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From Aaron's priestly blessing, David's prayers in the Psalms, to Solomon's prayer for wisdom, or the prayers of Jesus… there are many great prayers in the Bible! We can learn a lot from them and they can help guide our prayer time! Today on a Daily Walk we'll have a look at one of the apostle Paul's prayers, in Ephesians chapter one. To support this ministry financially, visit: https://www.oneplace.com/donate/1368/29

Have you ever wondered why we don't raise our hands during prayer in Judaism? It's a question that might seem trivial at first, but as we explored in our latest Madlik episode, it opens up a fascinating world of gesture, ritual, and cultural evolution. As I sat watching the presidential inauguration, I couldn't help but notice the raised hand during the oath of office. This simple gesture, so commonplace in our civic life, is surprisingly absent from our religious practice. Why is that? And what can we learn from the rich tradition of hand gestures in our biblical texts? In our conversation with Rabbi Adam Mintz, we delved into the surprising prevalence of hand gestures in the Torah. Did you know that the Hebrew Bible has the richest source of gesture phrases of any ancient Near Eastern religion or literature? It's true! From Aaron lifting his rod to God's promise of redemption with an outstretched arm, our sacred texts are filled with powerful non-verbal communication. But here's the kicker: despite this rich heritage, hand gestures are virtually non-existent in modern Jewish ritual and prayer. It's a stark contrast that begs the question: what happened?  

In honor of Residents' Rights Month, Don and I, along with our special guest-host, Producer Rick Mountcastle, the former US attorney famed for his role in the Purdue Pharma case, are highlighting the importance of listening to residents who live in our country's nursing homes, assisted living and board and care facilities. In episode 96, our guest, AARON ADAMS, helps us explore the emotional labyrinth of healthcare navigation which in too many cases isn't always kind. Aaron is a son, author inventor and former caregiver for his father, Thomas Adams, was a robust 75-year old. After treatment for heart issues, Thomas was sent to an acute rehab hospital. Through Aaron's poignant personal story caregiving for his father, we unveil the harsh realities of seeking adequate medical care and the systemic flaws that many families encounter. From Aaron's fiery exchange with healthcare providers who underestimated his father's needs, to the desperate struggle of a family fighting against hospital bureaucracy to grant their father a peaceful end at home, these narratives underscore the dire need for advocacy and transparency. Rick Mountcastle lends his legal expertise, dissecting these challenges and providing a sobering perspective on patient neglect and the systemic issues at hand. In a world where medical decisions can feel like a battlefield, the emotional rollercoaster of advocating for loved ones becomes evident. As families grapple with complex treatments and the ethical dilemmas surrounding end-of-life care, they find themselves questioning the motivations of medical professionals and the adequacy of patient care. The stories shared here emphasize the importance of informed advocacy, the emotional toll of feeling sidelined, and the sacrifices made to ensure dignity and respect for loved ones. Join us as we unravel these deeply personal and universal struggles, offering insights and solidarity to those navigating similar journeys. Connect with Aaron Adams on Facebook. Buzzsprout - Let's get your podcast launched! Start for FREE Instacart - Groceries delivered in as little as 1 hour. Free delivery on your first order over $35. Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you. Support the show JOIN THE PEOPLE OVER PROFIT MOVEMENT FOR NURSING HOME REFORM! Visit the No Country For Old People Website for more information. YOU CAN ALSO SUPPORT THE COMPLETION OF OUR DOCUMENTARY "NO COUNTRY FOR OLD PEOPLE" BY MAKING A TAX DEDUCTIBLE DONATION THROUGH THE NATIONAL CONSUMER VOICE HERE or GO FUND ME Purchase GERI-GADGETS® here. COUPON CODE: LCA20 for 20% Off No Minimum Follow us on Twitter, FB, IG, & TiK Tok

In honor of Residents' Rights Month, Don and I, along with our special guest-host, Producer Rick Mountcastle, the former US attorney famed for his role in the Purdue Pharma case,  are highlighting the importance of listening to residents who live in our country's nursing homes, assisted living and board and care facilities.In episode 96, our guest, AARON ADAMS, helps us explore the emotional labyrinth of healthcare navigation which in too many cases isn't always kind.  Aaron is a son, author inventor and former caregiver for his father, Thomas Adams, was a robust 75-year old.  After treatment for heart issues, Thomas was sent to an acute rehab hospital.   Through Aaron's poignant personal story caregiving for his father, we unveil the harsh realities of seeking adequate medical care and the systemic flaws that many families encounter. From Aaron's fiery exchange with healthcare providers who underestimated his father's needs, to the desperate struggle of a family fighting against hospital bureaucracy to grant their father a peaceful end at home, these narratives underscore the dire need for advocacy and transparency. Rick Mountcastle lends his legal expertise, dissecting these challenges and providing a sobering perspective on patient neglect and the systemic issues at hand.In a world where medical decisions can feel like a battlefield, the emotional rollercoaster of advocating for loved ones becomes evident. As families grapple with complex treatments and the ethical dilemmas surrounding end-of-life care, they find themselves questioning the motivations of medical professionals and the adequacy of patient care.The stories shared here emphasize the importance of informed advocacy, the emotional toll of feeling sidelined, and the sacrifices made to ensure dignity and respect for loved ones. Join us as we unravel these deeply personal and universal struggles, offering insights and solidarity to those navigating similar journeys.Connect with Aaron Adams on Facebook.Buzzsprout - Let's get your podcast launched!Start for FREEInstacart - Groceries delivered in as little as 1 hour.Free delivery on your first order over $35.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showJOIN THE PEOPLE OVER PROFIT MOVEMENT FOR NURSING HOME REFORM! Visit the No Country For Old People Website for more information.YOU CAN ALSO SUPPORT THE COMPLETION OF OUR DOCUMENTARY "NO COUNTRY FOR OLD PEOPLE" BY MAKING A TAX DEDUCTIBLE DONATION THROUGH THE NATIONAL CONSUMER VOICE HERE or GO FUND MEPurchase GERI-GADGETS® here.COUPON CODE: LCA20 for 20% Off No MinimumLearn more about Peter Istvan Photography here. Follow us on Twitter, FB, IG, & TiK Tok

Welcome to the Echo Play Podcast! In episode three, we gather in the green room with Michael and Paul for another round of laughs, wild stories, and unexpected moments.We kick things off with a chaotic roll call and quickly dive into tales from the band's adventures. From Aaron's memorable confrontation with a mic-grabbing fan during a post-COVID show to wild bar fights breaking out during Blink-182 covers, it's clear that Dick Belding's gigs are anything but dull. We reminisce about hilarious moments like leg wrestling incidents with roller derby girls and the time Michael ended up playing in his boxers.The episode is filled with behind-the-scenes antics, including Matt's infamous on-stage banter. We also touch on our diverse setlists, the challenges of playing specific songs, and why certain tracks have become a no-go.Join us for a casual, unfiltered look at life in a band, where the stories are as entertaining as the music. Whether you're here for the laughs, the music, or just to hear about our latest antics, the Echo Play Podcast has got you covered.

Send us a Text Message.Have you ever witnessed a moment where leadership falters or grace triumphs? Join me, your host, along with co-host Adnie and special guest Ray Gosa, as we navigate the storied path of Aaron to glean vital insights about grace, accountability, and the pursuit of perfection in faith. From Aaron's golden calf debacle to personal tales of spiritual guidance, our conversation promises to shed light on the complexities of religious mentorship and the resilience required to steer a community through both triumph and error.As we wrap up our enlightening exchange, we confront the uncomfortable presence of hypocrisy in religious practices and its tension with societal norms. By sharing analogies from everyday life and sportsmanship, we illustrate the significance of personal accountability in our spiritual growth, leaving you with a poignant reminder of the choices we make today and their eternal implications.  A Call to SalvationSupport the Show.Social Media/Follow Us: Website:https://www.calledbygodpodcast.com/IG: https://www.instagram.com/cbg.podcast/Twitter: https://twitter.com/CalledbyGodPodTikTok: https://www.tiktok.com/@calledbygodpodcast

