk about one of humanity's favorite royalty-free characters: The Alien Grays! They'll explore their evolution through history, the couple who locked in their character design, and their lasting influence! Extraterrestrial Iconography.pdf Alien Autopsy: Fact or Fiction? (1995) VHS Trailer See omnystudio.com/listener for privacy information.

We're back with another episode of The Double Cleanse, and this week James and Robert are getting petty about the weird, annoying and downright questionable things beauty brands do that make them NOT want to buy their products! After opening with their obsession with limited-edition K-beauty packaging (Pokémon Pikachu Sunscreen, anyone?) - and a particularly conflicting episode of Influencer Fact or Fiction - the twins unleash their brutally honest pet peeves. From brands constantly bragging about making millions while underpaying staff, awkward email marketing that feels too personal (or not personal enough), and brands that just can't read the room. The twins discuss why indie brands celebrating their millionth million gets old fast, influencer partnerships that feel misplaced, and why sometimes the smallest brand missteps can turn you off forever. If you've ever refused to buy from a brand for a petty reason, this episode is for you! Don't forget to subscribe and catch new episodes of The Double Cleanse every Monday! *Product Recommendations* Saltair Driftwood Nourishing Body Oil Laura Mercier Tinted Blue Balm Follow The Double Cleanse Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@thedoublecleansepodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@thedoublecleanse⁠⁠⁠⁠⁠⁠⁠⁠⁠ YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@thedoublecleanse⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Quickie with Bob: Thatcher Effect; News Items: Lunar Chickpeas, Sea Level Rise, Latest Study Shows Reiki Does Not Work, Brain Cells Playing Doom; Who's That Noisy; Your Questions and E-mails: Glyphosate Safety; Science or Fiction

In this fifty-second installment of fictional horror written and narrated by Dan Cummins, we continue with a story about Jonesberg, Idaho's Cult of Abraham. The cult comes for Sammy Alvarez now, trying to silence him before his big, revealing broadcast. Will they be successful? Also, Joey Sherman returns to try and convince Tissie that she's not trapped in the life she's been brought up in, and Zander continues to try and figure out just what the Hell is going on with everyone around him.   For Merch and everything else Bad Magic related, head to: https://www.badmagicproductions.com Subscribe to SiriusXM Podcasts+ to listen to new episodes of Scared to Death ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.