Podcasts about Handwriting

How our relationship with writing has changed, and how that's changed us. This episode was produced by Dustin DeSoto, edited by Avishay Artsy, fact-checked by Melissa Hirsch, engineered by David Tatasciore, and hosted by Jonquilyn Hill. A third grader practices his cursive handwriting at P.S.166 in Queens, N.Y. AP Photo/Mary Altaffer. If you have a question, give us a call at 1-800-618-8545 or email askvox@vox.com. Listen to Explain It to Me ad-free by becoming a Vox Member: vox.com/members. Learn more about your ad choices. Visit podcastchoices.com/adchoices

How our relationship with writing has changed, and how that's changed us. This episode was produced by Dustin DeSoto, edited by Avishay Artsy, fact-checked by Melissa Hirsch, engineered by David Tatasciore, and hosted by Jonquilyn Hill. A third grader practices his cursive handwriting at P.S.166 in Queens, N.Y. AP Photo/Mary Altaffer. If you have a question, give us a call at 1-800-618-8545 or email askvox@vox.com. Listen to Explain It to Me ad-free by becoming a Vox Member: vox.com/members. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Get Your Free Signature Workbook here: https://raj.imranbaig.com/Guest Suggestion Form: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://forms.gle/bnaeY3FpoFU9ZjA47⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Disclaimer: This video is intended solely for educational purposes and opinions shared by the guest are his personal views. We do not intent to defame or harm any person/ brand/ product/ country/ profession mentioned in the video. Our goal is to provide information to help audience make informed choices. The media used in this video are solely for informational purposes and belongs to their respective owners.(00:00) - Intro(02:55) - Analyzing Raj's Handwriting(10:47) - One Common Trait in Successful People & One in Unsuccessful People(16:28) - Can Handwriting Reveal Mental Health & Sexual Drives?(23:15) - How to Improve Low Self-Esteem(31:35) - Can People Fake Their Personality Through Handwriting?(33:44) - Typing vs. Writing(35:17) - Analyzing Famous People's Handwriting(51:59) - Understanding Signatures(1:00:24) - Analyzing Raj's Signature(1:05:43) - Redesigning Raj's Signature(1:14:24) - Can Handwriting Reveal Liars?(1:16:59) - The Darkest Thing He Discovered Through Handwriting Analysis(1:19:51) - Can Handwriting Reveal a Person's Sex Life?(1:21:33) - What Should People Write to Improve Their Sex Drive?(1:28:05) - Can Parents Analyze Their Child's Handwriting?(1:30:09) - What Would He Say to People Who Call This Pseudoscience?(1:34:30) - Analyzing Michael Jackson's Signature(1:39:21) - OutroIn today's episode, we sit down with Imran Baig, India's Most Trusted Handwriting Analysis Coach, to explore what handwriting and signatures can reveal about personality, behavior, and decision-making.The conversation also covers what wealthy people's signatures often have in common, how experts identify signs of deception, and what handwriting can reveal about confidence, emotions, and mindset. He also shares some of the most fascinating personality insights he has uncovered, including his analysis of Michael Jackson. This episode is a fascinating look at the psychology hidden in everyday writing.Subscribe for more such conversations.Follow Imran Baig Here:Instagram: https://www.instagram.com/imranbaig.ibLinkedIn: https://www.linkedin.com/in/ibimranbaig/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠About Raj ShamaniRaj Shamani is an Entrepreneur at heart that explains his expertise in Business Content Creation & Public Speaking. He has delivered 200+ speeches in 26+ countries. Besides that, Raj is also an Angel Investor interested in crazy minds who are creating a sensation in the Fintech, FMCG, & passion economy space.To Know More,Follow Raj Shamani On ⤵︎Instagram @RajShamani ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/rajshamani/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter @RajShamani ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/rajshamani⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook @ShamaniRaj ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/shamaniraj⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn - Raj Shamani ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.linkedin.com/in/rajshamani/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠About Figuring OutFiguring Out Podcast is a Candid Conversations University where Raj Shamani brings raw conversations with the Top 1% in India.

