Podcasts about Handwriting

The more she scolded, the madder she got...

What happens when Christians stop thinking for themselves — and hand that job to AI? In this episode of Refining Rhetoric, host Robert Bortins sits down with Dr. Ben Holloway — philosopher, professor at Judson College at Southeastern Seminary, and incoming Bruce Little Chair of Christian Philosophy — to explore why classical Christian education depends on mastering language, logic, and the great books. From defending the faith against hard questions to why you simply cannot outsource your thinking to a machine, this is a conversation that will challenge and equip every homeschool family to love wisdom and pursue truth. Dr. Ben Holloway grew up in England, spent his 20s playing in a band and preaching the gospel with no formal education, then moved to America at 34 with his wife, two kids, and 29 boxes — and started his bachelor's degree at Moody Bible Institute. That late-in-life educational journey shapes everything about how he teaches and what he believes education is for. The conversation opens with a rich discussion of Christian philosophy — not as an abstract academic exercise, but as the indispensable tool Christians have always used to answer the questions the Bible doesn't directly address. From the early church borrowing the language of "substance" and "persons" from Greek philosophy to describe the Trinity, to the everyday challenge of interpreting a difficult passage of Scripture, philosophy and language are inescapably central to the Christian life. Dr. Holloway makes a compelling case that language is foundational to how we know God. Because God chose to reveal himself through 66 books, Christians are permanently and inescapably committed to the hard work of interpretation. You cannot outsource that to anyone — and certainly not to AI. He explains that AI isn't a reasoning machine; it's a pattern-matching product built to please customers, not to pursue truth. Students who try to use it before developing their own thinking ability won't just miss the learning — they'll also be incapable of evaluating what AI produces. What You'll Learn: - What Christian philosophy actually is — and why you can't do good theology without it - Why language is one of the most mysterious and important features of God's creation - How to read the Bible the way the author intended — not just the way it "speaks to you" - Three practical techniques for interpreting any difficult text correctly - Why Christians specifically cannot outsource their thinking to AI — and what's at stake if they try - Why using AI before you've learned to think is worse than not using it at all - The surprising connection between Homer's *Iliad* and the biblical meaning of glory and honor - Why hard-earned education is one of God's greatest gifts — and what we rob students of when we shortcut it   00:00 — Introduction & Dr. Holloway's Background 01:44 — Growing Up in England, Ministry Without a Degree & Coming to America 03:11 — Discovering a Calling to Teach at Moody Bible Institute 04:22 — What Makes Judson College Unique: Theory Meets Practice 05:07 — What Is Christian Philosophy — and Why Does It Matter? 06:27 — How the Early Church Used Philosophy to Describe the Trinity 08:26 — Language, God's Creation & Why It's So Mysterious 10:07 — How Language Connects to Truth and Education 12:11 — Why Christians Can't Outsource Bible Reading to AI 13:43 — Who Gets to Fix the Meaning of a Text? The Author, Not You 15:03 — Why You Shouldn't Skip the Parts of Scripture That Don't "Apply" to You 17:02 — Three Techniques for Interpreting Difficult Texts Correctly 21:25 — Honor, Glory & What Homer Teaches Us About the Bible 24:17 — Bethlehem, Lambs & the Depth of God's Storytelling (with Robert) 25:38 — AI, Thinking & Why You Have to Learn Without It First 29:10 — The Ethics of AI in the Classroom: Why It's a Form of Deception 31:05 — Handwriting, Blue Books & Seeing Students' Work 36:19 — The Satisfaction of Hard-Earned Learning 39:36 — Philosophy Means "Love of Wisdom" — and That's the Point 41:12 — About Judson College: Preview Days, Campus Visits & April 16 Experience Day 43:07 — Closing Thoughts: Christians, Culture & the Duty of This Generation   Resources: https://judsoncollege.com/   This episode of Refining Rhetoric is sponsored by Worldview Academy: Students call Worldview Academy the best week of their lives. Through week-long summer leadership camps for teens, Worldview Academy trains Christians to think and live in accord with a biblical worldview so they can better serve Christ and engage the culture around them. Worldview Academy reinforces what students are learning at home and at church and trains this generation to apply that knowledge to the challenging cultural issues they're facing. To find a camp near you or learn more about Worldview's weekend conferences and other resources for families, visit www.worldview.org

Eric's business partner, Cody Wright, takes the stand. Next up is a handwriting expert giving is opinion on the forged life insurance document.Become a supporter of this podcast: https://www.spreaker.com/podcast/pretty-lies-and-alibis--4447192/support.ALL MERCH 10% off with code Sherlock10 at checkout  - NEW STYLES Donate: (Thank you for your support! Couldn't do what I love without all y'all) PayPal - paypal.com/paypalme/prettyliesandalibisVenmo - @prettyliesalibisBuy Me A Coffee - https://www.buymeacoffee.com/prettyliesrCash App- PrettyliesandalibisAll links: https://linktr.ee/prettyliesandalibisMerch: prettyliesandalibis.myshopify.comPatreon: https://www.patreon.com/PrettyLiesAndAlibis(Weekly lives and private message board)