On December 8th, I hosted a webinar called “What “Do Showrunners Look For In A Script,” where I talked about how to come up with interesting and unique characters, as well as how tapping into your everyday life interactions with people can help with this. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesA Paper Orchestra on Website: - https://michaeljamin.com/bookA Paper Orchestra on Audible: - https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon: - https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads: - https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMichael Jamin:Well, no one cares that you took my course, so zero. No one's going to be. That's why we don't give a diploma out because the diploma is worthless. No one really cares if you went where you studied, who taught you all they care about? Is the script good or not? Does it make them want to turn the page or not? Do they want to find out what happens next or not?Michael Jamin:You are listening to What the Hell is Michael Jamin talking about conversations in writing, art, and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase And to support me in this podcast, please visit michael jamin.com/book and now on with the show.Michael Jamin:Hey everyone, welcome to a very special episode of What the Hell is Michael Jamin talking about. I'm here with my guest host Kevin Lewandowski, and he helps out a lot with the podcast, with all my social stuff, and he's actually by trade. He's a writer's assistant script coordinator, which is actually one step higher than writer's assistant, so he's worked on a bunch of shows. Kevin, welcome to the show.Kevin Lewandowski:Thank you for having me. Michael, for those of you, sorry I'm not Phil, I'm just kind of filling in for Phil for a couple days, but I'm excited to be here. And yeah, I hope to tell you all a little bit about script coordinating as well and what that all entails,Michael Jamin:Fill in and fulfill, fillKevin Lewandowski:In and fulfill.Michael Jamin:What shows were you script coordinator on?Kevin Lewandowski:So the big one was Why Women Kill.Michael Jamin:Did we ever figure out why?Kevin Lewandowski:I mean, depending on who you ask, a lot of women will say because of men,Michael Jamin:They kill for ratings.Kevin Lewandowski:Right? Okay, that's better. But yeah, that was, I forgot how long ago that was, but that was, unfortunately we got canceled four or five days before we were supposed to start filming. Our actors had just landed in Canada and then the next day they announced they were pulling the plug on the show.Michael Jamin:Why?Kevin Lewandowski:It could be many reasons. I think a lot of it had to do with we were a little bit behind on scripts and then budgeting and we were still kind of in the midst of covid precautions and things like that.Michael Jamin:Covid, people don't realize, especially new showrunners, you don't mess with the budget. You get things done on time, Ross, you're screwed. What other shows did you work on then?Kevin Lewandowski:So the first show I ever worked on was in 2015. It was the Muppets, and it was funny. I thought if anyone ever caught a break, this is my break. I was like, it's the Muppets, it's going to go on for five or six years and I'm just going to notch up every year. And after 16 episodes, that one got canceled.Michael Jamin:What's Ms. Piggy really like?Kevin Lewandowski:I mean, she is who she is. Difficult. Yeah, she's difficult. She's a bit of a diva. We have to had to cater to all of her needs.Michael Jamin:What about, I'm sorry, and what were the other shows? Screw Miss Piggy. Yeah,Kevin Lewandowski:Screw Miss Piggy. So after that, a bunch of pilots that never got picked up, and then I worked for a show on Netflix called The Ranch with AshleyMichael Jamin:ElementKevin Lewandowski:That was a live audience show and I was there for two seasons. I'm trying to think after that. It's all becoming a blur. I did two seasons of Why Women Kill. Actually the first year I was a line producer's assistant, and so that was interesting to kind of see the financial side of things and see where they decide to put the money in. And then for season three, they moved me to Script coordinator,Michael Jamin:But the Branch was a legit show. That was a big show.Kevin Lewandowski:That was a lot of fun because I'd always wanted to work in the Multicam world. There's just something about show night and it's just kind of a big party for everyone and you get to see the audience's instant gratification. It's just a lot of fun. A lot of fun to work on those shows.Michael Jamin:Yeah. Well now the next thing for us to do is try to get you into one of these jobs so you don't have to co-host with me all the time on thisKevin Lewandowski:Podcast. I don't mind co-hosting with you.Michael Jamin:Oh, all right. Well, we'll see if you feel that way at the end. Okay, that's fair. So we are doing, this is a special q and a. We do these monthly webinars or whatever, every three weeks actually, and we have a lot of questions we can't answer. And so we save 'em for the podcast. And now Kevin's going to feed them to me. He's going to regurgitate them to me. He's going to baby bird them into my mouth, and then I'm going to try to answer them as best I can.Kevin Lewandowski:Early Bird gets the worm or something like that.Michael Jamin:Gross. Kevin Gross.Kevin Lewandowski:And I apologize in advance for anyone's name I might butcher.Michael Jamin:It's okay. They don't need to. I mean whatever if you get 'em wrong. Okay,Kevin Lewandowski:So these first few questions are going to be kind of course related questions. The first one is from Dat Boy, D-A-T-B-O-I. And that person's asking, what are the best tips for making my script shine more than the rest?Michael Jamin:Oh boy. Well, I wish he would. Well, he was already at my free webinar. I wish he would sign up for my course. I mean, that's what the course is. The best tips for making it shine is making sure your act breaks pop, making sure the dialogue feels fresh, your characters are original. I mean, there's no tips. It's not a tips thing. It's 14 hours of, let me tell you how to do it. That boy, I wish. What do you think, Kevin? What's your answer for him?Kevin Lewandowski:I think it's one of the things you always say on your webinars is after taking my course, you'll just hear me yelling in your head all the time about this is your end of act two moment, this is this, this is that. And I can vouch for that and say, anytime I'm looking through a script or even watching a TV show, because of your course and just understanding the story structure, you get those spider senses like, oh, the raising the stake should be coming very soon. Now we're about halfway through the episode, so something better be changing here. And I think it's just, again, everything you say in your course of just knowing those beats when they need to hit how they need to pop will help set your script ahead of amateur writers.Michael Jamin:You're a good student, Kevin.Kevin Lewandowski:Yeah. Thanks.Michael Jamin:Alright, what's next?Kevin Lewandowski:So km phs, when I say I don't have experience, but I have a killer pilot and I took Michael Jamin's course. How much of a difference is the course going to make in terms of being a desirable hire?Michael Jamin:No one cares that you took my course. So zero no one's. That's why we don't give a diploma out because the diploma is worthless. No one really cares if you went where you studied, who taught you all they care about, is the script good or not? Does it make them want to turn the page or not? Do they want to find out what happens next or not? So I wish I could give you a better answer than that, but it's not the degree. The degree isn't worth anything. Hopefully the knowledge is worth something.Kevin Lewandowski:I think the analogy I have in my head of your courses, I look at scripts I wrote before taking your course, and it's like when you look back at high school photos and I had the Frosted tips, the pca, shell, necklace, hoop earring, and at the time it was cool. And now you look back and it's like it's pretty cringe-worthy. It's pretty cringe-worthy to see those photos. And now after taking your course, I feel like it's like now I'm wearing a suit and I don't have the poop hearing and I don't have the frosted tips, and I'm not as cringe-worthy when I look back at some of the scripts I wrote a year or so ago.Michael Jamin:Good, good. All right, good. Very good. Impressing me more and more, Kevin.Kevin Lewandowski:Right? Next question. Ous. I'm butchering that one. Nope,Michael Jamin:Perfectly. That's how he says his name.Kevin Lewandowski:Yeah. What are the most important things an inspiring writer should be aware of while reviewing one script before sending it to an established executive or writer?Michael Jamin:God, it's pretty much the same answer as all the other ones. It's like, do your act breaks, pop? Is it fresh? The dialogue, I'm sorry, but it's the same answer, so I don't really have anything to say. Yeah, yeah.Kevin Lewandowski:Next question, mal. Yay.Michael Jamin:Exactly.Kevin Lewandowski:In a 26 page pilot is page 11 two, late for the first act break, second act break or second act being on page 20.Michael Jamin:On the 26 page script, the first back page is on 11, is that what they said?Kevin Lewandowski:Yeah.Michael Jamin:It's not terrible. I've seen worse things. I'm assuming it's a single space. It's not terrible. Yeah.Kevin Lewandowski:Colin Miller, what is a good system to practice writing every day? I like this question.Michael Jamin:A good system, a good system. I don't know why you like it, because I'm stumped. I mean, I would just say write a good system is to, I'm most creative in the morning, so that's when I want to write and I try to do my busy work in the evening stuff that's easier, but you might be a night owl, but I would just carve out time every day and just sit down at the computer and write. And don't be so precious that no one's going to look at your first draft. That first draft can be terrible, so don't just get it on paper. Yeah.Kevin Lewandowski:Yeah. I think a lot of maybe misconceptions people have is writing every day isn't necessarily open up final draft and typing something. Sometimes it's going on a walk for an hour and a half and thinking about the story you're trying to tell and laying out the beats in, I live in Glendale and there's a outdoor mall. It's fun to kind of just walk around there and people watch a little bit. And sometimesMichael Jamin:The Americana, that's where you go.Kevin Lewandowski:Yep. Right By the Americana.Michael Jamin:Are you in walking distance to thatKevin Lewandowski:Few blocks?Michael Jamin:Interesting. Okay. Alright. You'd like to go on the trolley.Kevin Lewandowski:I've never been on that trolley. I'm always afraidMichael Jamin:You like to ring the bell on trolley, Kevin. Yeah.Kevin Lewandowski:I'm always afraid it's going to hit someone.Michael Jamin:Yeah, I know. I know.Kevin Lewandowski:I think takes up a lot of the bottom of the path.Michael Jamin:Yeah. AllKevin Lewandowski:Right. Next question. So NRS creates, I guess this is a question, it's more of a comment. It said, agreed. The course is changing the way I see all of my stories. Good, great.Michael Jamin:Great.Kevin Lewandowski:Christina Sini, who's a current student, and Michael Jamin's course, we learned to break and structure story well before writing those bits and pieces of a script glued together that we won't have to cling to anyone to make them fit. We basically learned how to build in order. I think that goes back to your analogy of laying the foundation first and doing, starting with the characters in beat sheets and then outlining and eventually getting to the physical writing of the script.Michael Jamin:Yeah, she's doing great, Christina. She's having a good amount of success early on, so I'm impressed.Kevin Lewandowski:Another very active person in the course, Laurie. John Michael's course is amazing. When you take the class, you also become of the Jam and Facebook community. We do table reads and give each other notes twice a month. Writer sprints, Wednesday nights and mock writer's room. So anyone that's thinking about getting the course, we have this private Facebook group and it's a bunch of great people in there and we are all just trying to build each other up.Michael Jamin:It really is. It's impressive because when you look at some of the other Facebook groups, the screenwriting groups or on Reddit or groups, it's mostly people trying to tear each other down. But because this is private, I think they're not like that at all. It's a community, I think.Kevin Lewandowski:Yeah, I think that was a big thing for you because you said you were in some of those groups, and I think you even said you sometimes as a professional working writer, you would say something that people would attackMichael Jamin:You. Yeah. You don't, what are you talking about? Oh, alright. I happened once or twice. I was say, I'm done. Yeah.Kevin Lewandowski:All right. Next question. VV oral, is it worth it? And parentheses story structure is very detailed in your course, so I think maybe it's worth it, not is it worth it? Yeah. I think it's just more people praising about your course.Michael Jamin:Okay.Kevin Lewandowski:Let's see. Okay, now we have some craft questions. Good. From Mal mavey, they, again, is it okay to end a pilot on a cliffhanger?Michael Jamin:Yeah, it's okay, but better not. You're really counting on the fact that anyone's going to care, so you're better. I think what the danger is, you may be writing towards this cliffhanger thinking that everyone's going to be so, oh my God, what's going to happen if you don't write? If all those pages beforehand aren't so great, no one's going to care what happens. And so a lot of people write towards this cliffhanger thinking, oh, aren't you going to be enthralled? And the answer is no, we don't care.Kevin Lewandowski:Yeah. Yeah. I think trying to work backwards from that I think can be a disservice. And I think it's just you definitely don't want that cliffhanger to be more exciting necessarily than your act one break, because that's what we know what we're following. Lex Macaluso, once I have a great script, what are the practical steps to do?Michael Jamin:Well, once you have a great script, write another one for sure. And then you want to make sure you actually do have a great script. And you do that by showing it to people. And it doesn't have to be somebody in the industry. It could be a friend or a mother or someone whose opinion you trust. What do you think? And if they love it and they say, this is amazing, show me something else. You're onto something. But if they say, well, I like this part, or I like when this happened, or This is a good storyline, then that's not a great script. So you have to be honest with yourself. It's really, look, it's really hard to write a great script. Everyone assumes they have it and I don't assume I have it. So when I do my job really well, I might have a good script. A great script is really, you got to really hit it out of the park.Kevin Lewandowski:And I think just that idea of what is a great script, so arbitrary, and I think it's sticking to the story structure of what you teach in your course can help set your script apart from others.Michael Jamin:Yeah. And honestly, it is those things that I'm looking for. All the things that I say that when I'm reading a script, what I'm looking for and what I'm really looking for is I want a really good script. It doesn't even have to be great because a really good script stands out great or amazing is very rare. I mean, how often do you see a movie that's been made or a TV show and you go, this is a great script. Most of the time you're like, oh, this is really good.Kevin Lewandowski:So if you were reading a script, and let's say maybe the structure wasn't where you think it should be, but the characters were very compelling and the characters were witty with what they were saying. Would you still be okay with that? Or vice versa if maybe the characters was a little bit too much speaking on the nose, but the structure and everything was spot on with that.Michael Jamin:Years ago we hired on a show, we were running a show and we were reading a ton of scripts, and we got to one where Act one was really good. Act two was really good, and Act three was not very good. And we hired him anyway because we were thought at that point, I was like, he did the first two parts really well, I could fix, or we could fix Act three, not a problem. And so I think that says a lot. You do act one, walk two. That's a big deal. He's a young writer.Kevin Lewandowski:Do you see a pattern with a lot of writers starting out is Act two where they struggle the most? Or is it act three or is it,Michael Jamin:Listen, I don't make it to act two. If Act one isn't good, I don't read further. I get another script. If I get a stack of scripts, who cares about Act two? Fact One sucks.Kevin Lewandowski:Yeah. Ben Miller, what screenplays are the best to read, to learn from perhaps the West Wing pilot, which I read in a screenwriting class?Michael Jamin:Well, it depends what you want to write. If you want to write drama, then maybe West Wing pilot, I haven't read it, but you can also learn from reading band scripts. You can say to yourself, if long as you're honest, why am I not interested in this? And if you know what to look for, why is the script not compelling? Is the dialogue, is it the act breaks? Do they now you'll know what to look for? And then the trick is to be honest with yourself. There's been times even in my early career where I might pitch something to my partner and he'll say, if you read that in a script and someone else's script, you'd say, that sucks. And I go, really? I thought it was good. He goes, no, no, you would say it sucks. So then at that point, you got to go, okay, you got to back off. And you don't fight for it. You got to be honest with yourself.Kevin Lewandowski:I think another amazing thing in today's world that didn't really exist when you start out is pretty much any show that's out there right now, you can get access to some version of the script, whether it was a writer's draft or a production draft. IsMichael Jamin:That true? How do you find them?Kevin Lewandowski:I mean, if you just go to Google and you type in Breaking Bad Pilot script, there's going to be versions that you can download. It's always interesting to read those scripts and then watch the first episode and see how much did they change? Because I doubt you'll be able to find necessarily the final shooting draft online, but those first couple writer's drafts are available. And it's always interesting just to see you're reading it and you really, really like this part, but then you watch the episode and they took it out. You're like, oh, okay. That's interesting thatMichael Jamin:If you really wanted up your game, you could also watch the pilot of Breaking Bag and type out the script while you're watching it and then read it later and look for what are the act breaks, literally, what are the act breaks? How do they work? What's the dialogue on that? What's the last line of every scene? What's the dialogue? At the last line,Kevin Lewandowski:When I was doing writer's assistant script coordinate stuff, that's what I used to do to type faster just sit and watch TV and just type out the script as it was happening.Michael Jamin:Wow, good forKevin Lewandowski:You. Because in the room, they don't like it when you say, Hey, can you slow down a little bit? Can I hear that again? No, you got to go.Michael Jamin:Yeah.Kevin Lewandowski:Okay. Part, what advice would you offer writers to adapt to the inevitable changes in developments expected in the screenwriting field and then years to come? I'm assuming that's in the context of chat, GPT, ai, that kind of stuff.Michael Jamin:Right now, that stuff is being regulated. I don't know of anybody who's using it in a writer's room. That's not to say I could easily be out of the loop, so I don't know. But right now, as far as I know, chat, GPT wasn't a tool. Any writer that I knew was clamoring for, because we all knew if it works, it's going to put us out of a job. So any changes? I don't know. I really don't know. I would just say maybe I'm naive, but stay the course. Figure out how to write without using a computer program or else, because if you're using the computer program, what do we need you for?Kevin Lewandowski:Right. Have you ever just to see what it would look like, just prompt, Chappie, just to write you a random scene just to see what it would look like, and then compare it to your knowledge you have of being a professional writer forMichael Jamin:Many years. Well, a couple of months ago, my partner decided to put some prompts into chat, GPT to come up with story ideas for Come FD for the show we were on. He just read 'em to me. We were both laughing at how terrible they were. It was like a paragraph of what's going to happen in this episode. And it was interesting how it was able to glean what the show was and what it was like, but it was just such an oversimplification of what the show, it lacked any nuance. It was kind of stupid. It was like, nah, that's not, I know. That's what it was almost like asking a 4-year-old what you think the show is and the four year olds. Yeah. Okay. You're right. It's about firemen. Okay, sure. But other than that, the ideas were terrible.Kevin Lewandowski:Yeah. Another question from NRS creates, what are your thoughts on screenwriting competition websites like Cover Fly and the Blacklist? Is that a good way to get a script into people's hands? Thoughts on one act, scripts, one act plays? Do they have three acts?Michael Jamin:A lot of questions. I think you're the better person to answer the first part.Kevin Lewandowski:Yeah. So I've definitely submitted to some of those contests just to see A, if I would get any more B, what kind of feedback they would give. And a lot of times it's not very helpful feedback. And you've talked about, you have to question who these people are that are giving feedback, because chances are, they're not professional working writers right now. They would not have the time to go through 20, 30 scripts to give feedback. So chances are these could potentially be recent college graduates that are just doing what they think, what they learned in film school. And interestingly enough, I think Phil, he went through one competition. He sent me what the feedback was, and just reading it, I was like, this sounds very Chat, GPT ai. It was just very, because he sent me other ones he got, and I was like, okay, this feels like a person actually read this. This feels like it could have been put in chat, GPT, write a response based on what you think. And then when I said that to him, he was like, you might be right. He's like, you might be right. Interesting.Michael Jamin:Back when I was writing my book and I submitted to some publishers, whatever, a couple wrote back why they didn't like it, why they didn't want to option the book or whatever, and whatever. A couple of them, their feedback was like, no, it's clear to me you barely read it. Which I understand because these were low level publishing types editors. And on their weekend read, they probably had to read a couple dozen books, manuscripts, they're not going to give it full attention. And I was like, so some of the criticism, I was like, okay, that's a fair criticism. But no, but that is not, there's literally no truth in what you're saying there. You just phoned it in because you have to read so much over the weekend. So I don't know. Got to take, no one's going. I mean, it's the same thing for these websites. Are they really going to put their heart and soul into it? No. Why would TheyKevin Lewandowski:Don't care. They just want theMichael Jamin:Money. Yeah. Why would they? Yeah.Kevin Lewandowski:You think about someone in your position giving feedback to a fellow writer that might take you two and a half hours, read the script, think about your notes, and then put 'em in a format to be able to explain them to the writer. And I don't think these people in those competitions are doing that. They probably just read it once and write down what they think. And it's funny how some of them, it's what would you rank the character dialogue on a one to 10, and they write six and a half. It's like,Michael Jamin:Where are you gettingKevin Lewandowski:That from? One is six and half. So then what would've gotten me an eight or an half or a nine?Michael Jamin:One of the things we just started doing on their website, if you have the course, our screenwriting course, I have a couple of friends who are high level writers who are willing to give notes. But here's the thing, you're going to pay. It's not cheap. You're going to pay these people to sit down and read your damn script for two or three hours and they're not getting $10 an hour. That's not what they're going to get. I don't know what you get paid for,Kevin Lewandowski:I guess. So is this a good way to get your script into people's hands? So I think, yeah, mean it's technically people's hands, but I don't know ifMichael Jamin:I don't think they're the right hands.Kevin Lewandowski:Feedback is going to be any valuable. And then thoughts on one X Scripts. One X plays, do they have three x inherently?Michael Jamin:That's an interesting question. Do they have three acts? I would say yes, in terms of the structure, in terms of what makes something compelling, but not necessarily, I guess I've written some stories in my book that don't fall into the traditional three Acts structure, but they come close. They definitely come close to it. And that's just because, well, it doesn't really matter why, but you can't go wrong. You really can't go wrong if you structure something like the way we teach.Kevin Lewandowski:So in your opinion, because heard, sometimes people use a five act structure, and I think for me, I think it's basically the same three act structure, but so act one will be act one, and then Act two isMichael Jamin:ActKevin Lewandowski:Two A and then Act two B. And so it's kind of broken up like that. So for me,Michael Jamin:Well, Shakespeare wrote that way. Yeah.Kevin Lewandowski:And he's all right. He did.Michael Jamin:Yeah. I mean, I just think it's easier not to write. I just think three is easier to get your head around. Yeah.Kevin Lewandowski:Yeah. I think just the thought of hearing the words, so writing five acts, that just sounds like it can be a lot, but if you could be like, oh, three acts, okay, I can do that.Michael Jamin:Yeah. Right. Anyone could do that. Yeah.Kevin Lewandowski:Next topic, breaking in. DJ asked when starting out to obtain that experience, what sort of job should one be searching for, staff, writer, assistant, et cetera?Michael Jamin:You should be searching for the production assistant job anywhere, and eventually, after a season or two, see if you can move to a job that's closer to the writer's room. Physically, let's do what Kevin did. That's what he did.Kevin Lewandowski:And I think there's a staff writer that's obviously not entry level assistant. There's various assistant positions you could do production assistant, you can do showrunners, assistant executive assistant. I think one of the, or the terminologies people may get confused is writer's production assistant and then writer's assistant. And the writer's production assistant is the one that's responsible for getting the lunches, stocking the kitchen, making copies, things like that. And the writer's assistant is the one that sits in the room, types up the notes and the jokes that are being pitched. And they work closely with the script coordinator. And as you've said, many times, the writer's assistant is not an entry level job. It can be very intensive times.Michael Jamin:And for what's worth, I've worked with several assistants, either writer's, assistant production assistants, who've since gone on to become staff writers have had successful careers. So it's not like many. So Kevin, hopefully you'll be next.Kevin Lewandowski:Yeah, I'm hoping so too. Next question, Sammy. ak. So the best way to get a foot in the door to support and learn the biz write in assistant or pa, we kind of just answer that. Yeah. Production assistant is that entry level. You're kind of just the gopher and you're the whatever they kind of need you go do, and you prove yourself to those people above you. And they notice. Notice people notice when you're either calling it in or you're really going above and beyond to make whoever's ahead of you life a little bit easier. Yeah. All right. Now we got some miscellaneous. Oh, here's a fun question. Tulio, how close are you to officially publishing your book, Michael,Michael Jamin:It's already out tulio. You can go get it. You can find it. Sign copies are available@michaeljamin.com slash book. Or you could search for a paper orchestra on Amazon or Barnes and Noble, or the audio book on Audible or Spotify or Apple. How about that?Kevin Lewandowski:Get the book. Everyone get the book. The comment to address from Jonathan Loudon, real world dilemma. I like this. Can't get experience without getting hired. Can't get hired without experience. That's why, who is such a reality?Michael Jamin:Well, but if you're starting off in an entry level position, you don't need to know anybody. You just have to put yourself out there. And then in terms of knowing someone later in your job, well, now you already know people. Now you broke because entry levels, literally, you have a pulse in a car. So I find that it's a convenient excuse. Put yourself out there, and Kevin, you didn't have any contacts when you broke into Hollywood. None. So there you go.Kevin Lewandowski:You just got to knock on some doors. I think people that work in the industry, they know kind of how it works. Once you break in, you become a pa, and you make those network connections with production coordinators that you've worked with and people on the show, and you build those genuine relationships and you do good. Then when they go to the next show and they're like, Hey, we need someone, then they'll reach out to you andMichael Jamin:They're not reaching out for you because they're as a favor to you. They're reaching out to you because we need to hire someone. And I don't really want to spend days interviewing.Kevin Lewandowski:I already know you can do the job. It's so much easier just to bring you aboard.Michael Jamin:Yeah, right. It's not like a favor to you. It's a favor to them.Kevin Lewandowski:Yeah.Michael Jamin:You are listening to, what the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A Paper Orchestra, A Collection of True Stories. John Mayer says, it's fantastic. It's multi timal. It runs all levels of the pyramid at the same time, his knockout punches are stinging, sincerity, and Kirker View says, those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft, will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, come check out my book, go get an ebook or a paperback, or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book, and now back to our show.Kevin Lewandowski:Next question, all nighters cinema, what makes your script stand out? If it's a book adaptation and the story isn't your original story,Michael Jamin:Well, do you have the rights to adapt? A book is one question. So if you don't, I probably wouldn't adapt it. And that's not to say that when people think you adapt a book, you still have to have these act break pops. These scenes have to unfold. It's not like books are a slam dunk to adapt. I mean, there's definitely some art and craft that has to be applied to turning into a script. So that's how you make it stand out.Kevin Lewandowski:And I think one of the other things you like to say is if you have a book, there might be a few different stories happening throughout that book. And in your paper orchestra, one of the examples you get, oh, I forget what it was called about the swing dance, and I forgot that chapterMichael Jamin:Was called Yes, swing and a Miss.Kevin Lewandowski:Yeah. As you said, there was other stuff happening at that point in your life, but it was just this story was the one you wanted to tell. Of course you were going to work and doing stuff like that, but this was the story you wanted to tell.Michael Jamin:Right. And also, how many times have you seen they've adapted a book, I don't know, a popular book into a TV show movie? And sometimes it's good and sometimes it's bad. It's because it's not as simple as simply typing the book.Kevin Lewandowski:And a lot of times people say the book was even better or the book was better anyways. And I mean, it's hard to take 300 pages of a book and consented toMichael Jamin:An hour and a half movie. Right.Kevin Lewandowski:David Sallow, what if you a show idea that you have done the work on and think it uniquely speaks to the present moment? Are there any shortcuts possible there or noMichael Jamin:Shortcuts to what? You got to write a script. Yeah. There's no shortcuts to write in a good script, and there's no shortcuts to selling it. There's no shortcuts anywhere. Shortcuts. When does shortcuts ever work? I don't know. Where are the shortcuts? Yeah, little Ed riding Hood. Other than that, in real life, you got to put the work in. Right.Kevin Lewandowski:Do you ever watch the, there's a documentary about the South Park creators and how from they, from blank page to delivering the episode, how many days do you think,Michael Jamin:Well, I know they're super fast, so I would say five,Kevin Lewandowski:Six.Michael Jamin:Six.Kevin Lewandowski:Okay. Six days. That's very fast. They are delivering it like a half hour before it's supposed to. Yeah.Michael Jamin:And that's because the animation process is so crude that they can do it so quickly, but that's fast,Kevin Lewandowski:And we've just gotten used to it that way. So I think with them in an interesting way, that's why their shows seem like their current and present, because something could have happened in the news last week, and then that episode could air next week. Whereas other animation shows, and I know you've worked in animation, sometimes it's seven, eight months before that episode,Michael Jamin:Or it could be nine months, nine months animated show. So yeah, you don't do anything top of one within in an animated show, not the ones I've done.Kevin Lewandowski:Yeah. Next question. What if I wrote lyrics to the theme song? Is that okay to include? I think this might be in the context of one of the things you say in your scripts, don't write music cues. Don't write, don't put song lyrics in there, or something like that.Michael Jamin:I mean, if you think you got fantastic lyrics and you're going to really impress the hell out of someone, but you still have to, when I'm reading the script, I have to imagine what the music is, and I'm not going to imagine the music. And I suppose you can write the lyrics and maybe some people will read it and some won't. So it's up to you. Do you really think it's fantastic or not?Kevin Lewandowski:I had a couple scripts that I put part of a song in there and then listening to, I'm like, no, it's coming out, taking it out.Michael Jamin:In my opinion, there's really no, I'm not crazy about reading that.Kevin Lewandowski:Yeah,Michael Jamin:I mean, maybe others are, I don't know.Kevin Lewandowski:Well, I think, I think back to my script, it was I just kind of being lazy. Could I take that three eighths of a page and add something in there that's going to help move the storyline further, or was I just looking for a, what's a funny moment I could have right now?Michael Jamin:Right. Okay.Kevin Lewandowski:Let's see. From Aaron, in terms of recognizing good writing, writing, what is considered too much in terms of providing direction to actors, description of character, thoughts and emotions, et cetera?Michael Jamin:The less the better, in my opinion. You don't want let the actors do their job, and if you feel you can't convey the anger in a scene or the love in a scene with dialogue and you're yelling at the actors, do it this way, then you haven't done your job as the writer do your job. Not everyone else's. As far as action lines go, I am of the camp that the shorter the better because most writers or most people reading do not want to read your action line. I suppose one day, if get, I think when you get more successful, if you're Aaron Sorkin, you can write whatever the hell you want. You're, because he writes his actions line. I imagine poetry, it's probably his action lines are probably just as interesting as his dialogue because he's such a great writer, but don't count on it when you're starting off.Kevin Lewandowski:I was reading something, I forgot who the actor was, but they said, the actor always requested that their script have commas and apostrophes taken out of dialogue because they felt like they didn't want someone telling them how to say things. And I was like, I can respect as an actor, but I was like, that poor script coordinator, they have to go through that whole script again and take everything out.Michael Jamin:That's a little bit much to me. It seems like putting a comma there is like that's just grammar. And if they wanted to take it out, I think they should do it themselves, but whatever,Kevin Lewandowski:From Jonathan Loudon, again, how many feature films have you written, pitched, but never sold?Michael Jamin:Well, we wrote one completely as a spec, and that did not sell, but that got us a producer interested in our writing, and then we wrote two more that did sell as pitches. We pitched them first, then we got paid to write the script. And as far as I can remember, I don't think we wrote any other feature scripts. I think we maybe had some ideas that were batting around, but we never actually pitched or wrote, but we work mostly in tv.Kevin Lewandowski:So do you know, because from what I can recall, you've never sold a feature that actually went into production, correct. Right,Michael Jamin:Right. They they never do.Kevin Lewandowski:Yeah. And how do you think you would feel, because as you say, tv, the showrunner head writer has the final say, and on a feature, it's the director that has the final say. I worked with someone, his name's Steve Rudnick, and he wrote Space Jam and the Santa Clause movies with Tim Allen, and he told me this story how he was at a baseball game and he saw someone walking down the aisle and it had a Space jam cast and crew jacket. And he asked the guy and he was like, can I ask you where you got that jacket? That's a really cool jacket. And he's like, oh, I worked on production. This was all our rap gifts, and Steve never got one because writers usually aren't part of the production aspect onMichael Jamin:Feature, and he was accredited writer on it. Right. That's what an actor thought he was. Yeah. Yeah. I think that's probably common. I don't know why people want to become writers on movies. I mean, it would be cool, but maybe he was heavily rewritten. Maybe he was, I don't know.Kevin Lewandowski:He was so bummed. Yeah.Michael Jamin:Yeah. He wasn't invited to anything.Kevin Lewandowski:Yeah. Right. Geo, could you elaborate on the things not to say to executives or some examples of what the producer said?Michael Jamin:What the producer said? I'm not sure I answered the question.Kevin Lewandowski:So can you elaborate on the things, so I guess as a writer, and maybe you gave your script to an executive and they were giving you feedback or said, Hey, maybe do this, do this. How would you respond to those notes?Michael Jamin:Yeah, you want to be positive. Great. We'll work on that. Thank you. Good idea. Interesting thought. We'll definitely do our best with that, and then later, hopefully you can take 90% of the notes and the ones you can't take, you say, I think we address the spirit of your note. Even if we couldn't address your notes or this one, we couldn't make it work occasionally, but you're doing 90% of the notes. Yeah.Kevin Lewandowski:I think the phrase I would always hear on notes calls is, okay, well, yeah, we'll take a look at it. We'll take a look at that. Yeah,Michael Jamin:We'll take a look at it. Yeah. We,Kevin Lewandowski:Next question from Cody, with short seasons, freelance opportunities have mostly gone away, but are there still opportunities for freelance, and if so, how are writers polled in for those?Michael Jamin:I don't know. That's a good question because that's a question. You'd have to look that up with the Writer's Guild. I don't remember on our last show there, I don't recall ever having those guys doing freelance, giving off freelance episodes to anyone. So it used to be a Writer's Guild mandate if the show was a certain length that they had to give out a certain number of freelancers. And now maybe they don't have to, but I wouldn't either way get it out of your head that you're ever going to sell a freelance episode because it's just so over my 28 years, I think I've sold maybe three freelance episodes and I would do more. It's not a problem. It's just that they're really hard to get.Kevin Lewandowski:And I think a lot of times what happens in writer's rooms is those writer's assistants and script coordinators that have proved their worth for a couple of seasons. If that opportunity comes for them to get a freelance episode, the showrunner helps 'em out with that, and that helps them get into the Writer's Guild and things likeMichael Jamin:That. That's usually a bone you throw those support staff after they've been there a couple of years.Kevin Lewandowski:That's a nice bonus. It's a nice check to get. Next question, David Campbell. Does the creator continue to have involvement or do you teach them on the job?Michael Jamin:If someone creates the show and they are not the showrunner, which just happened on a couple shows we've done. We were not the showrunner and the creator had involved. They were on the writing staff, but they didn't have any say. They didn't have the final say or anything. If we are the showrunner, whoever's the runner has final say. Yeah.Kevin Lewandowski:Next question, nerds and friends, how many writers' rooms are virtual remote nowadays? What is the path to becoming a showrunner? Is it a writer pivoting into that role? I can imagine producing experience helps.Michael Jamin:No, so a showrunner is the head writer. The way you become a showrunner is by being a writer on many shows and being good at writing, and then the producing aspect of the job. You kind of learn on the job as you rise up the ranks. You don't have to take a course or there's no certification, and it's something you can fake.Kevin Lewandowski:For me, I never really understood what the word producer meant. No one in the context of television, because it's working in the industry, you learn, okay, writers can be producers, but then sometimes accountants, if they're high enough, they can also be producers. And not every producer is necessarily like the creative vision. Some of them deal with the money aspect of it.Michael Jamin:Yeah. They're non-writing producers or non-writing executive producers, they'reKevin Lewandowski:Called. Yeah. Next question, K with an asterisk next to it. Are series filmed for streaming services similar to TV regarding creative control for the show runner?Michael Jamin:Yeah. Yes.Kevin Lewandowski:Easy question. Yeah, all-nighter cinema. How different is trying to greenlight a serial TV show versus a mini series?Michael Jamin:It just depends on what the network, usually they're buying series. They're not buying mini series there. Sometimes they're buying limited series. It just depends on the network. And I wouldn't even approach, again, your goal is to write one great script as a writing sample, and it's not to time the market and figure out who's buying what. Can you write a script? Answer that question first,Kevin Lewandowski:Right? If a studio buys your pilot but ends up passing and an exec at another studio is interested, how realistic is it that they'll buy it againMichael Jamin:If the first one will buy it?Kevin Lewandowski:I don't know. I'm wondering if they're asking just because one studio passes on your script, does that mean every studio is going to pass on it?Michael Jamin:No. No. Usually if you're lucky, you pitch to five studios and one buys it. That's how they don't all want to buy it. You're lucky if one wants to buy it. But again, what's frustrating about all these questions that we're hearing is everyone's saying, how do I make money selling a script? And no one's saying, how do I write a good script? Everyone is already assuming that. It's just so damn frustrating. It's like, guys, what do you think? How do you think this is going to work? It's not about the meeting. It's about writing a damn good script. First thing's first. So I don't know, what are you going to do? I yell into the wind. People don't listen to me on this.Kevin Lewandowski:I listen. They'll listen. They'll listen. Yeah. I mean, I think there's almost this weird delusion that people think they're going to move out here within a year. They're going to have their own show. And I was just talking to someone the other day that they're going to USC, and she was talking about kind of her timeline with things, and she said, I want to give myself five years from when I graduate in 2025 to try to get into a writer's room. And when she said that to me, I said, very realistic. That's not too quick that, because there's a lot of luck of, IMichael Jamin:Thought you were going to say have her own show on the air.Kevin Lewandowski:No, no. She was very much, if I can be in a writer's room in five years. So I thought, yeah, because tough, because if you can get on that show that season one, it's not a hit yet, then it becomes a hit that can definitely fast track you a little bit. And my struggle has been, none of the pilots I've worked on have gotten picked up and shows have gotten canceled. And I'd like to believe that's not my fault, but it's hard to look at the No, I'm kidding. I'm kidding.Michael Jamin:But yeah. But it's a little frustrating when people ask these questions sound to me like when I hit a grand Slam, who do I high five first? They're like, dude, can you get on base? Do you know how to get a base hit? What are you talking about? Just get a base hit first. So that's what it sounds like to me. And I wish people would just have more realistic expectations and would take a little more, everyone's assuming they already knew how to do the hard part.Kevin Lewandowski:Yeah. Next question, given that streaming has changed the face of sitcom series writing, how do you feel about the future of the industry? Are there days of having full writer's room and staff over?Michael Jamin:It certainly seems that way, but who knows right now, if you follow what's going on, it seems like, it seems like everything's becoming, we're slowly moving back to the old days. There's going to be fewer streamers. They're going to be consolidation. They're already talking about these big streamers merging. And when that happens, things will change, but we don't really know. Right now, the industry's at a crossroads. They're not picking up a lot of shows. Now. They will pick up start. That will happen. And imagine a couple of, it can't go on much longer. They got to have to start pulling the trigger and start making TV shows again. So we don't know. We're at the crossroads,Kevin Lewandowski:Because I think you said back when you were working on, just Shoot Me In, I think you said King of the Hill, there was more than 15 writers on King. KingMichael Jamin:Of the Hill. We had 20 writers in King of the Hill, and we were do 22 episodes in a season.Kevin Lewandowski:And how many were on Just Shoot Me?Michael Jamin:Well, let's see. In the beginning, I would say it's closer to maybe 10 or so, maybe 12 at some point.Kevin Lewandowski:And in your experience, do you think comedy rooms always have more writersMichael Jamin:Than drama? I don't know. I mean, it just really depends on the budget of the show and how many episodes you're going to be doing.Kevin Lewandowski:I think I was watching something about Breaking Bad, and I think they had six writers.Michael Jamin:Oh, really? That's it.Kevin Lewandowski:Wow. On why Women Kill. We had five.Michael Jamin:The thing about drama is that you don't have to, it is easier in the sense that when you're writing a comedy, you still need to have that structure. You still need to come up with a story that is engaging, but it also has to be funny. But when you're doing the drama, you just need to come up with an engaging story, and it doesn't have to be funny, and you don't have to punch up the lines. And in that sense, I do think it's a little easier, but that's not to say writing Breaking Bad is easy. I mean, what a great show that works.Kevin Lewandowski:Right, right. Next question from maybe, are there tutorials and Final Draft, a proper guide for making your script presentation acceptable?Michael Jamin:What do you think? I don't know. I haven't looked at the tutorials.Kevin Lewandowski:Yeah. I mean, I think the nice thing about Final Draft is they have pre-built templates that you can use. So if you're writing a Multicam, it'll prebuilt that template and everything will automatically be capitalized for you. And same thing with Single Cam. And I think one of the things you always say is when you hand your script to someone, they're not going to know you use Final Draft or one of these other programs to write the script. They're just going to get a printed out version. And I think there's minimal things you need to do, make sure the dialogue is in the middle of the page and certain things are capitalized, and there's a certain format formatting of that. But Final Draft can take care of all that too. So when you're done writing, you just hit file, export as PDF, and that's it. You're done. All the four is done.Michael Jamin:I mean, final Draft, like you said, has those templates, and it'll make your script look like a script, which is great. You got a script, you got something that looks like a script, but does it read like a script?Kevin Lewandowski:Right. Har Draft does not do that for you. Yeah, it won'tMichael Jamin:Do that.Kevin Lewandowski:Michael's course does.Michael Jamin:Yeah. I hope,Kevin Lewandowski:Lorenzo, given your friendship with the late David Bellini, have you got any insights on Italian films, TV industry, in your opinion? Is there any difference? Thank you.Michael Jamin:From what I knew from David. David when he was a lot, the difference is enormous. It's a whole different film structure over there. It's not so much of an industry as it is. I don't know. It sounded like really hard. And he was pretty successful. He worked on a bunch of shows, and he moved to LA to Hollywood because he was like, this is too crazy here. This is just not enough work. So I think it was a miracle that he was as successful as he was there, but it's a whole different ballgameKevin Lewandowski:If the script doesn't have scenes in it. How should it be written? Is it just dialogue and descriptions? Do you have any advice for someone who wants to be a script doctor?Michael Jamin:Okay. The script does have to have scenes in it. It can't be all one scene. That's not going to be acceptable. A script doctor is not really, that's some bullshit that people say on the internet. No one I've ever met ever called themselves a script doctor. We're all screenwriters. And sometimes you sell your own work, and sometimes you're brought in to rewrite somebody else's, and there's no script doctor. You don't get a degree and you don't wear a stethoscope. And that's not a job. It's just sometimes will get paid to rewrite someone else's script, but you'll only get that job if you're a really good writer and you've written some really good scripts on your own. And then when you do, usually you're like, hell, I'll just write. I want to write my own stuff. And you're brought in to change someone else's script because it's like, all right, someone's giving me money and here's a job, and I'm in between jobs, so I'll do it.Kevin Lewandowski:There's no shortcuts. A couple more questions, Aaron. How many followers, subscribers would someone need to have on social media for that to be interesting and asset to a studio or showrunner?Michael Jamin:Literally have no idea. And I'm not sure it would be interesting to a showrunner at all as far as the studio, in terms of being a writer. You're not expected to have a social media following at all. I just happen to have one, but it's not right. No one's, no one ever asked me, no one really cares. The benefit is I can promote my own stuff. I have a following, but for a writer, you don't need that.Kevin Lewandowski:Yeah. And then our last question, is it okay to make the size of the words on the title page a little bit bigger?Michael Jamin:I suppose it is. I don't try to do anything fancy, but I don't know why you want to. It's okay if you want to. It's not desperate, but I don't know. I try to make it, I want my script to look like just an ordinary script. I want the pages themselves, the dialogue to stand out. I'm not really trying to make the cover page stand out.Kevin Lewandowski:Yeah, I think it's like when writing any paper you did in college or whatever the title is, 18 font, and then the stuffy writing is 12 font or whatever.Michael Jamin:Yeah, you can do that.Kevin Lewandowski:Yeah. I think one of the things you said is the title page. No one necessarily cares about that. If you put a fancy image on there, that's not going to, people aren't going to be like, oh, we got to hire this person. We got to hire this person right now.Michael Jamin:Yeah. Don't even give any thought to the title. I mean, really. You're not going to fool anybody. So yeah.Kevin Lewandowski:Well, that is all the questions we have from that webinar.Michael Jamin:Wow. Excellent. Kevin, you did really well. You're a natural here. Thanks. Yeah. Alright, everyone. Thank you. Please continue coming to our webinars. We do 'em every few weeks. To sign up, go to michael jamin.com/webinar. I got a book out. I hope you all get it. Sign copies are available @michaeljamin.com slash book. And if you want to come see me on tour, go to michael jamin.com/upcoming. Kevin, where can people find you?Kevin Lewandowski:I'm on social media, Kevin Lewandowski. Sorry it's a very long last name. It gets butchered a lot, but I'm there. And yeah, I occasionally make appearances with Michael on these webinars and things like that. So yeah. Thank you all for who's been coming to the webinars and checking out Michael's stuff. Just go to michael jamen.com and just start clicking around. There's a bunch of stuff you can get his free scripts, stuff he's written. There's free lessons up there. Every podcast we do gets uploaded there. You can spend hours on that websites. Just go there, click around, buy the book byMichael Jamin:The book. Thank you so much buddy. Alright. You're just going to stick around. Kevin's going to be back next week for another episode. I believe it's next week. We will see when it drops, but he's going to be back around for another one. Alright, everyone, until then, keep writing, keep being creative and all that stuff. Thanks so much.Michael Jamin:Wow. I did it again. Another fantastic episode of, what the Hell is Michael Jamin talking about? How do I do it week after week? Well, I don't do it with advertiser supported money. I tell you how I do it. I do it with my book. If you'd like to support the show, if you'd like to support me, go check out my new book, A Paper Orchestra. It asks the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most. Laura Sanoma says, good storytelling also leads us to ourselves, our memories, our beliefs, personal and powerful. I loved the Journey, and Max Munic, who was on my show says, as the father of daughters, I found Michael's understanding of parenting and the human condition to be spot on. This book is a fantastic read. Go check it out for yourself. Go to michael jamin.com/book. Thank you all and stay tuned. More great stuff coming next week.