Bongani Bingwa and Khabazela unpack trending conversations around whether people keep, display or lend out their books, and the special titles they can never part with. They also explore the role of handwriting in a digital world and the handwritten notes, letters or messages people treasure most. 702 Breakfast with Bongani Bingwa is broadcast on 702, a Johannesburg based talk radio station. Bongani makes sense of the news, interviews the key newsmakers of the day, and holds those in power to account on your behalf. The team bring you all you need to know to start your day Thank you for listening to a podcast from 702 Breakfast with Bongani Bingwa Listen live on Primedia+ weekdays from 06:00 and 09:00 (SA Time) to Breakfast with Bongani Bingwa broadcast on 702: https://buff.ly/gk3y0Kj For more from the show go to https://buff.ly/36edSLV or find all the catch-up podcasts here https://buff.ly/zEcM35T Subscribe to the 702 Daily and Weekly Newsletters https://buff.ly/v5mfetc Follow us on social media: 702 on Facebook: https://www.facebook.com/TalkRadio702 702 on TikTok: https://www.tiktok.com/@talkradio702 702 on Instagram: https://www.instagram.com/talkradio702/ 702 on X: https://x.com/Radio702 702 on YouTube: https://www.youtube.com/@radio7See omnystudio.com/listener for privacy information.

A Clare primary school student has become the latest winner of the An Post Primary schools handwriting competition. The competition celebrates the incredible creativity, care and imagination of young writers across Ireland. This year's theme, “Making Better Happen in our communities,” inspired thousands of pupils to reflect on kindness, connection and the role they can play in shaping the world around them. The overall winner was Sarah McInerney from  Doora NS, here in County Clare and earlier Alan Morrissey spoke with Sarah along with Mags O'Reilly competition organiser and Brand Communications and sponsorship manager with An Post. Image (c) yipengge from Getty Images Signature via Canva

Episode 29 of Guardians of M365 Governance: Christian Buckley, Joy Apple, and Ragnar go off-script. No guest this month, just three MVPs working through a laundry list of the governance topics keeping them up at night, from Agent 365 and shadow AI to the real question underneath it all: what does it mean to be the human in the loop?In this episode we get into:00:59 The hottest news in the M365 governance space02:00 Lessons from Agent 365 customer workshops (delivered in Spanish!)03:25 What resonates: agent inventory and classification across Microsoft, third-party, and homegrown agents03:52 Shadow AI: OpenClaw, Cortex, Bedrock and why "observe or block" is the only lever today05:04 Don't be the department of "no": have the conversation first06:50 Coming soon to shadow AI discovery: Claude Code CLI, Codex CLI, Cursor, Llama and more07:19 Multi-model reality: Copilot, Grok, Claude and where each fits08:35 Mike Gennady's agent factory, nightly agent conferences, and #ClawPilot10:08 Microsoft Build preview and OpenClaw + Teams / Copilot integration11:05 New Agent 365 registry sync: Amazon Bedrock, Google Vertex AI, Databricks Genie, Salesforce Agentforce15:16 Cloud migration vs. AI: the governance parallels and the need for foundational cleanup18:00 The risk to Microsoft's strategy: enterprise vs. the developer space20:28 Licensing changes, Agent 365 pricing, and the true (unknown) cost of AI22:45 Why automating away junior roles handicaps your future talent pipeline24:01 Retrieval, semi-autonomous, and autonomous agents, and why nobody wants full autonomy yet25:33 Human in the loop on multiple levels: content cleanup, the publishing quality gate, and workflow escalation28:50 100 test cases for Power Platform alone: never underestimate the testing effort29:31 Productivity vs. effectiveness: redefining how humans work with AI31:17 AI-assisted writing done right: a 47-page doc drafted by AI, then days of human verification35:28 Handwriting vs. typing, stream-of-consciousness drafting, and thinking through the words36:36 Why the human mind can't be replicated, and Hegel on master and horse39:28 Finding your USP as a human in the loop, a daily new discoveryThe big takeaway: the discussion of the next two to three years won't be about productivity. It will be about effectiveness, and resetting the standard for what it means to keep humans meaningfully in the loop. Govern your agents as helpers, never the other way around.Guardians of M365 Governance is a monthly webcast dedicated to everything governance in the Microsoft 365 ecosystem. Got a topic you want us to cover, or want to join as a guest? Connect with Christian, Joy, or Ragnar on LinkedIn.Microsoft Build runs June 2-3, free online: https://build.microsoft.com

Series: N/AService: Sun PMType: SermonSpeaker: Luke Hayes

LIVE STREAMING tonight at 7:00 pm EST... Join us tonight as we analyze some Oswald signatures and try to figure out what is legit and what is not... and what it might mean.  Very much a visual episode, might want to watch on Youtube (Link below) Join us... shall you?YouTube Link - https://youtube.com/live/OnJkNGEITFwSilk CIty Hot Sauce - https://www.silkcityhotsauce.com Use our code GUNMAN for 20% off entire order at checkout!The COLDEST Cup - https://snwbl.io/TLG10 Follow our link to save $10 on every cup ordered!Music By - Lee Harold OswaldA Loose Moose ProductionBBB&JOEBBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-lone-gunman-podcast-jfk-assassination--1181353/support.