How do you capture something as enormous and personal as the feeling of “home” in a book? How can you navigate the chaotic discovery period in writing something new? With Roz Morris. In the intro, KU vs Wide [Written Word Media]; Podcasts Overtake Radio, book marketing implications [The New Publishing Standard]; Tips for podcast guests; The Vatican embraces AI for translation, but not for sermons [National Catholic Reporter]; NotebookLM; Self-Publishing in German; Bones of the Deep. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Roz Morris is an award-nominated literary fiction author, memoirist, and previously a bestselling ghostwriter. She writes writing craft books for authors under the Nail Your Novel brand, and is also an editor, speaker, and writing coach. Her latest travel memoir is Turn Right at the Rainbow: A Diary of House-Hunting, Happenstance & Home. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How being an indie author has evolved over 15 years, from ebooks-only to special editions, multi-voice audiobooks and tools to help with everything Why “home” is such a powerful emotional theme and how to turn personal experiences into universal memoir Practical craft tips on show-don't-tell, writing about real people, and finding the right book title The chaotic discovery writing phase — why some books take seven years and why that's okay Building a newsletter sustainably by finding your authentic voice (and the power of a good pet story) Low-key book marketing strategies for memoir, including Roz's community-driven “home” collage campaign You can find Roz at RozMorris.org. Transcript of the interview with Roz Morris JOANNA: Roz Morris is an award-nominated literary fiction author, memoirist, and previously a bestselling ghostwriter. She writes writing craft books for authors under the Nail Your Novel brand, and is also an editor, speaker, and writing coach. Her latest travel memoir is Turn Right at the Rainbow: A Diary of House-Hunting, Happenstance & Home. Welcome back to the show, Roz. ROZ: Hi, Jo. It's so lovely to be back. I love that we managed to catch up every now and again on what we're doing. We've been doing this for so long. JOANNA: In fact, if people don't know, the first time you came on this show was 2011, which is 15 years. ROZ: I know! JOANNA: It is so crazy. I guess we should say, we do know each other in person, in real life, but realistically we mainly catch up when you come on the podcast. ROZ: Yes, we do, and by following what we're doing around the web. So I read your newsletters, you read mine. JOANNA: Exactly. So good to return. You write all kinds of different things, but let's first take a look back. The first time you were on was 2011, 15 years ago. You've spanned traditional and indie, you've seen a lot. You know a lot of people in publishing as well. What are the key things you think have shifted over the years, and why do you still choose indie for your work? ROZ: Well, lots of things have shifted. Some things are more difficult now, some things are a lot easier. We were lucky to be in right at the start and we learned the ropes and managed to make a lot of contacts with people. Now it's much more difficult to get your work out there and noticed by readers. You have to be more knowledgeable about things like marketing and promotions. But that said, there are now much better tools for doing all this. Some really smart people have put their brains to work about how authors can get their work to the right readers, and there's also a lot more understanding of how that can be done in the modern world. Everything is now much more niche-driven, isn't it? People know exactly what kind of thriller they like or what kind of memoir they like. In the old days it was probably just, “Well, you like thrillers,” and that could be absolutely loads of things. Now we can find far better who might like our work. The tools we have are astonishing. To start with, in about 2011, we could only really produce ebooks and paperbacks. That was it. Anything else, you'd have to get a print run that would be quite expensive. Now we can get amazing, beautiful special editions made. We can do audiobooks, multi-voice audiobooks. We can do ebooks with all sorts of enhancements. We can even make apps if we want to. There's absolutely loads that creators can do now that they couldn't before, so it's still a very exciting world. JOANNA: When we first met, there was still a lot of negativity here in the UK around indie authors or self-publishing. That does feel like it's shifted. Do you think that stigma around self-publishing has changed? ROZ: I think it has really changed, yes. To start with, we were regarded as a bit of the Wild West. We were just tramping in and making our mark in places that we hadn't been invited into. Now it's changed entirely. I think we've managed to convince people that we have the same quality standards. Readers don't mind—I don't think the readers ever minded, actually, so long as the book looked right, felt right, read right. It's much easier now. It's much more of a level playing field. We can prove ourselves. In fact, we don't necessarily have to prove ourselves anymore. We just go and find readers. JOANNA: Yes, I feel like that. I have nothing to prove. I just get on with my work and writing our books and putting them out there. We've got our own audiences now. I guess I always think of it as perhaps not a shadow industry, but almost a parallel industry. You have spanned a lot of traditional publishing and you still do editing work. You know a lot of trad pub authors too. Do you still actively choose indie for a particular reason? ROZ: I do. I really like building my own body of work, and I'm now experienced enough to know what I do well, what I need advice with, and help with. I mean, we don't do all this completely by ourselves, do we? We bring in experts who will give us the right feedback if we're doing a new genre or a genre that's new to us. I choose indie because I like the control. Because I began in traditional publishing—I was making books for other people—I just learned all the trades and how to do everything to a professional standard. I love being able to apply that to my own work. I also love the way I can decide what I'm going to write next. If I was traditionally published, I would have to do something that fitted with whatever the publisher would want of me, and that isn't necessarily where my muse is taking me or what I've become interested in. I think creative humans evolve throughout their lives. They become interested in different things, different themes, different ways of expressing themselves. I began by thinking I would just write novels, and now I've found myself writing memoirs as well. That shift would have been difficult if someone else was having to make me fit into their marketing plans or what their imprint was known for. But because I've built my own audience, I can just bring them with me and say, “You might like this. It's still me. I'm just doing something different.” JOANNA: I like that phrase: “creative humans.” That's what we are. As you say, I never thought I would write a memoir, and then I wrote Pilgrimage, and I think there's probably another one on its way. We do these different things over time. Let's get into this new book, Turn Right at the Rainbow. It's about the idea of home. I've talked a lot about home on my Books And Travel Podcast, but not so much here. Why is home such an emotional topic, for both positive and negative reasons? Why did you want to explore it? ROZ: I think home is so emotional because it grows around you and it grows on you very slowly without you really realising it. As you are not looking, you suddenly realise, “Oh, it means such a lot.” I love to play this mind game with myself—if you compare what your street looks like to you now and how it looked the first time you set eyes on it, it's a world of difference. There are so many emotional layers that build up just because of the amount of time we spend in a place. It's like a relationship, a very slow-growing friendship. And as you say, sometimes it can be negative as well. I became really fascinated with this because we decided to move house and we'd lived in the same house for about 30 years, which is a lot of time. It had seen a lot of us—a lot of our lives, a lot of big decisions, a lot of good times, a lot of difficult times. I felt that was all somehow encapsulated in the place. I know that readers of certain horror or even spiritual fiction will have this feeling that a place contains emotions and pasts and all sorts of vibes that just stay in there. When we were going around looking at a house to buy, I was thinking, “How do we even know how we will feel about it?” We're moving out of somewhere that has immense amounts of feelings and associations, and we're trying to judge whether somewhere else will feel right. It just seemed like we were making a decision of cosmic proportions. It comes down so much to chance as well. You're not only just deciding, “Okay, I'd like to buy that one,” and pressing a button like on eBay and you've won it. It doesn't happen like that. There are lots of middle steps. The other person's got to agree to sell to you, not do the dirty on you and sell to someone else. You've got all sorts of machinations going on that you have no idea about. And you only have what's on offer—you only get an opportunity to buy a place because someone else has decided to let it go. All this seemed like immense amounts of chance, of dice rolling. I thought, yet we end up in these places and they mean so much to us. It just blew my mind. I thought, “I've got to write about this.” JOANNA: It's really interesting, isn't it? I really only started using the word “home” after the pandemic and living here in Bath. We had luckily just bought a house before then, and I'd never really considered anywhere to be a home. I've talked about this idea of third culture kids—people who grow up between cultures and don't feel like there's a home anywhere. I was really interested in your book because there's so much about the functional things that have to happen when you move house or look for a house, and often people aren't thinking about it as deeply as you are. So did you start working on the memoir as you went to see places, or was it something you thought about when you were leaving? Was it a “moving towards” kind of memoir or a “sad nostalgia” memoir? ROZ: Well, it could have been very sad and nostalgic because I do like to write really emotional things, and they're not necessarily for sharing with everybody, but I was very interested in the emotions of it. I started keeping diaries. Some of them were just diaries I'd write down, some of them were emails I'd send to friends who were saying, “How's it going?” And then I'd find I was just writing pieces rather than emails, and it built up really. JOANNA: It's interesting, you said you write emotional things. We mentioned nostalgia, and obviously there are memories in the home, but it's very easy to say a word like “nostalgia” and everyone thinks that means different things. One of the important things about writing is to be very specific rather than general. Can you give us some tips about how we can turn big emotions into specific written things that bring it alive for our readers? ROZ: It's really interesting that you mention nostalgia, because what we have to be careful of is not writing just for ourselves. It starts with us—our feelings about something, our responses, our curiosities—but we then have to let other people in. There's nothing more boring than reading something that's just a memoir manuscript that doesn't reach out to anyone in any way. It's like looking through their holiday snaps. What you have to do is somehow find something bigger in there that will allow everyone to connect and think, “Oh, this is about me too,” or “I've thought this too.” As I said, we start with things that feel powerful and important for us, and I think we don't necessarily need to go looking for them. They emerge the more deeply we think about what we're writing. We find they're building. Certainly for me, it's what pulls me back to an idea, thinking, “There's something in this idea that's really talking to me now. What is it?” Often I'll need to go for walks and things to let the logical mind turn off and ideas start coming in. But I'll find that something is building and it seems to become more and more something that will speak to others rather than just to me. That's one way of doing it—by listening to your intuition and delving more and more until you find something that seems worth saying to other people. But you could do it another way. If you decided you wanted to write a book about home, and you'd already got your big theme, you could then think, “Well, how will I make this into something manageable?” So you start with something big and build it into smaller-scale things that can be related to. You might look at ideas of homes—situations of people who have lost their home, like the kind of displacement we see at the moment. Or we might look at another aspect, such as people who sell homes and what they must feel like being these go-betweens between worlds, between people who are doing these immense changes in their lives. Or we might think of an ecological angle—the planet Earth and what we're doing to it, or our place in the cosmos. We might start with a thing we want to write about and then find, “How are we going to treat it?” That usually comes down to what appeals to us. It might be the ecological side. It might be the story of a few estate agents who are trying to sell homes for people. Or it might be like mine—just a personal story of trying to move house. From that, we can create something that will have a wider resonance as well as starting with something that's personally interesting to you. The big emotions will come out of that wider resonance. JOANNA: Trying to go deeper on that— It's the “show, don't tell” idea, isn't it? If you'd said, “I felt very sad about leaving my house” or “I felt very sad about the prospect of leaving my house,” that is not a whole book. ROZ: Yes. It's why you felt sad, how you felt sad, what it made you think of. That's a very good point about “show, don't tell,” which is a fundamental writing technique. It basically tells people exactly how you feel about a particular thing, which is not the same as the way anyone else would feel about it—but still, curiously, it can be universal and something that we can all tap into. Funnily enough, by being very specific, by saying, “I realised when we'd signed the contract to sell the house that it wasn't ours anymore, and it had been, and I felt like I was betraying it,” that starts to get really personal. People might think, “Yes, I felt like that too,” or “I hadn't thought you'd feel like that, but I can understand it.” Those specifics are what really let people into the journey that you're taking them on. JOANNA: And isn't this one of the challenges, that we're not even going to use a word like “sad,” basically. ROZ: Yes. It's like, who was it who said, “Don't tell me if they got wet—tell me how it felt to get wet in that particular situation.” Then the reader will think, “Oh yes, they got wet,” but they'll also have had an experience that took them somewhere interesting. JOANNA: Yes. Show me the raindrops on the umbrella and the splashing through the puddles. I think this is so important with big emotions. Also, when we say nostalgia—we've talked before about Stranger Things and Kate Bush and the way Stranger Things used songs and nostalgia. Oh, I was watching Derry Girls—have you seen Derry Girls? ROZ: No, I haven't yet. JOANNA: Oh, it's brilliant. It's so good. It's pretty old now, but it's a nineties soundtrack and I'm watching going, “Oh, they got this so right.” They just got it right with the songs. You feel nostalgic because you feel an emotion that is linked to that music. It makes you feel a certain way, but everyone feels these things in different ways. I think that is a challenge of fiction, and also memoir. Certainly with memoir and fiction, this is so important. ROZ: Yes, and I was just thinking with self-help books, it's even important there because self-help books have to show they understand how the reader is feeling. JOANNA: Yes, and sometimes you use anecdotes to do that. Another challenge with memoir—in this book, you're going round having a look at places, and they're real places and there are real people. This can be difficult. What are things that people need to be wary of if using real people in real places? Do you need permissions for things? ROZ: That book was particularly tricky because, as you said, I was going around real places and talking about real people. With most of them, they're not identifiable. Even though I was specific about particular aspects of particular houses, it would be very hard for anyone to know where those houses were. I think possibly the only way you would recognise it is if that happened to be your own house. The people, similarly—there's a lot about estate agents and other professionals. They were all real incidents and real things that happened, but no one is identifiable. A very important thing about writing a book like this is you're always going to have antagonists, because you have to have people who you're finding difficult, people who are making life a bit difficult for you. You have to present them in a way that understands what it's like to be them as well. If you're writing a book where your purpose is to expose wrongdoing or injustices, then you might be more forthright about just saying, “This is wrong, the way this person behaved was wrong.” You might identify villains if that's appropriate, although you'd have to be very careful legally. This kind of book is more nuanced. The antagonists were simply people who were trying to do the right thing for them. You have to understand what it's like to be them. Quite a lot of the time, I found that the real story was how ill-equipped I sometimes felt to deal with people who were maybe covering something up, or maybe not, but just not expressing themselves very clearly. Estate agents who had an agenda, and I was thinking, “Who are they acting for? Are they acting for me, or are they acting for someone else that we don't even know about?” There's a fair bit of conflict in the book, but it comes from people being people and doing what they have to do. I just wanted to find a good house in an area that was nice, a house I could trust and rely on, for a price that was right. The people who were selling to me just wanted to sell the house no matter what because that was what they needed to do. You always have to understand what the other person's point of view is. Often in this kind of memoir, even though you might be getting very frustrated, it's best to also see a bit of a ridiculous side to yourself—when you're getting grumpy, for instance. It's all just humans being humans in a situation where ultimately you're going to end up doing a life-changing and important thing. I found there's quite a lot of humour in that. We were shuffling things around and, as I said, we were eventually going to be making a cosmic change that would affect the place we called home. I found that quite amusing in a lot of ways. I think you've got to be very levelheaded about this, particularly about writing about other people. Sometimes you do have to ask for permission. I didn't have to do that very much in this book. There were people I wrote about who are actually friends, who would recognise themselves and their stories. I checked that they didn't mind me quoting particular things, and they were all fine with that. In my previous memoir, Not Quite Lost, I actually wrote about a group of people who were completely identifiable. They would definitely have known who they were, and other people would have known who they were. There was no hiding them. They were the people near Brighton who were cryonicists—preserving dead bodies, freezing them, in the hope that they could be revived at a much later date when science had solved the problem that killed them. I went to visit this group of cryonicists, and I'd written a diary about it at the time. Then I followed up when I was writing the book to find out what happened to them. I thought, I've simply got to contact them and tell them I'm going to write this. “I'll send it to you, you give me your comments,” and I did. They gave me some good comments and said, “Oh, please don't put that,” or “Let me clarify this.” Everything was fine. So there I did actually seek them out and check that what I was going to write was okay. JOANNA: Yes, in that situation, there can't be many cryonicists in that area. ROZ: They