About the Guest: Aaron Jaxon is a multifaceted musician with roots deeply planted in East Texas and branches extending to the beautiful mountains of Johnson City, Tennessee. With over 22 years of musical experience, he has mastered various styles ranging from bluegrass to rock and R&B. Aaron is not just a performer but also an educator, having served as an adjunct professor at East Tennessee State University (ETSU) where he contributed to the bluegrass and country music program. Alongside his teaching, he has developed online guitar courses, finding his unique space in the digital realm of music education. Aaron's passion for music is matched by his dedication to helping others, as demonstrated by his involvement in the recovery community, providing inspiration and hope through his musical talents. Episode Summary: In this delightful episode of the Johnson City Living podcast, host Colin Johnson introduces us to Aaron Jackson, a musician and educator known for his diverse musical talent and dedication to enriching the cultural tapestry of Johnson City. Aaron shares his journey from being a young aspiring guitarist to establishing himself as a respected adjunct professor and online course creator. From Aaron's early fascination with bluegrass and his move to Johnson City for its reputable bluegrass program at ETSU, to his experience playing in various bands and his shift to online teaching, the conversation unfolds with engaging anecdotes and heartfelt reflections. The episode dives into Aaron's life, revealing his passion for music, his dedication to teaching, and his triumphant struggles, including his personal journey through recovery and his commitment to giving back to his community. Key Takeaways: Aaron Jackson brings over two decades of diverse musical experience, with a deep appreciation for the culture and small-town feel of Johnson City, Tennessee. His musical journey has taken him from playing bluegrass in the churches of East Texas to teaching guitar at ETSU and now to producing online guitar courses. A dedicated educator, Aaron emphasizes the importance of empathy and patience when teaching music, whether in person or through digital platforms. Aaron openly discusses his recovery journey, using his story and music to inspire and assist others through difficult circumstances. With his shift toward digital education, Aaron continues to expand his outreach, harnessing platforms like YouTube and his website to share his knowledge and passion for bluegrass and country guitar. Notable Quotes: "What I think I like about it the most is this place has a lot of culture." "It really does seem like [music] picks you." Resources: Aaron Jackson's Website: aaronjaxon.com Instagram: @aajaxon YouTube: Aaron Jaxon Guitar Explore Aaron Jaxon's musical teachings and journey by delving into the full episode, and stay tuned for more compelling stories and insights on the Johnson City Living podcast. Your next inspiration could be just one play button away.