Send us Fan Mail Graphology & Leadership: Can Handwriting Build Confidence and Career Growth? Can your handwriting reveal something about your confidence, leadership style, emotional patterns, and career growth?In this deeply reflective episode of The Kapeel Gupta Career PodShow, we explore the fascinating connection between Graphology, Self-Awareness, Leadership, and Personal Transformation. This episode is not about prediction. It is not about judging people through handwriting.Instead, it explores a more thoughtful and practical question:

Daniel 5:1-31 5King Belshazzar made a great feast for a thousand of his lords and drank wine in front of the thousand. 2Belshazzar, when he tasted the wine, commanded that the vessels of gold and of silver that Nebuchadnezzar his father had taken out of the temple in Jerusalem be brought, that the king and his lords, his wives, and his concubines might drink from them.3Then they brought in the golden vessels that had been taken out of the temple, the house of God in Jerusalem, and the king and his lords, his wives, and his concubines drank from them.4They drank wine and praised the gods of gold and silver, bronze, iron, wood, and stone. 5Immediately the fingers of a human hand appeared and wrote on the plaster of the wall of the king's palace, opposite the lampstand. And the king saw the hand as it wrote.6Then the king's color changed, and his thoughts alarmed him; his limbs gave way, and his knees knocked together.7The king called loudly to bring in the enchanters, the Chaldeans, and the astrologers. The king declared to the wise men of Babylon, Whoever reads this writing, and shows me its interpretation, shall be clothed with purple and have a chain of gold around his neck and shall be the third ruler in the kingdom.8Then all the king's wise men came in, but they could not read the writing or make known to the king the interpretation.9Then King Belshazzar was greatly alarmed, and his color changed, and his lords were perplexed. 10The queen, because of the words of the king and his lords, came into the banqueting hall, and the queen declared, O king, live forever! Let not your thoughts alarm you or your color change.11There is a man in your kingdom in whom is the spirit of the holy gods. In the days of your father, light and understanding and wisdom like the wisdom of the gods were found in him, and King Nebuchadnezzar, your fatheryour father the kingmade him chief of the magicians, enchanters, Chaldeans, and astrologers,12because an excellent spirit, knowledge, and understanding to interpret dreams, explain riddles, and solve problems were found in this Daniel, whom the king named Belteshazzar. Now let Daniel be called, and he will show the interpretation. 13Then Daniel was brought in before the king. The king answered and said to Daniel, You are that Daniel, one of the exiles of Judah, whom the king my father brought from Judah.14I have heard of you that the spirit of the gods is in you, and that light and understanding and excellent wisdom are found in you.15Now the wise men, the enchanters, have been brought in before me to read this writing and make known to me its interpretation, but they could not show the interpretation of the matter.16But I have heard that you can give interpretations and solve problems. Now if you can read the writing and make known to me its interpretation, you shall be clothed with purple and have a chain of gold around your neck and shall be the third ruler in the kingdom. 17Then Daniel answered and said before the king, Let your gifts be for yourself, and give your rewards to another. Nevertheless, I will read the writing to the king and make known to him the interpretation.18O king, the Most High God gave Nebuchadnezzar your father kingship and greatness and glory and majesty.19And because of the greatness that he gave him, all peoples, nations, and languages trembled and feared before him. Whom he would, he killed, and whom he would, he kept alive; whom he would, he raised up, and whom he would, he humbled.20But when his heart was lifted up and his spirit was hardened so that he dealt proudly, he was brought down from his kingly throne, and his glory was taken from him.21He was driven from among the children of mankind, and his mind was made like that of a beast, and his dwelling was with the wild donkeys. He was fed grass like an ox, and his body was wet with the dew of heaven, until he knew that the Most High God rules the kingdom of mankind and sets over it whom he will.22And you his son, Belshazzar, have not humbled your heart, though you knew all this,23but you have lifted up yourself against the Lord of heaven. And the vessels of his house have been brought in before you, and you and your lords, your wives, and your concubines have drunk wine from them. And you have praised the gods of silver and gold, of bronze, iron, wood, and stone, which do not see or hear or know, but the God in whose hand is your breath, and whose are all your ways, you have not honored. 24Then from his presence the hand was sent, and this writing was inscribed.25And this is the writing that was inscribed:Mene,Mene,Tekel, andParsin.26This is the interpretation of the matter:Mene, God has numbered the days of your kingdom and brought it to an end;27Tekel, you have been weighed in the balances and found wanting;28Peres, your kingdom is divided and given to the Medes and Persians. 29Then Belshazzar gave the command, and Daniel was clothed with purple, a chain of gold was put around his neck, and a proclamation was made about him, that he should be the third ruler in the kingdom. 30That very night Belshazzar the Chaldean king was killed.31And Darius the Mede received the kingdom, being about sixty-two years old.