really were identifiable. JOANNA: There's probably only one group! But this is really interesting, because obviously memoir is a personal thing. You're curating who you are as well in the book, and your husband. I think it's interesting, because I had the problem of “Am I giving away too much about myself?” Do you feel like with everything you've written, you've already given away everything about yourself by now? Are you just completely relaxed about being personal, for yourself and for your husband? ROZ: I think I have become more relaxed about it. My first memoir wasn't nearly as personal as yours was. You were going to some quite difficult places. With Turn Right at the Rainbow, I was approaching some darker places, actually, and I had to consider how much to reveal and how much not to. But I found once I started writing, the honesty just took over. I thought, “This is fine. I have read plenty of books that have done this, and I've loved them. I've loved getting to know someone on that deeper level.” It was just something I took my example from—other writers I'd enjoyed. JOANNA: Yes. I think that's definitely the way memoir has to happen, because it can be very hard to know how to structure it. Let's come to the title. Turn Right at the Rainbow. Really great title, and obviously a subtitle which is important as well for theme. Talk about where the title came from and also the challenges of titling books of any genre. You've had some other great titles for your novels—at least titles I've thought, “Oh yes, that's perfect.” Titling can be really hard. ROZ: Oh, thank you for that. Yes, it is hard. Ever Rest, which was the title of my last novel, just came to me early on. I was very lucky with that. It fitted the themes and it fitted what was going on, but it was just a bolt from the blue. I found that also with Turn Right at the Rainbow, it was an accident. It slipped out. I was going to call it something else, and then this incident happened. “Turn Right at the Rainbow” is actually one of the stories in the book. I call it the title track, as if it's an album. We were going somewhere in the car and the sat nav said, “Turn right at the rainbow.” And Dave and I just fell about, “What did it just say?!” It also seemed to really sum up the journey we were on. We were looking for rainbows and pots of gold and completely at the mercy of chance. It just stayed with me. It seemed the right thing. I wrote the piece first and then I kept thinking, “Well, this sounds like a good title.” Dave said it sounded like a good title. And then a friend of mine who does a lot of beta reading for me said, “Oh, that is the title, isn't it?” When several people tell you that's the title, you've got to take notice. But how we find these things is more difficult, as you said. You just work and work at it, beating your head against the wall. I find they always come to me when I'm not looking. It really helps to do something like exercise, which will put you in a bit of a different mind state. Do you find this as well? JOANNA: Yes, I often like a title earlier on that then changes as the book goes. I mean, we're both discovery writers really, although you do reverse outlines and other things. You have a chaotic discovery phase. I feel like when I'm in that phase, it might be called something, and then I often find that's not what it ends up being, because the book has actually changed in the process. ROZ: Yes, very much. That's part of how we realise what we should be writing. I do have working titles and then something might come along and say, “This seems actually like what you should call it and what you've been working towards, what you've been discovering about it.” I think a good title has a real sense of emotional frisson as well. With memoir, it's easier because we can add a subtitle to explain what we mean. With fiction, it's more difficult. We've got to really hope that it all comes through those few words, and that's a bit harder. JOANNA: Let's talk about your next book. On your website it says it might be a novel, it might be narrative nonfiction, and you have a working title of Four. I wondered if you'd talk a bit more about this chaotic discovery writing phase when we just don't know what's coming. I feel like you and I have been doing this long enough—you longer than me—so maybe we're okay with it. But newer writers might find this stage really difficult. Where's the fun in it? Why is it so difficult? And how can people deal with it? ROZ: You've summed that up really well. It's fun and it's difficult, and I still find it difficult even after all these years. I have to remind myself, looking back at where Ever Rest started, because that was a particularly difficult one. It took me seven years to work out what to do with it, and I wrote three other books in the meantime. It just comes together in the end. What I find is that something takes root in my mind and it collects things. The title you just picked out there—the book with working title of Four—it's now two books. One possibly another memoir and one possibly fiction. It's evolving all the time. I'm just collecting what seems to go with it for now and thinking, “That belongs with it somehow. I don't yet know how, but my intuition is that the two work well together.” There's a harmony there that I see. In the very early stages, that's what I find something is. Then I might get a more concrete idea, say a piece of story or a character, and I'll have the feeling that they really fit together. Once I've got something concrete like that, I can start doing more active research to pursue the idea. But in the beginning, they're all just little twinkles in the eye and you just have to let them develop. If you want to get started on something because you feel you want to get started and you don't feel happy if you're not working on something, you could do a far more active kind of discovery. Writing lists. Lists are great for this. I find lists of what you don't want it to be are just as helpful as what you do want it to be because that certainly narrows down a lot and helps you make good choices. You've got a lot of choices to make at the beginning of a book. You've got to decide: What's it going to be about? What isn't it going to be about? What kind of characters am I interested in? What kind of situations am I interested in? What doesn't interest me about this situation? Very important—saves you a lot of time. What does interest me? If you can start by doing that kind of thing, you will find that you start gathering stuff that gets attracted to it. It's almost like the world starts giving it to you. This is discovery writing, but it's also chivvying it along a bit and getting going. It does work. Joanna: I like the idea of listing what you don't want it to be. I think that's very useful because often writers, especially in the early stages—or even not, I still struggle with this—it's knowing what genre it might actually be. With Bones of the Deep, which is my next thriller, it was originally going to be horror and I was writing it, and then I realised one of the big differences between horror and thriller is the ending and how character arcs are resolved and the way things are written. I was just like, “Do you know what? I actually feel like this is more thriller than horror,” and that really shaped the direction. Even though so much of it was the same, it shaped a lot about the book. It's always hard talking about this stuff without giving spoilers, but I think deciding, “Okay, this is not a horror,” actually helped me find my way back to thriller. ROZ: Yes, I do know what you mean. That makes perfect sense to me, with no spoilers either. It's so interesting how a very broad-strokes picture like that can still be very helpful. Just trying to make something a bit different from the way you've been envisaging it can lead to massive breakthroughs. “Oh no, it's not a thriller—I don't have to be aiming for that kind of effect.” Or try changing the tone a little bit and see if that just makes you happier with what you're making, more comfortable with it. JOANNA: You mentioned the seven years that Ever Rest took. We should say the title is in two words—”Ever” and “Rest”—but it is also about Everest the mountain in many ways. That's why it's such a perfect title. If that took seven years and you were doing all this other stuff and writing other books along the way, how do you keep your research under control? How do you do that? I still use Scrivener projects as my main research place. How do you do your research and organisation? ROZ: A lot of scraps of paper. My desk is massive. It used to be a dining table with leaves in it. It's spread out to its fullest length, and it's got heaps of little pieces of paper. I know what's on them all, and there are different areas, different zones. I'm very much a paper writer because I like the tangibility of it. I also like the creativity of taking a piece of paper and tearing it into an odd shape and writing a note on that. It seems as sort of profound and lucky as the idea. I really like that. I do make text files and keep notes that way. Once something is starting to get to a phase where it's becoming serious, it will then be a folder with various files that discuss different aspects of it. I do a lot of discussing with myself while writing, and I don't necessarily look at it all again. The writing of it clarifies something or allows me to put something aside and say, “No, that doesn't quite belong.” Gradually I start to look at things, look at what I've gathered, and think, “How does this fit with this?” And it helps to look away as well. As I said with finding titles, sometimes the right thing is in your subconscious and it's waiting to just sail in if you look at it in a different way. There's a lot to be said for working on several ideas, not looking at some of them for a while, then going back and thinking, “Oh, I know what to do with this now.” JOANNA: Yes. My Writing the Shadow, I was talking about that when we met, and that definitely took about a decade. ROZ: Yes. JOANNA: I kept having to come back to that, and sometimes we're just not ready. Even as experienced writers, we're not ready for a particular book. With Bones of the Deep, I did the trip that it's based on in 1999. Since I became a writer, I've thought I have to use that trip in some way, and I never found the right way to use it. I came at it a couple of times and it just never sat right with me. Then something on this master's course I'm doing around human remains and indigenous cultures just suddenly all clicked. You can't really rush that, can you? ROZ: You absolutely can't. It's something you develop a sense for, the more you do—whether something's ready or whether you should just let it think about itself for a while whilst you work on something else. It really helps to have something else to work on because I panic a bit if I don't have something creative to do. I just have to create, I have to make things, particularly in writing. But I also like doing various little arty things as well. I need to always have something to be writing about or exploring in words. Sometimes a book isn't ready for that intense pressure of being properly written. So it helps to have several things that I can play with and then pick one and go, “Okay, now I'm going to really perform this on the page.” JOANNA: Do you find that nonfiction—because you have some craft books as well—do you find the nonfiction side is quite different? Can you almost just go and write a nonfiction book or work on someone else's project? Does that use a different kind of creativity? ROZ: Yes, it does. Creativity where you're trying to explain something to creative people is totally different from creativity where you're trying to involve them in emotions and a journey and nuances of meaning. They're very different, but they're still fun. So, yes, I am an editor as well, and that feeds my creativity in various unexpected ways. I'll see what someone has done and think, “Oh, that's very interesting that they did that.” It can make me think in different ways—different shapes for stories, different kinds of characters to have. It really opens your eyes, working with other creative people. JOANNA: I wanted to return to what you said at the beginning, that it is more difficult these days to get our work noticed. There's certainly a challenge in writing a travel memoir about home. What are you doing to market this book? What have you learned about book marketing for memoir in particular that might help other people? ROZ: Partly I realised it was quite a natural progression for me because in my newsletter I always write a couple of little pieces. I think they're called “life writing.” Just little things that have happened to me. That's sort of like memoir, creative nonfiction, personal essays. I was quite naturally writing that sort of thing to my newsletter readers, and I realised that was already good preparation for the kind of way that I would write in a memoir. As for the actual campaign, I actually came up with an idea which quite surprised me because I didn't think I was good at that. I'm making a collage of the word “home” written in lots of different handwriting, on lots of different things, in lots of different languages. I'm getting people to contribute these and send them to me, and I'm building them into a series of collages that's just got the word “home” everywhere. People have been contributing them by sending them by email or on Facebook Messenger, and I've been putting them up on my social platforms. They look stunning. It's amazing. People are writing the word “home” on a post-it or sticking it to a picture of their radiator. Someone wrote it in snow on her car when we had snow. Someone wrote it on a pottery shard she found in her drive when she bought the house. She thought it was mysterious. There are all these lovely stories that people are telling me as well. I'm making them into little artworks and putting them up every day as the book comes to launch. It's so much fun, and it also has a deeper purpose because it shows how home is different for all of us and how it builds as uniquely as our handwriting. Our handwriting has a story. I should do a book about that! JOANNA: That's a weird one. Handwriting always gets me, although it'd be interesting these days because so many people don't handwrite things anymore. You can probably tell the age of someone by how well-developed their handwriting is. ROZ: Except mine has just withered. I can barely write for more than a few minutes. JOANNA: Oh, I know what you mean. Your hand gets really tired. ROZ: We used to write three-hour exams. How did we do that? JOANNA: I really don't know. JOANNA: Just coming back on that. You mentioned mainly you're doing your newsletter and connecting with your own community. You've done podcasts with me and with other people. But I feel like in the indie community, the whole “you must build your newsletter” thing is described as something quite frantic. How have you built a newsletter in a sustainable manner? ROZ: I've built it by finding what suited me. To start with I thought, “What will I put in it? News, obviously.” But I wasn't doing that much that was newsworthy. Then I began to examine what news could actually be. The turning point really happened when I wrote the first memoir, Not Quite Lost: Travels Without a Sense of Direction. I thought, “I have to explain to people why I'm writing a memoir,” because it seemed like a very audacious thing to do—”Read about me!” I thought I had to explain myself. So I told the story of how I came to think about writing such an audacious book. I just found a natural way to tell stories about what I was doing creatively. I thought, “I like this. I like writing a newsletter like this.” And it's not all me, me, me. It's “I'm discovering this and it makes me think this,” and it just seems to be generally about life, about little questions that we might all face. From then, I found I really enjoyed writing a newsletter because I felt I had something to say. I couldn't put lists of where I was speaking, what I was teaching, what special offers I had, because that wasn't really how my creative life worked. Once I found something I could sustainably write about every month, it really helped. Oh, it also helps to have a pet, by the way. JOANNA: Yes, you have a horse! ROZ: I've got a horse. People absolutely love hearing the stories about my ongoing relationship with this horse. Even if they're not horsey, they write to me and say, “We just love your horse.” It helps to have a human interest thing going on like that. So that works for me. Everyone's got different things that will work for them. But for me, it builds just a sense of connection, human connection. I'm human, making things. JOANNA: In terms of actually getting people signed up—has it literally just been over time? People have read your book, signed up from the link at the back? Have you ever done any specific growth marketing around your newsletter? ROZ: I tried a little bit of growth marketing. I have a freebie version of one of my Nail Your Novel books and I put that on a promotion site. I got lots of newsletter signups, but they sort of dwindled away. When I get unsubscribes, it's usually from that list, because it wasn't really what they came for. They just came for a free book of writing tips. While I do writing tips on my blog—I'm still doing those—it wasn't really what my newsletter was about. What I found was that that wasn't going to get people who were going to be interested long-term in what I was writing about in my newsletter. Whatever you do, I found, has got to be true to what you are actually giving them. JOANNA: Yes, I think that's really key. I make sure I email once every couple of weeks. And you welcome the unsubscribes. You have to welcome them because those people are not right for you and they're not interested in what you're doing. At the end of the day, we're still trying to sell books. As much as you're enjoying the connection with your audience, you are still trying to sell Turn Right at the Rainbow and your other books, right? ROZ: Absolutely, yes. And as you say, someone who decides, “No, not for me anymore,” and that's good. There are still people who you are right for. JOANNA: Mm-hmm. ROZ: I do market my newsletter in a very low-key way. I make a graphic every month for the newsletter, it's like a magazine cover. “What's in it?” And I put that around all my social media. I change my Facebook page header so it's got that on it, my Bluesky header. People can see what it's like, what the vibe is, and they know where to find it if they're interested. I find that kind of low-key approach works quite well for what I'm offering. It's got to be true to what you offer. JOANNA: Yes, and true for a long-term career, I think. When I first met you and your husband Dave, it was like, “Oh, here are some people who are in this writing business, have already been in it for a while.” And both of you are still here. I just feel like— You have to do it in a sustainable way, whether it's writing or marketing or any of this. The only way to do it is to, as you said, live as a creative human and not make it all frantic and “must be now.” ROZ: Yes. I mean, I do have to-do lists that are quite long for every week, but I've learned to pace myself. I've learned how often I can write a good blog post. I could churn out blog posts that were far more frequent, but they wouldn't be as good. They wouldn't be as properly thought through. In the old days with blogs, you had an advantage if you were blogging very frequently, I think you got more noticed by Google because you were constantly putting up fresh content. But if that's not sustainable for you, it's not going to do you any good. Now there's so much content around that it's probably fine to post once a month if that is what you're going to do and how you're going to present the best of yourself. I see a lot on Substack—I've recently started Substack as well—I see people writing every other day. I think they're good, that's interesting, but I don't have time to read it. I would love to have the time, but I don't. So there's actually no sin in only posting once a month—one newsletter a month, one blog post a month, one Substack a month. That's plenty. People will still find that enough if they get you. JOANNA: Fantastic. So where can people find you and your books and everything you do online? ROZ: My website is probably the easiest place, RozMorris.org. JOANNA: Brilliant. Well, thank you so much for your time, Roz. As ever, that was great. ROZ: Thank you, Jo.The post Writing Emotion, Discovery Writing, And Slow Sustainable Book Marketing With Roz Morris first appeared on The Creative Penn.