BEYOND I DO, EPISODE 16! Have you ever eavesdropped on a heart-to-heart where the wisdom shared was so profound, you wished you could bottle it up? Pastor Aaron and his wife Erica join us for an intimate session where the secret ingredients of a resilient marriage are not just discussed, but served up with a side of humor and humanity. From Aaron's enlightening 'Daily Drip' podcast discussions to Erica's lively recounting of her multi-pronged career path, the duo along with your hosts, Adam and Ashlee, set the table for a feast of insights on the intertwining paths of faith and partnership. Marriages, like gardens, require nurturing through seasons of both sunshine and storm. We confront the emotional whirlwinds that often uproot relationships and delve into the importance of community and faith as both a balm and a beacon. The process of forgiveness is dissected like a rare specimen—revealing its transformative potential and the tough choices that may accompany it, from the heart-wrenching decisions about reconciliation to finding the strength to prioritize personal growth. By the episode's end, we're not just observers but active participants in a masterclass on love and commitment. This discussion reminds us that the journey of marriage is one of continuous learning, laughing, and, above all, listening—both to our partners and to the wisdom that lies within each shared experience. As always, don't forget to share your comments with us! -- Did you hear the news? We've entered into an exciting new partnership with renowned jeweler Erin Barnett in Los Angeles. This partnership perfectly aligns with our love for relationships and jewelry. Whether you're looking for a special gift, an engagement ring, or a wedding band, Erin has you covered. And as part of the Beyond I Do community, you get exclusive discounts and the opportunity for a private showroom experience. It's time to celebrate your love with exquisite jewelry from our partner, Erin Barnett. How to get the exclusive discount? SEND HIM A DM and tell him you are part of the BEYOND I DO family or mention Adam Mesa. https://www.instagram.com/by.barnett/?hl=en https://bybarnett.com -- BEYOND I DO: MARRIAGE COURSE https://beyondido.thinkific.com/courses/beyond-I-do -- Have a question about relationships? Ask us by clicking the link below! https://alfc.church.ai/form/BeyondIdo -- Connect with Pastor Aaron and Erica Pastor Aaron Levy https://www.instagram.com/_aaronlevy/?img_index=1 Erica Levy https://www.instagram.com/erica.levy_np/ Daily Drip IG: https://www.instagram.com/dailydrip.faith/ Daily Drip Youtube Channel: https://youtube.com/@DailyDripPodcast?si=1t3Seiz3ihcWRR0O Proverbs: 31 Daily Drips of Wisdom Book: https://www.amazon.com/dp/B0BW2KJN4G?ref_=cm_sw_r_ud_dp_Q13FB4JSBE538GQ73P9M -- Connect with Adam & Ashlee Mesa https://instagram.com/amesa?igshid=YTQwZjQ0NmI0OA== https://instagram.com/ashleemesa?igshid=YTQwZjQ0NmI0OA== -- Don't forget to stay connected with us: Instagram @beyond.ido Tik Tok @beyond.ido