Colossians 2:14 (NKJV) ...having wiped out the handwriting of requirements that was against us, which was contrary to us. And He has taken it out of the way, having nailed it to the cross.

Send a textDid you know your handwriting can reveal emotional wounds you may never talk about?In this powerful episode of The Kapeel Gupta Career PodShow, we explore the deep connection between emotions, mental health, physical health, and handwriting. Stress, anger, loneliness, anxiety, and suppressed emotions are silently affecting millions of people — especially students and young professionals under constant pressure. These emotions don't just stay in your mind; they impact your nervous system, immune system, heart health, and overall wellbeing.But here's the surprising insight: Your handwriting carries clues about these emotional patterns.And through a powerful practice called Graphotherapy, it is possible to rewire emotional responses and support mental healing through intentional handwriting exercises.In this episode, Kapeel Gupta explains the science of the hand-brain connection and how changing handwriting patterns can influence emotional regulation and personal transformation.

Four fresh Sussex stories in one tight round-up. Reports claim Prince Harry and Meghan's Jordan visit irritated officials in Washington because it landed during escalating regional tension, with one source calling their presence “unhelpful” and “unnecessary noise.”Critics also branded the trip a “photo op,” while Angela Levin said, “I think it's disgusting,” and alleged some people connected to events in Jordan “are Hamas,” a claim for which no public evidence has been presented.Next, Meghan's As Ever brand takes incoming after a new jam promo photo: commenters mocked the “three spreads” caption against a picture showing five spoons, with one joking, “Either she can't count or two of them are doubled up.”Then the numbers: SimilarWeb data cited by Newsweek suggests traffic to As Ever has climbed from 196,831 visits in October to 268,200 in January, but about two-thirds of visitors reportedly come from outside the United States, where international shipping is not currently offered.And finally, yes, handwriting analysis is now content: a graphologist says Meghan and Harry's notes in Jordan show they are “two very different people,” with Meghan described as more presentation-focused and assertive, and Harry as more reserved and pragmatic.Get episodes of Palace Intrigue by becommming a paid subscriber on Apple Podcasts. Click the button that says uninterrupted listening.  Just $5 a month, and that includes many ofther shows on the Caloroga Shark network.Royal Books:William and Catherine: The Monarchy's New Era: The Inside StoryThe Royal Insider: My Life with the Queen, the King and Princess Diana

In a world where kids learn to swipe before they can write, is handwriting still worth teaching? In this episode, we explore why teaching your children to write by hand—both print and cursive—is still essential. You'll discover the hidden benefits of handwriting, how it impacts brain development, memory, and learning, and why it's more than just a lost art. Get more information about handwriting and resources at the link below: Homeschool Handwriting Curriculum Guide Sign up for our newsletter and get a free consultation   © 2018–2026 HomeSchool ThinkTank, LLC. All Rights Reserved.

What happens when we lose handwriting as a form of creative expression? What do we miss when we limit creativity to the sports field? And what would change if schools clearly identified their non-negotiables and truly lived by them?   In this first debrief of Season 12, Dr. Matthew Worwood and Dr. Cyndi Burnett reflect on insights from recent conversations with Carlos Moreno of Big Picture Learning, handwriting specialist Holly Britton, and sports researcher Dr. Daniel Memmert. Together, they explore: – Why schools should be designed around students, not systems – The importance of identifying a few clear non-negotiables that reflect core values – What may be lost as handwriting disappears from classrooms – How tactical creativity, defined as unexpected and appropriate action, applies beyond sports – Why language matters, especially when we replace “you must” with more open phrasing This reflective episode invites educators to consider what might be unintentionally fading from practice and how we can better protect the conditions that support creativity. Dr. Matthew and Dr. Cyndi also invite listeners to share ideas as the podcast approaches its five-year anniversary and begins planning future professional learning opportunities. Be sure to subscribe to your favorite platform and sign up for our Extra Fuel newsletter for more resources and inspiration. Visit FuelingCreativityPodcast.com for more information or email us at questions@fuelingcreativitypodcast.com.

Australia entered a new age of communication with the era that was said to spell the end to handwriting.

The defense landed pretrial blows. But the prosecution is walking into the Kouri Richins murder trial with over 100 potential witnesses, more than 1,000 exhibits, and five weeks to lay out what they say is an overwhelming case for premeditated murder. Defense attorney and former prosecutor Eric Faddis breaks down the state's strongest evidence — and explains why some of it may be impossible to overcome.Start with Valentine's Day 2022. Prosecutors allege Kouri laced Eric's sandwich with fentanyl months before his death. He reportedly broke out in hives and lost consciousness. Two friends say Eric called them afterward saying his wife tried to poison him. His sister told authorities he believed Kouri had spiked his drink years earlier in Greece and told family if anything happened to him, she was to blame. A new life insurance policy had gone into effect just ten days before that alleged attempt. If the jury hears all of that alongside the murder charge, prosecutors aren't just alleging one poisoning — they're alleging a pattern.Then there's Carmen Lauber — the housekeeper who says Kouri directly asked her to buy fentanyl twice in early 2022, that she delivered pills to the property, and that after the Valentine's Day attempt, Kouri asked for something stronger — specifically "the Michael Jackson stuff," a reference to propofol. Crozier may have recanted, but Lauber's alleged firsthand account of Kouri's direct requests could be the prosecution's most powerful witness.The digital evidence is staggering. Prosecutors reportedly have Kouri's post-death Google searches including queries about lethal fentanyl doses, luxury prisons, life insurance payout timelines, deleting text messages and iCloud accounts, lie detector tests, and FBI involvement. Unsealed search warrants also allegedly revealed she asked a handyman to procure both fentanyl and propofol weeks before Eric's death — meaning the state may show she was allegedly sourcing drugs from multiple people simultaneously.Add the "Walk the Dog" letter found in Kouri's jail cell — described by prosecutors as outlining false testimony for her mother and brother — and five pages from an orange notebook prosecutors call her "firsthand account" of the day Eric died, with details that allegedly contradict other evidence. Handwriting expert Matt Throckmorton is expected to testify that signatures on insurance and financial documents were not Eric's — potentially merging fraud and murder motive into one narrative.Faddis explains how a prosecutor ties five times the lethal dose of fentanyl, a prior attempt, an insurance timeline, and a Moscow Mule into a closing argument that leaves no other reasonable explanation. The defense made noise pretrial. Now the prosecution gets to show what they've been building for four years.#KouriRichins #EricRichins #RichinsTrial #FentanylMurder #CarmenLauber #ProsecutionEvidence #ValentinesDayPoisoning #ForgedDocuments #EricFaddis #HiddenKillersJoin Our SubStack For AD-FREE ADVANCE EPISODES & EXTRAS!: https://hiddenkillers.substack.com/Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/@hiddenkillerspodInstagram https://www.instagram.com/hiddenkillerspod/Facebook https://www.facebook.com/hiddenkillerspod/Tik-Tok https://www.tiktok.com/@hiddenkillerspodX Twitter https://x.com/TrueCrimePodListen Ad-Free On Apple Podcasts Here: https://podcasts.apple.com/us/podcast/true-crime-today-premium-plus-ad-free-advance-episode/id1705422872This publication contains commentary and opinion based on publicly available information. All individuals are presumed innocent until proven guilty in a court of law. Nothing published here should be taken as a statement of fact, health or legal advice.

Send a textA car left in the Sears upper lot. Christmas gifts still inside. A letter to “Thomas” that Rachel likely never wrote. Nearly five decades after the Fort Worth Trio vanished from a Texas shopping center, we return to the heart of the mystery and scrutinize the few artifacts that have ever mattered: the Oldsmobile, the layaway jeans, a handful of shaky eyewitness accounts, and a baffling note that arrived almost too fast for 1974 holiday mail.We walk step by step through the known timeline—Rachel, Renee, and Julie shopping on December 23rd—then trace the details that undercut the “runaway” narrative. The gifts weren't opened. The keys were left behind. Promises to be home by two were never casual. From there, we turn to the letter: addressed to “Thomas” instead of “Tommy,” penned with language that family says doesn't sound like Rachel, bearing a debated postmark and a misspelling awkwardly corrected. Handwriting reviews never bring certainty; modern opinions suggest none of the girls wrote it. So why write it—and why so quickly—unless the goal was to distract, delay, and misdirect?We balance two competing frameworks. On one side: the local context of the 1970s and 1980s—multiple unsolved disappearances, confirmed serial predators, open land where evidence disappears, and the grim reality that stranger-on-stranger crimes are hardest to solve. On the other: the intimate signals around Rachel—household tensions, the letter's personal address, and the question of whether someone close would risk acting when two other girls were with her. Could one person control three victims in daylight, or does this scenario demand at least two offenders—or a trusted face that lowered every guard?Along the way, we surface a haunting footnote: a private investigator who later died by suicide and ordered his case files destroyed. Whether that choice reflects despair, fear, or protection, it pulls potential clues out of reach and leaves the car, the purchases, and the letter to carry the investigative weight. If the note is a map, it points to someone close. If it's a smokescreen, it favors a predator in motion.If this case grips you as deeply as it grips us, share the episode with a friend, hit follow, and leave a review with your theory—does the letter expose the culprit, or hide them in plain sight?www.texaswineandtruecrime.com

Please join us in welcoming Leslie Catlett, MS, OTR/L to the podcast! Leslie is the founder of The Penmanship Lab, where she helps children develop confident, functional handwriting skills that support real learning. As a pediatric occupational therapist and mom of two, she approaches handwriting challenges by looking beyond neatness to understand the deeper factors affecting each child. Leslie specializes in working with children with ADHD, dysgraphia, dyslexia, and autism, creating individualized, engaging strategies that make writing more accessible and meaningful. She holds a Master's degree in Occupational Therapy from the University of Wisconsin–Madison and is deeply committed to inclusive, strengths-based learning environments. In our conversation, we discuss the complexity of handwriting and why it's so often misunderstood, with Leslie explaining that handwriting isn't just a fine motor task but a full-body, brain-heavy activity that involves posture, attention, memory, sensory processing, and emotional regulation all at the same time. For neurodivergent learners, including children with ADHD, dysgraphia, dyslexia, or autism, handwriting can be truly exhausting, frustrating, and even overwhelming, and it's rarely a matter of laziness or lack of effort. We discuss the misconceptions that slow progress signals a lack of motivation or that kids will simply "grow out of it," and why traditional practice alone often makes matters even worse. Leslie highlights how occupational therapy addresses handwriting differently by building foundational skills first, from posture and core strength to visual motor coordination and sensory regulation, before layering on handwriting itself. Progress isn't just about neater writing; it shows up first as reduced frustration, more confidence, and increased endurance. In our conversation, we also talk about practical ways parents and educators can support handwriting and fine motor development at home, with Leslie highlighting the importance of short, successful practice sessions, movement breaks, and incorporating skills into play via crafts, cooking, outdoor activities, or even Lego building. Leslie also discusses when it's time to seek professional help, pointing out that handwriting struggles often impact self-esteem, school performance, and emotional regulation. We explore the purpose behind the Penmanship Lab itself, with Leslie having created it to provide one-on-one support for children who aren't getting enough guidance in school and to help parents feel empowered rather than guilty when their child struggles. She shares how addressing handwriting early can support not only academic success but also everyday independence, from buttoning shirts to tying shoes. Our conversation offers a practical guide for anyone wanting to understand, support, and celebrate children's unique learning needs! Show Notes: [2:30] - Handwriting is complex - requiring motor, sensory, attention, memory, and endurance skills simultaneously. [5:19] - Hear how dysgraphia stems from neurological differences, so practice alone doesn't improve handwriting without foundational support. [8:42] - Leslie discusses how handwriting engages the brain differently than typing, often improving confidence and emotional regulation first. [10:56] - Leslie explains how short, playful activities and motor work strengthen handwriting skills and maintain student engagement. [13:19] - Hear how early intervention can help prevent frustration. [16:16] - Short, daily handwriting practice improves skills, confidence, and behavior without causing parental blame. [18:32] - Leslie reveals how The Penmanship Lab fills gaps schools leave, providing one-on-one handwriting support for literacy development. [20:10] - Daily self-care tasks rely on fine motor skills, linking handwriting to broader functional independence.   Links and Related Resources: Episode 39: Why Fine Motor Skills Matter with Jennifer Morgan Episode 219: Understanding Dysgraphia: Signs, Strategies, and Support for Struggling Writers   Connect with Leslie: The Penmanship Lab's Website Email: thepenmanshiplab@gmail.com  

Hour 1 for 2/13/26 Drew welcomes Dr. Audrey van der Meer for a conversation about the cognitive benefits of handwriting (3:55). Topics: if handwriting is genetic (11:18), nuns taught me handwriting (15:42), technology (17:53), and cursive vs. printing (19:23). Then, Peter Grandich joins Drew to cover America's addiction to debt (27:19), the coming AI Revolution (35:55), and if there's an AI Bubble (44:31). Links: https://www.ntnu.edu/employees/audrey.meer https://petergrandich.com/

Is handwriting still relevant in a world of screens, tablets, and AI? What role does writing by hand play in creativity, learning, and thinking? In this episode of the Fueling Creativity in Education Podcast, Dr. Matthew Worwood and Dr. Cindy Burnett welcome handwriting instruction specialist Holly Britton, M.Ed to explore why handwriting still matters — especially for developing minds. Holly brings over 26 years of experience in education, from classroom teacher to curriculum director, kindergarten coach, and founder of Squiggle Squad Handwriting. Her work focuses on helping children, teachers, and parents understand handwriting not as “pretty penmanship,” but as a meaningful tool for learning and self-expression. Listen in as the conversation explores how handwriting supports thinking, language development, and creativity — particularly in young learners. Holly shares why writing by hand helps children make sense of letters, sounds, and ideas, and what can happen when students are expected to write without ever being properly taught how. Together, the trio discusses: How handwriting has slowly faded from classrooms Why writing by hand supports learning in ways typing cannot fully replace The connection between movement, memory, and understanding Why handwriting should be seen as a tool, not just a finished product How teachers can support handwriting without adding pressure or stress Holly also offers practical insights for educators who feel overwhelmed by packed curriculums but still want to honor handwriting as part of meaningful learning. If you've ever wondered whether handwriting still has a place in today's digital classrooms — or worried about what students might be losing as screens take over — this episode will give you plenty to think about.   About the Guest Holly Britton, M.Ed is a handwriting instruction specialist with more than 26 years of experience in education. She has worked as a classroom teacher, curriculum director, and kindergarten coach, and is the founder of Squiggle Squad Handwriting, a unique approach to teaching letter and number formation for early writers. Holly works with diverse learners who experience a wide range of learning challenges and speaks nationally about handwriting as a kinesthetic connection to language — one that supports creativity, learning, and self-expression.   Be sure to subscribe on your favorite platform and sign up for our Extra Fuel newsletter for more resources and inspiration. Visit FuelingCreativityPodcast.com for more information or email us at questions@fuelingcreativitypodcast.com.

While the production of my Lowdown commentaries is high-tech, I confess that I'm antiquated.I still write each piece in longhand, applying my ballpoint to paper. This has caused bewildered glances from some who see me scribbling away in local coffeeshops and bars. Recently, one fellow sidled up and whispered: “Watch out! If they see you doin' this, they'll haul you off to the Smithsonian.”But we handwriters might not be as obsolete as the key-tappers assume. A fast-spreading grassroots movement is calling for schools to reemphasize the value of writing and printing by hand, instead of being wholly-dependent on machines. Already, 24 states – as varied as Mississippi and California– now require public schools to teach cursive handwriting in third-through fifth grades.This squares with new understanding of how brains absorb information. While keyboards are faster, the slower, more tactile act of handwriting creates longer lasing comprehension of letters – and better retention of the thoughts they convey. Neuroscientists find that rote keystrokes on a computer require little mental engagement, while physically drawing out words and ideas takes coordination of multiple areas of the brain to focus memory, eyes, and fingers on creating a written product.Just writing this piece conjured up a fond remembrance of my early childhood: Sitting on the floor of our home learning to draw the ABCs, both print and cursive, on those lined practice pads. It was both an artistic exercise and the development of a foundational tool for a life of learning.This is Jim Hightower saying… Yes, computer literacy is an indispensable element of today's childhood curriculum --- but so is the richer development of human thinking through putting pen to paper. So let's teach both!PS—Here's a post we did a couple years ago about how Hightower's work goes from handwritten on paper to whooshing through the ether into your inboxes:Jim Hightower's Lowdown is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit jimhightower.substack.com/subscribe

2-1-26 AM "The Handwriting Against Us"Scripture Reading: Colossians 2:11-15I. Its Statement regarding Us A. Legal Demands on Us B. Legal Liabilities on UsII. Its Testimony against Us A. A Hostile Indictment B. A Hostile VerdictIII. Its Removal from Us A. A Complete Removal B. A Final RemovalRev. Greg Lubbers

Welcome back to The Freelancer's Tea Break! This week, I'm joined by my friend, coach, and book genie, Gail Doggett, founder of Book Doubling, a book coaching business tailored for neurodivergent writers, especially those with ADHD. In this episode, we delve into how Gail aids writers in completing their dream books by using techniques like body doubling and screen sharing. We also discuss Gail's own journey with writing, the importance of developing a writing practice, and the unique challenges and strengths of neurodivergent individuals in the writing process. What You'll Learn in This Episode How Book Doubling supports ADHD and neurodivergent writers Why body doubling boosts focus and reduces overwhelm How to build a writing practice that works with your brain The power of handwriting, single‑tasking, and reflective writing How to write consistently when freelancing or juggling life changes The benefits of co‑writing sessions and community accountability How Substack can help you reconnect with your writing voice Gail Doggett is a neurodivergent writing coach, editor, and former acquisitions editor at a Big Five publishing house. Gail has spent over 20 years supporting writers from messy first drafts to finished books, with a special focus on late-diagnosed neurodivergent women who are juggling creativity, life, and everything in between. As an ADHDer herself, Gail brings compassion, strategy, and a deep understanding of how neurodivergent brains actually work, plus her own signature approach called Book Doubling, which is like body doubling but with editorial wisdom and accountability. She loves stories, knows exactly what it feels like to be stuck, and is here to help writers finally get their work over the finish line. Join Gail on Substack or Connect with her on Instagram | Facebook | TikTok | LinkedIn | Website | Newsletter Join Gail's Write Club membership Timestamps: 00:00 Introduction and Guest Introduction 00:54 Gail's Background and Book Doubling Concept 01:37 Challenges Faced by Neurodivergent Writers 02:25 The Importance of Self-Belief and Support 04:53 Establishing a Writing Practice 08:21 Body Doubling and Screen Sharing Techniques 13:34 Tracking Progress and Reflecting on Writing 19:28 Adapting to Life Changes and Finding Focus 20:58 Freelancing and Writing in Pockets of Time 22:22 Staying Connected with Your Writing 23:14 The Joy of Writing vs. The Chore of Writing 24:47 The Power of Handwriting 26:38 Reflection and Adjustment in Writing 27:40 The Importance of Single-Tasking 29:52 Co-Writing Sessions and Their Benefits 31:21 Introducing Write Club 33:52 One-to-One Writing Support 36:00 The Magic of Substack 42:53 Conclusion and Future Plans Follow me on Instagram Follow me on Bluesky Email: hello@emmacossey.com  Come join us in the free Freelance Lifestylers Facebook group Want more support? Check out the Freelance Lifestyle School courses and membership. Join the Freelance Lifestyle Discord Community: https://discord.gg/RKYkReS5Cz

Have you ever wondered why you can remember that tidbit you wrote on a sticky note over a year ago, but you can't remember the specifics of the notes you took on your computer yesterday? In this week's episode, we're exploring why handwritten notes and journaling is better than typing for memory and emotional processing.