When you use the term “data scientist” you normally think of an inarticulate introvert who is dazzled by numbers and has week social skills.  Well, this interview with Aaron Pujanandez from Excella may change the preconception.  We start off with referencing an article from the Harvard Business Journal from 2012.  This was probably a conceit eleven years ago, but in the last decade we have seen cheap storage, available compute, and ubiquitous fast Internet.  Perhaps the title is getting closer to the truth. We begin the interview with having Aaron differentiate “data analyst” from “data scientist.”  Many common themes including Python and being part of a team.  From Aaron's view, a data analyst may be charged with providing a visual depiction of data elements where a data scientist may delve into mor advanced topics like subtleties of Extract, Transform, Load, Machine Language, and code review.  One of the challenges faced by federal information professionals is the volume of data to ingest.  During the interview, Aaron talked about many of the aspects of selecting data and making sure it is safe in transit. Aaron provides the listener with his thoughts on selecting the right data, data quality, handling large volumes of data, data access and, finally, the all-important concept of being able to communicate findings to non-technical stakeholders. There are no silver bullets here – just an opportunity to approach large data sets and artificial intelligence from a perspective that will give actionable results. Follow John Gilroy on Twitter @RayGilray Follow John Gilroy on LinkedIn  https://www.linkedin.com/in/john-gilroy/ Listen to past episodes of Federal Tech Podcast  www.federaltechpodcast.com      

Imagine a world where Jesse isn't the host of the Bachelor shows. Sounds decent, doesn't it? And guess who we proposed as a potential host, Lance Bass from NSYNC! From Aaron's desperate wish for a one-on-one date in New Orleans to a tense two-on-one date with Sean and Tanner, we've got a lot to discuss. And let's not forget Joey's candid chat about being in an interracial relationship and the unpredictable outcomes of hometown visits with Aaron and Joey. Drama is the name of the game, folks, and it's what keeps us glued to our screens!As we journey further into the Bachelorette season 20 finale, tensions rise and the atmosphere thickens with anticipation. We find ourselves faced with a dynamic quartet - Sean, Adrian, Aaron, and Brayden. The animosity between Adrian and Brayden is palpable, adding a dash of bitterness to the mix. Then we have the fantasy suite dates with Joey & Dotyn, and Xavier's bold confession to Charity about his past infidelity. And, oh boy, the shock of Aaron's sudden appearance and her audacious choice! Stay with us as we analyze the reactions when Joey and Dothn meet Charity's family and speculate what the future may hold for Aaron on the show. It's a rollercoaster ride, and you're in for the thrill of a lifetime!

Ever found yourself caught in a debate about the superior actor between Deborah, 'Everybody Loves Raymond' and Jill from 'Home Improvement'? Well, we sure did and it's as riveting as it sounds! Back from his hiatus, our co-host Aaron joins us as we wander through a maze of topics. From an honest conversation on the overlooked prowess of Danny Glover to the hilarious mention of Chris Tucker's fleeting presence in Jackie Brown, you'll find our chat a rollercoaster of thought-provoking humor and nostalgia. Moreover, we pay tribute to the iconic Simpsons and find uncanny similarities with South Park - quite the intriguing discovery!What's the irony of Stephen Collins' role in 7th Heaven? Join us as we explore this among other intriguing topics, including Rick Moranis and John Mulaney's splendid acting performances. In our quest to dissect pop culture, we find ourselves discussing the evolving beauty standards for white women. We dive headfirst into an entertaining discourse on Leonardo DiCaprio's choice of The Beach over American Psycho and Jessica Biel's memorable role in Texas Chainsaw Massacre. It's a thrilling journey through the intricacies of pop culture and body image!Have you ever imagined Studio 54 but with animals? We did and it's just as hilarious as it sounds! From Aaron's various online profiles to an exciting sneak peek into our upcoming show, we leave no stone unturned. As we unpack board games at Gamma and discuss the cultural divide between East Coast and West Coast, we find ourselves amidst an enlightening conversation on Kawhi Leonard, K-A-W-A-I-I, and SacAnime. We even provide a guide on how to stay out of trouble in Detroit! Don't forget to join us every Friday for a stimulating ride through an array of topics, guaranteed to leave you in stitches!

The legendary voice of The Dodgers- Vin Scully has passed away from 1950-2016...Vin captured our hearts and minds with incredible descriptions of America's Past Time. From Aaron's 715 to Kirk Gibsons homerun. Vin will be forever remembered and loved. --- Send in a voice message: https://anchor.fm/moonshynejones/message Support this podcast: https://anchor.fm/moonshynejones/support

From Aaron vs. Ivan to Noah breaking up with Abigail, we have all the drama from this week's three-hour episode covered. We also predict which couples will break up, leave dating or get engaged on next week's Bachelor in Paradise finale. Plus thoughts on Jesse Palmer being named the new host of The Bachelor and we'll tell you which Bachelor Nation fan favorites are opening a coffee shop.

On today's episode, Alan talks with career liberator Aaron McHugh about his journey to his work becoming meaningful and aligned to who he is and how you can take steps toward that also About Aaron Aaron McHugh is a writer, blogger, podcaster, and career liberator. He is mastering the art of living a sustainable work-life balance that includes rhythms of play constantly woven in. From Aaron, I want to help you restore balance and discover your path to a well-lived life. I write and speak on how to make adjustments to your thinking, your beliefs and your habits. The rewards are experiencing more joy, adventure and connection. In Work, I have covered the spectrum from ringing in the Opening Day trading bell at the London Stock Exchange to humble beginnings of selling office supplies door-to-door. My experience in sales and marketing, brand development, broadcast media, and technology startups prepared me to launch my own Work Life Play podcast and blog in 2010. I'm a graduate of Baylor University. In Life, my wife Leith and I are celebrating 22 years of marriage. We have three children and live in the Colorado Springs area. My family and marriage have survived the death of our daughter Hadley in 2011. Despite our losses, we are moving from surviving to thriving. In Play, I am an adventurer. I'm an Ironman triathlete, mountaineer, and learning to surf, sea kayak, and long board. In the Colorado winters, I get to snowboard with my daughter. I recently accomplished a Life List dream of mountain biking the entire five hundred-mile Colorado Trail from Durango to Denver. Connect with Aaron Book: Fire Your Boss Podcast: Work Life Play Website: www.aaronmchugh.com Social media: @aarondmchugh.