Handwriting isn't just pencil meets paper; it's purpose, posture, vision, and motor planning working in sync. On this episode of The Brainy Moms Podcast, Dr. Amy and Sandy sit down with occupational therapist and homeschool consultant Sarah Collins (The Homeschool OT) to explore how kids move from “hot mess” letters to confident, legible writing by addressing the real foundations: core strength, shoulder stability, explicit motor plans, and a clear sense that their ideas matter.We break down why cursive can be a game changer for productivity and flow, especially for ADHD and dyslexic learners, and how copy work—when used wisely—reduces cognitive load so kids can master patterns before juggling spelling and punctuation. Sarah shares practical strategies you can use today: vertical writing on mirrors or whiteboards, sand and tactile tracing, wooden letter forms, and programs like Size Matters for spacing and size or Learning Without Tears and its wet-dry-try sequence for consistent motor cues.Vision gets a spotlight too. From visual scanning to convergence, subtle eye issues can sabotage reading and writing. You'll hear how to spot red flags, when to consider referrals, and why multi-sensory practice helps the brain integrate “hardware and software.” We also revisit early milestones like crawling and cross-body play, connect them to later fine-motor readiness, and offer creative ways to rebuild those foundations if they were missed. Throughout, we focus on legibility over perfection, endurance for note-taking, and the powerful memory benefits of handwriting and summarizing in your own words.If you're a parent, educator, or homeschooler looking for evidence-based, real-world tools to make writing easier and learning stick, this conversation delivers. Subscribe for more brain-smart episodes, share with a friend who needs fresh handwriting strategies, and leave a review to tell us which tip you'll try first.ABOUT US:The Brainy Moms is a parenting podcast hosted by cognitive psychologist Dr. Amy Moore and Sandy Zamalis. Dr. Amy and Sandy have conversations with experts in parenting, child development, education, homeschooling, psychology, mental health, and neuroscience. Listeners leave with tips and advice for helping parents and kids thrive. If you love us, add us to your playlist and follow us on social media! CONNECT WITH US:Website: www.TheBrainyMoms.com Email: BrainyMoms@gmail.com Social Media: @TheBrainyMoms Subscribe to our free monthly newsletter Visit our sponsor's website: www.LearningRx.com

Does handwriting pass the pub test?See omnystudio.com/listener for privacy information.

National Handwriting Day:Khaalidha Mia by Radio Islam

Millions of Americans are dealing with severe cold as a brutal blast of Arctic air sweeps across much of the country. Also, the latest on President Donald Trump's escalating push to acquire Greenland. Plus, college football crowns its champion as the Indiana Hoosiers take down the Miami Hurricanes. And, a closer look at the growing push to continue teaching cursive in schools. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Everything you need to know about this week's explosive pre-trial rulings in the Kouri Richins murder case. Judge Richard Mrazik spent two days deciding what evidence will and won't reach the jury when Kouri stands trial next month for the alleged fentanyl poisoning of her husband Eric Richins. The rulings fundamentally reshape this case. Financial crime charges severed — the jury won't hear fraud or forgery allegations. Abuse claims Kouri allegedly made about Eric? Excluded — prosecutors argued she claimed to have video proof that was never produced and never found. Domestic violence expert Dr. Sheri Vanino? Barred unless prosecutors can prove Eric knew about the alleged Valentine's Day poisoning attempt. FBI profiler Molly Amman? Limited to rebuttal only, cannot testify about behavioral profiles or guilt. Handwriting analyst Matt Throckmorton? Fully admitted — he'll testify Eric's signature on insurance documents was allegedly forged by Kouri. The orange notebook found in the Richins home? Conditionally admitted if prosecutors meet requirements — it allegedly contains Kouri's firsthand account of the night Eric died. The Walk the Dog letter from Kouri's jail cell? Partially admitted. Eric's alleged high school drug use? Judge will decide during trial. Thursday's hearing was closed to the public to protect the jury pool. Jury selection starts February 10th. Kouri Richins has pleaded not guilty and denies all allegations.#KouriRichins #KouriRichinsTrial #EricRichins #KouriRichinsUpdate #UtahMurderTrial #FentanylMurder #TrueCrime2026 #MoscowMule #OrangeNotebook #JusticeForEricJoin Our SubStack For AD-FREE ADVANCE EPISDOES & EXTRAS!: https://hiddenkillers.substack.com/Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/@hiddenkillerspodInstagram https://www.instagram.com/hiddenkillerspod/Facebook https://www.facebook.com/hiddenkillerspod/Tik-Tok https://www.tiktok.com/@hiddenkillerspodX Twitter https://x.com/tonybpodListen Ad-Free On Apple Podcasts Here: https://podcasts.apple.com/us/podcast/true-crime-today-premium-plus-ad-free-advance-episode/id1705422872This publication contains commentary and opinion based on publicly available information. All individuals are presumed innocent until proven guilty in a court of law. Nothing published here should be taken as a statement of fact, health or legal advice.

In this episode, Melanie provides a few tips for building students' automaticity with letter formation. Go deeperEffective Strategies for Teaching Handwriting in Grades 3-8The Handwriting Part of WritingSend us a textPlease subscribe to our podcast and leave us ratings/reviews on your favorite listening platform.You may contact us directly if you want us to consult with your school district. Melanie Meehan: meehanmelanie@gmail.com Stacey Shubitz: stacey@staceyshubitz.com Email us at contact@twowritingteachers.org for affiliate or sponsorship opportunities.For more about teaching writing, head to the Two Writing Teachers blog.

Patreon co-founder and CEO Jack Conte joins Guy on the Advice Line, where they answer questions from three early-stage founders about marketing and building community.First we meet Zac from Indiana, who's looking to grow his coffee company with a subscription offering for newlyweds. Then Rowena from New York, who wants to expand her international cooking kits for kids to all ages. And Melissa from Florida, who's hoping to break into schools with her handwriting program for preschoolers.And stick around to the end to hear whether the callers took Guy and Jack's advice.Thank you to the founders of Honey Moon Coffee Co., Eat2Explore, and Adventures in Handwriting for being a part of our show.If you'd like to be featured on a future Advice Line episode, leave us a one-minute message that tells us about your business and a specific question you'd like answered. Send a voice memo to hibt@id.wondery.com or call 1-800-433-1298.And be sure to listen to Patreon's founding story as told by Jack and his co-founder Sam Yam on the show in 2021.This episode was produced by Chris Maccini with music by Ramtin Arablouei. It was edited by John Isabella. Our audio engineer was Gilly Moon.You can follow HIBT on X & Instagram and sign up for Guy's free newsletter at guyraz.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of Pretty Lies & Alibis, we break down Day 1 of the Kouri Richins evidentiary hearing and the key expert testimony battles unfolding ahead of her upcoming trial.The defense sought to block three of the state's expert witnesses, focusing heavily on the controversial “Pathway to Violence” model. Defense expert Dr. Fox testified that the model is not scientifically reliable, lacks peer-reviewed validation, has no known error rate, and cannot be used to predict individual acts of violence — arguing that its use amounts to profiling rather than science under Utah Rule of Evidence 702.The state countered with testimony from Dr. Ammon, who described the model as one of several tools used retrospectively in targeted violence prevention. The judge ultimately issued a partial ruling, limiting how the model may be used at trial.We also cover:The judge's decision allowing a handwriting expert to testify regarding alleged forgeryWhy testimony from Dr. Sherry Veneno was ruled not currently relevant — but could be revisitedWhy Day 2 of the hearing will not be livestreamed due to sealed evidenceDonate: (Thank you for your support! Couldn't do what I love without all y'all) PayPal - paypal.com/paypalme/prettyliesandalibisVenmo - @prettyliesalibisBuy Me A Coffee - https://www.buymeacoffee.com/prettyliesrCash App- PrettyliesandalibisAll links: https://linktr.ee/prettyliesandalibisMerch: prettyliesandalibis.myshopify.comPatreon: https://www.patreon.com/PrettyLiesAndAlibis(Weekly lives and private message board) 00:00 – Intro: Pretty Lies & Alibis00:55 – Overview of Kouri Richins Day 1 evidentiary hearing01:20 – Day 2 will not be live streamed (sealed evidence)01:50 – Defense moves to exclude three state experts02:05 – Defense expert Dr. Fox challenges “Pathway to Violence” model02:45 – Why the model is not diagnostic or predictive03:35 – Lack of statistics, probability, or error rate04:10 – Rule 702: standards for expert testimony04:45 – Model not peer-reviewed or scientifically validated05:30 – No standardized methodology; risk of inconsistent conclusions06:15 – False positives and profiling concerns06:45 – “Predicting violence after the fact” analogy07:35 – Model not intended for individual cases like Kouri Richins08:10 – FBI background and lack of exposure to the model08:45 – State expert Dr. Ammon testifies in support of the model09:15 – Judge's ruling on Dr. Ammon's testimony09:50 – Handwriting expert allowed to testify on forgery counts10:20 – Dr. Sherry Veneno's testimony deemed not yet relevant10:55 – Closing thoughts and wrap-upBecome a supporter of this podcast: https://www.spreaker.com/podcast/pretty-lies-and-alibis--4447192/support.ALL MERCH 10% off with code Sherlock10 at checkout  - NEW STYLES Donate: (Thank you for your support! Couldn't do what I love without all y'all) PayPal - paypal.com/paypalme/prettyliesandalibisVenmo - @prettyliesalibisBuy Me A Coffee - https://www.buymeacoffee.com/prettyliesrCash App- PrettyliesandalibisAll links: https://linktr.ee/prettyliesandalibisMerch: prettyliesandalibis.myshopify.comPatreon: https://www.patreon.com/PrettyLiesAndAlibis(Weekly lives and private message board)

Australian Survivors Philly Ferguson and Traitors Canada Icon Tranna Wintour talk all things LESBIANS, HANDWRITING and FLOP MOVES in a Week 1 recap of The Traitors UK Season 4. Hosted on Acast. See acast.com/privacy for more information.

Today, on Simple Truths for Life, Charles Tapp explains that despite how bleak your outlook seems, God has a purpose in mind for you--and helps you see it from God's perspective by asking what is God writing on the wall of your life? His message is based on the small book of the Bible, Amos.