It is silly, no?When a rocket blowsAnd everybody still wants to flySome say a man ain't happy, trulyUntil a man truly diesOh why, oh why, sign o' the timesMost of Freelance has either escaped the Loss or has resigned themselves to it. But one member remains stuck in between. NRG's husband and son have been sent over the wall. He remains, and needs to join them. (As we start with JOLS Gen) he's got a contract with the Rock And Roll Hall of Fame to raid Paisley Park and get as much Prince memorabilia as he can, but especially the masters that remain in his vault, and due to his specialties, the motorcycle from Purple Rain. With only himself and Nitro left, NRG is going to have to dig deep into the rolodex to get people to go with him...The 23rd will mark the 5th Anniversary of Technical Difficulties. It has been an amazing five years, and we are incredibly grateful for all of you, for sticking with us. From Aaron, Adam, Ben, Ethan, Greg, Laura, and everyone else who plays with us, we are thankful for everyone who listens.Adam - GMGreg - NRG - A hustling mechanic who will do anything to join his loved ones over the wall.David – Longshot – A dispossessed Canadian that hasn’t let the apocalypse ruin his good nature.Ethan – Taxey – A street tough hustler/rapper with a new baby and a new purpose.

Finishing the end of the year strong. For first time listeners, we thank you. For our last time listeners, you're missing out but we thank you for the listen anyway. Thanks but no thanks 2020! Lookout for Savage tags next podcast. 21! From Aaron, Juan, and Soundguy, Happy New Year and stay safe out there.

In season two, episode seven of Gotham Writers' Inside Writing, host Josh Sippie conducts a panel discussion with Hobart editor Aaron Burch and writer Nina Boutsikaris. They discuss how to get to the point of an essay, the differences between personal essay and memoir, and how to make your essay better in revision. Links mentioned in the show: From Nina, here's a link to her personal website: http://www.ninaboutsikaris.com/ From Aaron, here's a link to his personal website: https://www.aaronburch.net/ as well as links to the two literary magazines he's editor of— Hobart: https://www.hobartpulp.com/ Hobart After Dark (HAD): https://www.havehashad.com/about-had Here's the Tim Krieder essay, "Reprieve," Aaron mentioned a couple times: http://thenervousbreakdown.com/tnbnonfiction/2012/09/excerpt-from-we-learn-nothing-by-tim-kreider/ And here's a pretty great interview with him: https://www.apr.org/post/essayist-breaks-free-conventional-relationships-because-i-love-you Here's Aaron's chainsaw essay I mentioned a couple of times: https://jellyfishreview.wordpress.com/2019/08/05/no-longer-there-by-aaron-burch/ And then some favorite ongoing columns on Hobart: https://www.hobartpulp.com/categories/games-of-my-youth https://www.hobartpulp.com/categories/great-moments-in-cinematic-drinking https://www.hobartpulp.com/categories/no-bull-bourbon-reviews https://www.hobartpulp.com/categories/my-first There were also a lot of questions about what quote from Barry Lopez we kept referring to, so here it is: “It is, I think, the rarest of leisure to refine one's time of deep thought or light regard into the shape of the personal essay -- a story comprised of found fact, of analyzed emotion, of fictive memory.”

Bill Wooditch joins host Sarah Hicks to talk about fear on this episode of the Predictable Revenue podcast.   Bill’s roundabout path to sales leadership coupled with his extensive research of the human brain has taught him a thing or two about the motivations behind fear, and how to overcome it. Listen on to hear him dive into the essence of fear (2:01), whether or not we should be fearful of the uncertainty we’re experiencing right now (2:42), how salespeople can fight the fear of missing quota (10:54), how sales leaders can erase the fear in their teams (19:03), and the reason why, if you don’t do all this, your competition will replace you in no time (21:57). SHOW NOTES:  From Aaron, on combating fear: learn from my 10-year painful lesson   More on psychology: Understanding buyer psychology and how it fits into the sales process with Outreach’s Max Altschuler   Selling Through Crisis: 4 Ways Your Cancelled Events Can Still Generate You B2B Leads and Sales

PUBLIC VERSION. Filmmaker Aaron B. Koontz (SCARE PACKAGE, CAMERA OBSCURA, STARRY EYES) virtually joins Adam, Joe, and Arwen to discuss his career journey in one of the most candid conversations you'll ever hear. After a hilarious opening (well, the guys think they're funny… Arwen not so much) the group quickly forgets that they're even being recorded as they catch up, support, and commiserate with each other's experiences as honestly as possible.  From Aaron's first feature directing experience leaving him with a film that wasn't quite his cut… to the perils of being the one with your ass on the line for an anthology made up of filmmaker friends…. to the triumphs of being acknowledged by artists you look up to… to the making of Aaron's latest THE PALE DOOR (now playing!)… this is precisely the kind of conversation that you can only hear on THE MOVIE CRYPT. Dr. Arwen sits out Hollywood Therapy after being so offended by the guys Smash Mouth jokes (hey, she loves SHREK) but a long standing MOVIE CRYPT tradition is brought back for this one episode. TO HEAR THE FULL VERSION OF THIS EPISODE GO TO PATREON.COM/THEMOVIECRYPT. FOR ONLY $1 A MONTH YOU'LL GET EVERY NEW EPISODE, IN ITS ENTIRETY, EVERY MONDAY MORNING! YOU CAN HAVE NEW EPISODES DOWNLOAD DIRECTLY TO YOUR PODCAST APP OF CHOICE USING THE RSS CODE THAT PATREON PROVIDES FOR YOU WHEN YOU SIGN UP!

1. A Crown of Righteousness - Pete Sutherland (Burlington, VT). This song by Pete is from his album The Wilderness Road. Pete says, “Another still photo in the panorama of local history that I couldn’t stop looking at The great thing about using history to make art… It’s always timely. I remember my son singing the chorus with me when he was around five and he’s closing on 30 now. The singer here is the well-known northern Vermont gospel diva (her own word) Tammy Fletcher. Piano from the equally celebrated Chuck Eller.”  www.petesposse.com  2. Love is little, love is low - Susan Reid (Montpelier, VT).  Susan was inspired to write this poem after listening to the Quaker song from last week’s episode, Love is Little, shared by Bob Mills.   Fiddle accompaniment by Rachel Panitch (Boston, MA).   3. Winter Greens - Aaron Marcus (Montpelier, VT). Aaron and Julie love to play four hands piano together. One day Aaron brought the idea for the tune to Julie, and they finished the tune together. It is named for the pleasure of finding fresh greens at the farmer’s market in the middle of winter, and the simple joys of friendship.  From Aaron’s album Men Don’t Cry, it features Aaron on piano, Hollis Easter on flute, and Mckinley James on cello.  4. The wandering elephant, by Rumi, read by Julie Vallimont (Brattleboro, VT).  5. Sophia - Brendan Taaffe (Brattleboro, VT). The words and music of this shape note song were composed by Chandler Yorkhall. It is performed by The Bright Wings Chorus on their album Signs and Wonders. www.brendantaaffe.bandcamp.com  6. Hope is the thing with feathers, by Emily Dickinson, read by Anna Patton (Brattleboro, VT).  7. Miss Rowan Davies - Tim Ball (Ithaca, NY). From Tim Ball and Sophie Orzechowski’s album Life of Their Own, this tune features Sophie on fiddle and Tim on guitar. Tim says, “Sophie learned this gorgeous air, composed by Phil Cunningham, from her mother Jane. We remember calling her up during a rehearsal to ask for its name.” www.timandsophie.bandcamp.com  The opening music is “The Pearl in Sorrow’s Hand” by Julie Vallimont, from her album Dark Sky, Bright Stars.  Produced by Julie Vallimont. Mixed and mastered by Dana Billings.  All content courtesy of the artists, all rights reserved.

Though she didn’t know it herself, Vicky’s life would be turned upside down on the night of January 17th, 2008. With the life of her own daughter ripped from her world, Vicky Hall begins to piece together the oddities in the people Kadie Major thought she could call family. From Aaron’s mismatched descriptions to the friction Kadie had with her mother-in-law, things weren’t adding up and Vicky herself knew better than anyone else that the case wasn’t closed. Though she tries to move on, every new detail paints her a picture different from the reality of what was to come. Tune in to Season 3, Episode 2 of Without Warning, in which renowned private investigator Sheila Wysocki utilizes crowdsourcing to uncover the mystery surrounding the deaths of Kadie, River Lynn, and Aidan Major. You can subscribe to Without Warning on Apple Podcast, Google Podcast, Spotify, or wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Though she didn’t know it herself, Vicky’s life would be turned upside down on the night of January 17th, 2008. With the life of her own daughter ripped from her world, Vicky Hall begins to piece together the oddities in the people Kadie Major thought she could call family. From Aaron’s mismatched descriptions to the friction Kadie had with her mother-in-law, things weren’t adding up and Vicky herself knew better than anyone else that the case wasn’t closed. Though she tries to move on, every new detail paints her a picture different from the reality of what was to come. Tune in to Season 3, Episode 2 of Without Warning, in which renowned private investigator Sheila Wysocki utilizes crowdsourcing to uncover the mystery surrounding the deaths of Kadie, River Lynn, and Aidan Major. You can subscribe to Without Warning on Apple Podcast, Google Podcast, Spotify, or wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

1. Hope Lingers On - Low Lily (Brattleboro, VT). This beautiful anthem, written by Lissa Schneckenburger, is from Low Lily's album 10,000 Days Like These.  The song features Liz Simmons (vocals, clapping), Lissa Schneckenburger (vocals, clapping), Flynn Cohen (vocals), Stefan Amidon (vocals), and Charlie Van Kirk (clapping & stomping). www.LowLily.com  2. An evolving course, by Rumi, read by Charis Boke (Springfield, VT). 3. Wild Blueberries - Buddy System (MA and NC).  Julie Vallimont named this jig for the joy she felt every summer as a child picking blueberries in the weeds on her family’s property.  It’s found on Buddy System’s album Ride the Wheel and features Julie on piano and Noah VanNorstrand on tenor guitar.  www.buddysystemband.com   4. Middle of Night - Mary Lea (Brattleboro, VT).  This waltz by Kate Barnes is performed by Mary Lea (violin), Jessica Murrow (oboe & English horn), Kate Barnes (piano), and Ralph Gordon (bass). From Between Two Worlds, by Mary Lea & Friends.  5. Train on the Island - Brendan Taaffe (Brattleboro, VT).  A traditional song from Brendan’s album Can’t Hold The Wheel, which blends Zimbabwean mbira (Brendan) with clawhammer banjo (Adam Hurt). www.brendantaaffe.com    6. i carry your heart with me, by e.e. cummings, read by Charis Boke (Springfield, VT).     7. Millbrook - Owen Morrison (Washington DC).  From Owen’s album of original waltzes, Daybreak. Owen’s guitar is joined by Anna Patton on clarinet and Naomi Morse on fiddle. Owen says, “Millbrook is named after the town in NY where my grandmother Libby Lindsay lived when I was a child. It is also where my uncle Ted raised his family and where my aunt Nan continues to live. The places we visit repeatedly when we are young have a special magic that we cherish for the rest of our lives.”     8. Marisa’s / North Street in Early June - Aaron Marcus (Montpelier, VT).   This collaboration between Aaron Marcus and Sam Sanders features Aaron playing this original tune on piano, while Sam reads Susan Reid’s beautiful poem.  From Aaron’s album Men Don’t Cry.  The opening music is "The Pearl in Sorrow's Hand" by Julie Vallimont, from her album Dark Sky, Bright Stars.  All content courtesy of the artists, all rights reserved. 