Welcome to Mysteries to Die For and this Toe Tag.I am TG Wolff and am here with Jack, my piano player and producer. This is normally a podcast where we combine storytelling with original music to put you at the heart of mystery. Today is a bonus episode we call a Toe Tag. It is the first chapter from a fresh release in the mystery, crime, and thriller genre.Today's featured release is Maximum Pressure by Sheila LoweTG Wolff ReviewMaximum Pressure is an amateur sleuth mystery. Handwriting expert Claudia Rose is headed to her 25-year high school reunion and a cold case. Lucy Valentine was a junior when she walked out of the high school and was never seen again … but she did leave a note. Now, her ex-boyfriend and current filmmaker Matt Macedo is making a documentary and enlisting Claudia's help. As they start interviewing people, the reluctant witnesses reveal there was much more going on than a girl unhappy at school.Bottom line: Maximum Pressure is for you if you like cold case mysteries where there is more than meets the eye.Maximum Pressure was released from Write Choice Ink and is promoted by Partners In Crime Tours and is available from AMAZON LINK and other book retailers.About Sheila LoweSheila Lowe is a forensic handwriting examiner, author, and educator with over fifty years of experience decoding the written word. Her nonfiction books include Reading Between the Lines: Decoding Handwriting and her memoir, Growing From the Ashes. In the bestselling Forensic Handwriting suspense series, Sheila's real-world expertise drives unforgettable fiction as she bridges science and mystery with every stroke of the pen. Her Beyond the Veil paranormal suspense series features a woman who talks to dead people.SheilaLoweBooks.comWondering what to read after you finish Maximum Pressure? Partners in Crime Tours is your ultimate destination for all things mystery, crime, thriller, and cozy! Since 2011, they've been working to fill bookshelves with gripping and heart-pounding reads. Discover new mystery series and connection with other fans with Partners in Crime. Look up Partners in Crime Tours on the web or your favorite social media - links are in the show notes.And Authors, whether you're looking to promote your latest thriller, discover a new mystery series, or connect with fellow fans of the genre, PICT has you covered. Check out their promotion options that come with the personal attention of a dedicated coordinator.Join us next week for Mysteries to Die For and the start of season 9. It's all about the means of murder with Stuff That Can Kill You or STCKY. Erica Obey leads us off with Phidias Quinn and the Butterfly's Wing where chemical is the STCKY means of murder.

Daniel 5:1-31

We're joined by Kelli Fetter, founder of Handwriting Solutions, to talk all things dysgraphia! Kelli talks with us about how dysgraphia is so much more than just ‘messy handwriting,' how to balance building handwriting skills with accommodations, pervasive dysgraphia myths, and more. Learn more about Handwriting Solutions at handwritingsolutions.org.  

Should we teach students to write upper or lowercase letters first?  What's the best routine for practicing handwriting? How much time should students practice handwriting each day? Dr. Shawn Datchuk shares what the research says (and doesn't say) about these questions and more!Get the show notes here: http://themeasuredmom.com/episode181Get the free Editable Name Tracing Worksheets: https://www.themeasuredmom.com/tmm_optin/free-sample-editable-name-tracing/Click here for the show notes from this episode. Sign up for my free masterclass, 5 Essential Steps to Reach All Readers. Get my book, Reach All Readers! Looking for printable resources that align with the science of reading? Click here to learn more about our popular and affordable membership for PreK through 3rd grade educators.Connect with me here! Blog Instagram Facebook Twitter (X)

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Today's Scripture passages are Psalm 77 | Jeremiah 52:31-34 | 2 Kings 25:27-30 | Daniel 5 | Acts 26. Read by Ekemini Uwan. Get in The Word with Truth's Table is a production of InterVarsity Press. For 75 years, IVP has published and created thoughtful Christian books for the university, church, and the world. Our Bible reading plan is adapted from Bible Study Together, and the Bible version is the New English Translation, used by permission.SPECIAL OFFER | As a listener of this podcast, use the code IVPOD25 for 25% off any IVP resource mentioned in this episode at ivpress.com.Additional Credits:Song production: Seaux ChillSong lyrics written by: Seaux Chill, Ekemini Uwan, and Christina EdmondsonPodcast art: Kate LillardPhotography: Shelly EveBible consultant: JM SmithSound engineering: Podastery StudiosCreative producers: Ekemini Uwan and Christina EdmondsonAssistant producer: Christine Pelliccio MeloExecutive producer: Helen LeeDisclaimer: The comments, views, and opinions expressed in this podcast are solely those of the host and/or the guests featured on the podcast and do not necessarily reflect the views or positions of InterVarsity Press or InterVarsity Christian Fellowship.

Kelli Fetter is a Certified Handwriting Specialist and the founder of Handwriting Solutions, LLC, where she leads a team providing world-class virtual handwriting, reading, and spelling support to students worldwide. She's also a respected educator for teachers and therapists, known for her evidence-based approach to handwriting, dysgraphia, and dyslexia. With a background in pediatric occupational therapy across clinics, schools, and early intervention, and inspired by her own daughter's dyslexia and dysgraphia journey, Kelli is dedicated to empowering families and professionals to unlock every child's potential.In this episode, Kelli shares how her personal journey with her daughter's dyslexia and dysgraphia sparked a global virtual business that now helps students, teachers, and therapists understand handwriting on a deeper level. She talks about how her background as a pediatric OT and her determination as a mom shaped a company that offers assessments, tutoring, teacher training, and even reading and spelling support. Kelli also gets honest about the behind-the-scenes of growing a business: pushing through perfectionism, learning to delegate, building systems, and staying anchored in her mission to help more families. Hit play now to hear her story and the real work it took to get where she is today!Connect with Kelli Fetter:Black Friday WaitlistDysgraphia Course for TeachersExpectations FreebieKey Takeaways:(00:35) Meet Kelli: from OT to online business owner(02:35) What Handwriting Solutions does; support for dyslexia and dysgraphia(05:20) Niching down and helping teachers, OTs, and schools(09:20) Services breakdown: assessments, tutoring, reading support, and handwriting programs for students(14:25) Mindset blocks and overcoming perfectionism(20:25) Teacher trainings, therapist courses, a textbook, and new resources coming in 2026Grab the free Teacher Biz Starter Guide at teacherbiz.com/startConnect With Heather:teacherbiz.com/aboutinstagram.com/teacherbiz

On today's episode of the Fletch, Vaughan & Hayley Big Pod, its a girls takeover, Hayley & the producer girlies fill in while the boys are away Justice for Shannon Loneliness over Christmas Salvia pregnancy test Top 6 - Benefits of sleeping at a boys house Toe Tights?!? SLP - Are you hosting or attending Christmas? Handwriting ick Bet I Can Guess When Your Period's Due Where did you have to pee in public? Girl Math Hayley's dating wrapped Fact of the day What went wrong in the bridal party? See omnystudio.com/listener for privacy information.

Today I want to talk about my daughter's experience and I am forever grateful to her grade two teacher.About the Host:Melissa is an Integrative Health Practitioner helping people get to the root cause of their health issues. Melissa neither diagnoses nor cures but helps bring your body back into balance by helping discover your “toxic load” and then removing the toxins. Melissa offers functional medicine lab testing that helps you “see inside” to know exactly what is going on, and then provides a personalized wellness protocol using natural herbs and supplements. Melissa's business is 100% virtual –the lab tests are mailed directly to your home and she specializes in holding your hand and guiding the way to healing so that you don't have to figure it all out on your own. Melissa has been featured at a number of Health & Wellness Summits, such as the Health, Wealth & Wisdom Summit, The Power To Profit Summit, The Feel Fan-freaking-tas-tic Summit, and the Aim Higher Summit, and has guested on over 30 different podcasts teaching people about the importance of prioritizing our health and how to get get started. www.yourguidedhealthjourney.comLinkedIn: https://www.linkedin.com/in/melissadeally/FB: https://www.facebook.com/GuidedhealthjourneyInstagram: https://www.instagram.com/guidedhealthjourney/Thanks for listening!If you know somebody who would benefit from this message, or would be an awesome addition to our community, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a note in the comment section below!Subscribe to the podcast!If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast app on your mobile device.Leave us a review!We appreciate every bit of feedback to make this a value-adding part of your day. Ratings and reviews from our listeners not only help us improve, but also help others find us in their podcast app. If you have a minute, an honest review on Apple Podcasts/iTunes goes a long way! Thank You!!

"I have never felt so naked. That's how exposed I felt at the idea that my handwriting was going to be seen by the world," says Tim Brookes, founder of the Endangered Alphabets Project and author of the new book about handwriting By Hand: Can the Art of Writing Be Saved? Writing the book (yes, by hand!) celebrates the act of handwriting, even overcoming the shame arising from his own.Visit theallusionist.org/scribe for more information about Tim's work and today's topics, plus a transcript of the episode.Support the show at theallusionist.org/donate and as well as keeping this independent podcast going, you also get to list your creative works in this year's Allusioverse Gift Guide, plus behind-the-scenes info about every episode; livestreams with me reading from my ever-growing collection of dictionaries; and the charming and nurturing Allusioverse Discord community, where among daily sharing of thoughts and amusements, we're watching The Princess Bride, the current season of Great Canadian Baking Show, and Game of Wool.This episode was produced by me, Helen Zaltzman, on the unceded ancestral and traditional territory of xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. Martin Austwick. Download his own songs at palebirdmusic.com and on Bandcamp, and listen to his podcasts Song By Song and Neutrino Watch.Find the Allusionist at youtube.com/allusionistshow, instagram.com/allusionistshow, facebook.com/allusionistshow, @allusionistshow.bsky.social… If I'm there, I'm there as @allusionistshow. Our ad partner is Multitude. If you want me to talk compellingly about your product, sponsor an episode: contact Multitude at multitude.productions/ads. This episode is sponsored by:• Greenwood Lake Roasters, purveyors of small batch craft coffee roasted just outside of NYC. Go to GreenwoodLakeRoasters.com to place your order - do it between now and December 31st and use the checkout code ALLUSIONIST to get 10% off small batch coffee and subscription orders. • Squarespace, your one-stop shop for building and running your online forever home. Go to squarespace.com/allusionist for a free trial, and get 10 percent off your first purchase of a website or domain with the code allusionist.• Home Chef, meal kits that fit your needs. For a limited time, Home Chef is offering Allusionist listeners fifty per cent off and free shipping on your first box, plus free dessert for life, at HomeChef.com/allusionist.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Kendall breakdown the Semifinals of Dancing with the Stars and the "shocking" elimination. Jacob Elordi's handwriting is terrible. BRAVO CON breakdown from Brittany and Rachel Kennedy joins to talk about a comedy event she is hosting at Zamboni's on 7th. Details Here Don't Call it a COMEBACK! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of the Celebrate Kids podcast, Wayne reflects on the challenges and inefficiencies of parenting, particularly when trying to nurture a child's potential. He and Dr. Kathy discuss the importance of recognizing and encouraging a child's unique personality traits while acknowledging that parenting often involves navigating dark and inconvenient moments. The episode highlights a fascinating study from the Norwegian University of Science and Technology, which reveals that handwriting engages the entire brain, unlike typing. This insight serves as a reminder for parents to embrace less efficient, more meaningful interactions with their children.   

Medical paperwork glitches can be dangerous, even deadly. What's happening, and how can it be fixed?Become a supporter of this podcast: https://www.spreaker.com/podcast/true-stories-with-seth-andrews--5621867/support.