IT’S THE FIRST EPISODE!!! This week we take a look on the actual definition of mental heath with guest Aaron Clarke. From Aaron using the word “unpack” 80x, theeDomo getting emotional, the misuse of several words and ramblings that lead these two onto numerous topics.... come step into it and let’s get started for the first of many more!

Welcome back to Science Time! (We do about as good as you'd imagine given the name of the show...) Geoff calls it like it is. Max has never seen a Rocky movie. Ben likes using science words. Emily adds her expertise. *** Topic - Quantum uncertainty (reality) From - Aaron

Music. Genres we like. Genres we don't. That super-special feeling we're all starting to get when the stuff we used to listen to in high school is now considered "classic." Also - the truth about Optimus Prime's unabashed love of Michael McDonald *** Topic - Fusion Jazz. From - Aaron

The Appropriate Omnivore is joined by Transition to Green founder Diana Brandt, as well as Terry Kubar who serves on the T2G board with Aaron. The trio talks about their three very different dietary backgrounds. From Aaron's appropriate omnivorism to Terry's veganism to Diana's diet falling somewhere in between, they find that they actually share many similar views on what they consider real food. They also promote upcoming events with the Transition to Green community, including the first Monthly Dining with the Appropriate Omnivore.

In the Wizard of Oz, the Good Witch Glinda tells Dorothy and Toto, that this is land of great beauty, but, can also be dark and terrible. That is true of life and it can especially be true for a trauma survivor. Toto was the hero in the Wizard story, and you may be surprised at how “man’s best friend” takes on a special meaning with trauma survivors. Trauma comes in many forms, including cases of prolonged verbal and sexual abuse, rape, loss of a loved one, and of course, the one that we are most familiar with, trauma survivors from war and combat missions.   This is our topic for today, and are you are really in for a treat, because you are going to meet an organization that is in the forefront of the effort to assist returning veterans and equip them with better coping skills, you are going to meet Aaron Mixell, a 22 year veteran of the U.S. Army, and you are going to meet Aaron’s very own Toto, Chief. As a program teaser, let me say having met and heard Aaron speak on his experience and the traumas he experienced, you will never hear anyone more articulate on the causes, effects and everything else associated with PTSD. You will leave this program more informed and educated on this topic than ever. Aaron says that Chief saved his life. He will expand on that during today’s session. The organization that trained Chief is Patriot Paws. Sharon Satterwhite, Director of Development and Sarah Mathers, Development Assistant are with us today. Welcome Aaron, Sharon and Sarah.   In this episode you will learn: --About the mission of Patriot Paws and how Chief and so many other graduates of your program here are integral to helping deal with this national crisis of PTSD. --How the puppies come in to your program at 6 weeks old and then go through all the way to a formal graduation ceremony and assignment to a partner. --About the “planes, trains and automobiles” concept as it relates to their training and graduation --About career changes for those that for whatever reason don’t graduate?   For example, the Dallas D.A. case, where the dog loved children and found a new career? --That dogs have teenage years, just like kids do, with all the attendant behavioral issues that go with that?     --Aaron served 18 deployments over his 22 years in the U.S. Army. This includes the Gulf War in the early ‘90s plus Iraq and Afghanistan and a number of others. In addition to his military career, Aaron Mixell, USA, Sgt. First Class, Ret., served 20 years of active duty as a U.S. Army Ranger, spending over 15 years deployed to various locations overseas.  While deployed to Iraq, Aaron was injured in an IED blast.  He suffered multiple injuries during this and other combat related incidents, including Traumatic Brain Injury (TBI) and Post-Traumatic Stress Disorder (PTSD).  Thanks in large part to Chief’s presence in his life, Aaron’s mobility and stability is much improved as is his PTSD.  After a long, difficult recovery, Aaron now works with the Patriot PAWS staff as a Veteran Coordinator and is enjoying life with his wonderful wife and six children.   From Aaron you will learn:  --You often don’t know that you have PTSD, until you come home, and that it doesn’t necessarily come from just one incident --There are four types: caused by an incident, accumulates over time, combat isolation, entitled generation. --About the impact of the isolation syndrome: going to a remote, desolate, isolated place half-way around the world w/o the social network that one was accustomed to. --Technology and going from instant gratification with the internet, a PDA and social media apps to poor technology and the impact of then dealing with “slo-mo” as it is described. --How Chief, yoga and meditation saved Aaron’s life and continue to nurture him   http://www.patriotpaws.org/   Don’t forget to subscribe to the show!

Host Lior Phillips is joined by The National's Aaron Dessner and festival cofounder Brian Appel to discuss how they curate the ideal experience at Boston Calling. From Aaron's keys to building a multidisciplinary lineup to what exactly Natalie Portman has in store for attendees, this episode will prep you for the weekend's festivities. This episode was brought to you by our friends at Vivid Seats. For information regarding your data privacy, visit acast.com/privacy

Stories from the week From Natalie     From Aaron       From Shane   Dreams Dreamer @_enfantterrible:  "i had a dream were I was being chased by some menace that I believe to be military police. at some point I they caught up to me and tackled me to the ground and held me down. one of them took out a knife and started carving a word on the back of my neck. it was the word happiness" Tom: This is an Alex Jones rape fantasy  --- Dreamer @awesomecanada: "Alright, so I had a doozy of a dream last night. After scoring some weed at my old HS, that wasn't really my old HS, I was walking home in the snow when the night sky was filled with spinning UFOs, all alight and humming melodically.  Some celestial beings transported down...  And we went sledding down hill.  One of the beings, in female human form, got badly injured from sliding into a tree.  We took her to my old church basement, where a preteen dance party was underway, where she changed into her true form.  A 2-headed octopus creature. Then I woke." Tom: This dream is about your mother. You want to fuck your mother. You need help.  --- Dreamer David: I once dreamt about two bread sticks after eating bread sticks and two bread sticks is 11 so I pretty much predicted September 11....... sorry I would have warned you guys but it happened in 2010. Tom: This is also am Alex Jones rape fantasy     

Stories from the week From Natalie     From Aaron       From Shane   Dreams Dreamer @_enfantterrible:  "i had a dream were I was being chased by some menace that I believe to be military police. at some point I they caught up to me and tackled me to the ground and held me down. one of them took out a knife and started carving a word on the back of my neck. it was the word happiness" Tom: This is an Alex Jones rape fantasy  --- Dreamer @awesomecanada: "Alright, so I had a doozy of a dream last night. After scoring some weed at my old HS, that wasn’t really my old HS, I was walking home in the snow when the night sky was filled with spinning UFOs, all alight and humming melodically.  Some celestial beings transported down...  And we went sledding down hill.  One of the beings, in female human form, got badly injured from sliding into a tree.  We took her to my old church basement, where a preteen dance party was underway, where she changed into her true form.  A 2-headed octopus creature. Then I woke." Tom: This dream is about your mother. You want to fuck your mother. You need help.  --- Dreamer David: I once dreamt about two bread sticks after eating bread sticks and two bread sticks is 11 so I pretty much predicted September 11....... sorry I would have warned you guys but it happened in 2010. Tom: This is also am Alex Jones rape fantasy     

This week the crew goes all over the place with Webb leading the charge behind the 1s and 2s. From Aaron and Cory reminiscing about WWE, to the Super Bowl and Solo: A Star Wars Story.    Topics include: WWE, wrestling, St. Louis, Wizard World, Comic Con, Solo, Han Solo, Star Wars, video games, gaming, podcast, Games of Thrones, Overwatch League, Overwatch, Geguri, David Webb, Aaron Carter, Cory Vincent, Ivy Doomkitty

Please submit your photography related questions to us here: http://www.photopodcasts.com/contact.html   Host Scott Bourne: @ScottBourne Co-Host Rick Sammon: @ricksammon Rick’s website: www.ricksammon.com B&H link: bit.ly/bhphotodeals   Here are the questions that Scott and Rick answer on this episode:   1. Would like to ask, how do you get better at composition? Seems like such a talent I don’t have. From Carlos Rivera‏ On Twitter 2. What’s the biggest mistake that people moving from film to digital photography make? From Dave in Tulsa, OK 3. Do you shoot JPEG or RAW and Lightroom or ??? From Aaron‏ on Twitter 4. How do you avoid getting red eye? I saw some on the forums saying use the red-eye reduction mode but my camera doesn’t have that. From Susan in Evansville, IN 5. How do you go about shooting in harsh sunlight? From Stephanie Rodham on Twitter 6. Why do some portrait photographers choose continuous (hot)lights v. strobe? From Alex in San Francisco, CA 7. Have any tips for shooting fast moving objects/ sports? From Ryan Simonovich‏ on Twitter 8. How do you get your portrait subjects to relax? From Phil in Edmonton, Alberta 9. Why can I not get the same picture in my camera as in my head? From Russ Scullen‏ on Twitter 10. What motivates you to continue taking pictures economically, politically, intellectually or emotionally? From Edward in Boise, ID 11. Why don’t camera manufacturers built camera bases with the Area Swiss plate built into the base?  I see lots of questions on forums asking “what plate to buy”- why not build it into the camera, save the extra bulk/weight/cost?  And many m43 cameras are not deemed worthy of a custom plate, leading to problems accessing batteries//cards when using generic plates. From Rick Fee Please support our show by using our B&H affiliate link (click here) that will not cost you a penny more than when you are buying at B&H without our link. And the more this link will be used to buy at B&H, the more giveaways we’ll be able to give back to our listeners through B&H. It really is a “win-win” situation :) And please share this podcast with your friends and subscribe via iTunes. We would also love to get your feedback. Is there anything that you want us to cover on the show in the future? And we would appreciate if you could take a short moment to rate or post a quick review about our shows on iTunes.