In a world where every kindergartner has access to an iPad, does handwriting still matter?    The answer, according to handwriting expert Holly Britton, is yes – and it's not just a penmanship issue; it's a thinking issue. In this episode, Holly explains why the way we teach handwriting is critical for young learners.    We dive into why handwriting is such a powerful tool for cognitive development and why, without it, kids are missing out on vital brain connections. As more classrooms move toward digital devices, Holly makes the case that handwriting is still the key to unlocking deeper learning and success in all areas.   Get full show notes, transcript, and more information here: https://planningplaytime.com/113   Follow us on our socials: https://www.instagram.com/planningplaytime/ https://www.facebook.com/Planningplaytime/ https://www.pinterest.com/planningplaytim/

If you think your growth problem is about tactics, targets, or team structure, this episode might sting, in the best way. I'm joined by Emma Thompson, The Sales Therapist, who helps founders, leaders, and sales teams uncover the real issue: the story they're telling themselves. She helps people face the thought behind their behaviour, not just the behaviour itself. If your go-to-market team feels stuck, scared, or sabotaging progress, this one's for you. Expect a few uncomfortable moments, the kind that lead to growth. You Can't Out-Strategise Your Nervous System Emma doesn't fix symptoms, she finds causes. Procrastination, burnout, and perfectionism aren't strategy problems, they're protection mechanisms. Until you find the thought behind your behaviour, you'll keep reacting and calling it leadership. You're not short on tactics. You're short on insight. Meet The Sales Therapist Emma became a hypnotherapist and coach after confronting her own childhood conditioning. Her work helps clients separate who they were taught to be from who they choose to be. Her process is built on one structure: Thought → Feeling → Behaviour → Identity Working backwards: Identify the behaviour causing friction. Find the feeling underneath it. Trace it to the root thought or story you're still running. Question that story, mark it in red, and rewrite it. Why “Not Enough” Runs the Show Every human Emma works with carries some form of “I'm not enough.” Those stories form early, between ages 0 and 7, and quietly dictate your adult life until you rewrite them. Perfectionism? A response to shame. Control? A response to fear. People-pleasing? A response to rejection. Even a stable, loving childhood can script unrealistic expectations for how life and leadership “should” look. Three Blind Spots: Money, Conflict, Identity Money: Childhood exposure to financial stress or “be humble” messaging leads to founders who fear being “too much.” They either hoard or overspend, both are control responses. Conflict: We're wired to see discomfort as danger. In business, it's a growth signal. The more you face discomfort, the stronger your neural pathways for courage become. Identity: Marcus and Emma explore five traps: Confusing your role with your identity. Performing self-awareness while staying defensive. Worshipping willpower instead of rewiring the subconscious. Waiting for perfection before acting. Using trauma as fuel until it burns you. Response Over Reaction A feeling lasts about 90 seconds. The thought beneath it keeps it alive. When the wave hits, stop, breathe, and scan your body. Let the feeling fade before you think. Then ask: what thought started that? You'll notice logic always arrives second. Rebuilding Internal Validation External praise bounces off if your internal narrative rejects it. Emma teaches clients to build an Evidence Shelf: External evidence: moments of positive feedback. Internal validation: self-statements in your own language (“I handled that well,” “I'm capable”). Journaling reinforces these new beliefs. Handwriting engages more of the brain. Emma's “I Am” prompts and Marcus's favourite ABCDE model (by Dr. Albert Ellis) help rewrite the script: A: Activating event B: Belief C: Consequence D: Dispute E: Effect From Protection to Purpose The voice that says “this is woo-woo” is the voice keeping you small. Improve by 0.1% a day and you'll be 43% better in a year. That's the compound effect of facing what's uncomfortable. Ask yourself: What belief am I defending that no longer serves me? Am I living by choice or conditioning? What's the emotional cost of staying the same? Am I leading or just reacting with authority? What part of me needs to heal so I can lead cleanly? Recommended Resources From Emma: Tell Yourself a Better Lie by Marisa Peer Podcast: The Six Minute Mind with Emma Thompson Guest: Dr. Tara Swart, neuroscientist From Marcus: How to Stubbornly Refuse to Make Yourself Miserable About Anything, Yes Anything – Albert Ellis How to Keep People from Pushing Your Buttons – Albert Ellis Join the Event: Founder Dependency Unlocked Emma and I will be running Founder Dependency Unlocked on 31st October 2025 (Halloween, 10 a.m. GMT). The mindset that got you through startup survival won't scale your company. Time to upgrade your emotional operating system, starting with the story you tell yourself. Connect with Emma on LinkedIn or at www.emmathompsontherapy.com. If this episode hit home, share it with someone who needs to hear it. Stay safe, and happy selling.

In this episode, we're unpacking a topic that's often misunderstood in early childhood education: the difference between handwriting and writing.While these terms are often used interchangeably, they involve very different skills and understanding that difference can change the way you support your preschoolers. Topics Discussed:What handwriting and writingreallymeanWhy mixing them up leads to unrealistic expectationsHow each skill develops (spoiler: not at the same pace!)Simple ways to support both - without overwhelming young learnersRelated Resources:Fine Motor Build a SkillName Writing NotebooksWriting Invitations for the Writing CenterShared and Interactive WritingRelated Blogposts/Episodes:How to Use Writing Invitations in PreschoolThings to do Before Teaching Name WritingWhat is Shared and Interactive Writing in Preschool?Stop! Don't Hand that Preschooler a Pencil Yet!Connect with AshleyFollow on Instagram @lovelycommotionJoin the Lovely Preschool Teachers Facebook GroupMore About the Lovely Preschool Teachers PodcastAre you a busy preschool teacher who loves gaining new ideas, perspectives, and inspiration for your classroom? The Lovely Preschool Teachers Podcast is here to help you up your confidence in educating early learners in a quick, actionable way!As an early educator who is still in the classroom, Ashley Rives will share the ins and outs of how she runs her classroom in a play-based, child-centered way. Each week, expect a new episode focused on actionable strategies to level up your abilities and confidence as a preschool teacher.Ashley Rives is an early educator with over 17 years of experience and a strong passion to help teachers implement child-centered learning in preschool classrooms all over the world. You can follow her on Instagram @lovelycommotion or learn more at the Lovely Commotion Preschool Resources website: www.lovelycommotion.com

What's the real story behind “bad” handwriting? Is it just a phase, or a red flag? And what should you actually do when your kid melts down every time you pull out a pencil?In this episode, I'm joined by Sarah Collins, a homeschool mom, licensed occupational therapist, and founder of Homeschool OT, to debunk some common OT myths and offer practical, encouraging advice for homeschool parents concerned about handwriting, motor skills, and when to seek extra help.You'll hear:How Sarah pivoted from OT homeschool skeptic to trailblazer serving families worldwideThe #1 question every parent should ask if their child struggles with handwriting (hint: function > form)Simple ways to support reluctant writers (think: core strength before cursive!)What really matters for writing readiness, warning signs to watch for, and when it's time to seek professional support (without guilt or shame)Lots of fun, judgment-free encouragement for new and veteran homeschoolersResources Mentioned:Sarah's site, resources & podcastInstagram: @homeschoolotImproving Handwriting Without Actually WritingA Chameleon Tale (Sarah's sensory-regulation picture book)Free Homeschool CommunityFor full show notes and a transcript of today's episode, head to pambarnhill.com/hsbt49

Send us a textHello and welcome to another episode! This week, Janey is going to teach us a valuable lesson about the importance of writing complex characters, and Max is going to re-tell a cozy little comic! May your October be spooky and bright!Janey's Sources - “W.S.” by L.P. HartleyLOCATION: England“Roald Dahl's Book of Ghost Stories”  L.P. Hartley's wiki  Max's Sources - A Small Wild MagicLOCATION: None / Australia“Monstrous Affections: An Anthology of Beastly Tales” edited by Kelly Link and Gavin J. GrantKathleen Jennings (plus their Instagram)  Support the showCheck out our books (and support local bookstores!) on our Bookshop.org affiliate account!Starting your own podcast with your very cool best friend? Try hosting on Buzzsprout (and get a $20 Amazon gift card!)Want more??Visit our website!Join our Patreon!Shop the merch at TeePublic!If you liked these stories, let us know on our various socials!InstagramTiktokGoodreadsAnd email us at sortofthestory@gmail.com

Shannon and Mary kick off the new season with reflections on how far the podcast has come, from family anecdotes to stories of former students thriving—like Rigby, a once-struggling reader now headed to college. They share practical tips for using Canva to teach morphology, highlight successes from their summer tutoring, and discuss balancing work, rest, and family life. Additionally, they unveil exciting plans to feature more teacher voices in the show through their bonus episodes, available to all subscribers.RESOURCES MENTIONED DURING THE EPISODE:Mary's husband's band Cherokee Ave ProjectGoogle form for teacher guestsMarie Foley Visuals Morphology classGeodes decodablesHandwriting Without TearsBookwormsAmplify CKLABlossom & RootBuy us a coffeeBonus Episodes access through your podcast appBonus episodes access through PatreonFree Rubrics Guide created by usFinding Good Books Guide created by usSupport the showGet Literacy Support through our Patreon

Susie learned about a shocking situation developing at a French aquarium housing killer whales where animal rights activists caught the trainers, um, handling the whales to alleviate adult desires brewing between the whales. We hear why it's happening, and why it's so upsetting (beyond the obvious). We discuss the situation between 74yo former NFL coach Bill Bellichek and his 24yo girlfriend, why we can't decide who the villain is, and why it's flipping the script of May/December romances. We learn the story of the Great British Bakeoff, why they take casting so seriously, and why the bakers hold disdain for a particular type of cast member. Susie talks about the lawsuit against airlines who charge people for windowless window seats on flights, and why we think it'll shake up the industry. We learn why many adults are ordering kids meals and why Sarah won't do it. And we discuss whether it is important to be able to read an analog clock and write cursive, and why learning handwriting is about far more than it seems.Brain Candy Podcast Presents: Susie & Sarah's SpOoOoOoOoktacular Spectacle, October 30, Oriental Theater, Denver, Colorado: Get your tickets! We're having a BONUS Candy Club zoom meeting this week to talk about the Unknown Number documentary on Netflix. You won't want to miss what is sure to be a WILD discussion on this crazy case of online bullying. Join Candy Club!Brain Candy Podcast Website - https://thebraincandypodcast.com/Brain Candy Podcast Book Recommendations - https://thebraincandypodcast.com/books/Brain Candy Podcast Merchandise - https://thebraincandypodcast.com/candy-store/Brain Candy Podcast Candy Club - https://thebraincandypodcast.com/product/candy-club/Brain Candy Podcast Sponsor Codes - https://thebraincandypodcast.com/support-us/Brain Candy Podcast Social Media & Platforms:Brain Candy Podcast LIVE Interactive Trivia Nights - https://www.youtube.com/@BrainCandyPodcast/streamsBrain Candy Podcast Instagram: https://www.instagram.com/braincandypodcastHost Susie Meister Instagram: https://www.instagram.com/susiemeisterHost Sarah Rice Instagram: https://www.instagram.com/imsarahriceBrain Candy Podcast on X: https://www.x.com/braincandypodBrain Candy Podcast Patreon: https://www.patreon.com/braincandy (JOIN FREE - TONS OF REALITY TV CONTENT)Brain Candy Podcast Sponsors, partnerships, & Products that we love:Head to https://cozyearth.com and use our code BRAINCANDY for 40% off! Get $10 dollars off your first month's subscription and free shipping when you go to https://nutrafol.com and enter the promo code BRAINCANDYThis episode is sponsored by BetterHelp. Get 10% off your first month at https://www.betterhelp.com/braincandySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.