If you've ever wondered why writing things down just feels different, there's real science to back that up.Steph dives into the neuroscience behind handwriting versus typing and why putting pen to paper does more for your brain than you might expect. Drawing on research by Audrey van der Meer, she breaks down how handwriting activates greater brain connectivity and strengthens memory retention in ways that typing simply doesn't. Whether you're journaling, goal-setting, or processing what you've learned in a coaching session, Steph shares practical tips for using handwriting as a powerful self-development tool.In this episode you'll discover:Neuroscience of handwriting and typingImpact of handwriting on memory and learningPractical implications for coaching and self-developmentYour takeaways:Writing by hand activates more areas of the brain, creating stronger neural connections that boost learning and memoryIncorporating handwriting into your coaching or self-development practice can deepen how you process and retain new insightsThe physical movement involved in handwriting plays a key role in strengthening brain connectivityChapters00:00 The Importance of Clarity and Writing01:29 The Science of Handwriting vs. Typing06:09 Integration and Learning Through Writing08:37 Movement, Physicality, and Brain Connection10:20 Encouragement to Embrace HandwritingHandwriting study by Audrey van der Meer

Hi EveryoneI hope you can get just as excited about this research as I am. It has been around a while but I am just putting the peices together. References are below.I want you to EXPERIENCE THIS for yourself. Here are three ways NOW!Shiloh SophiaBook a call to explore our 9 month training called Stardust Initation starting in JuneJoin me for my NEW class, called Threshold - we are gonna paint aiwth power!Come along with me and my BFF Amy Ahlers to explore navigating this wild wild worldThe Neuroscience of Self-Expression: Why the Brush Knows Before We DoI want to speak to you about something I am so passionate about — the neuroscience of self-expression. It comes from my root system, because I come from the Stardust Lineage, and we are creative, spiritual, magical women who pass tools of Intentional Creativity from hand to hand and heart to heart. This isn't a woo-woo idea, and neither is it entirely scientific. It's a hybrid. Sometimes the brush knows before we know what's actually going to happen.I want to tell you about a researcher at Drexel University who has spent a decade strapping near-infrared sensors onto people's foreheads and watching what happens when the human brain is firing and wiring the moment the paintbrush touches the paper or the canvas. Do you know how long I've wanted to do this? Her name is Girija Kaimal — Wow. I would love to have a cup of tea with her. Of course, she doesn't know me. She probably will at some point, because I'm going to reach out. And she's probably never heard the words medicine painting — one of the terms we use for our work, because it's an approach to painting that's healing. Her data has been confirming what the women in our lineage have known since the 1930s. Self-expression is healing. Painting for us is a spiritual practice. It is not just a hobby. It is literally a neurological event. And guess what? When you paint with intention, the event begins before the brush ever touches the canvas. If you've worked with me, you know I talk about this all the time as energy equals matter at the speed of light — your energy as thought, expressed through your physical body, the equal sign, manifests matter at the speed of light on the canvas. Are you kidding me? Yes. The neurological awakening of what's going to happen happens before the brush touches the material.You may also be aware of another piece of research that adds to our point, by Audrey van der Meer, a Norwegian neuroscientist who has proved that writing by hand wakes up the brain in ways that typing cannot. Imagine how many kids these days are no longer learning to handwrite?! Her work is finding something so incredible about what happens when people are actually handwriting — she's measuring how the brain encodes the writing of letters into memory, and the brain is lighting up. When Kaimal's team did their research, they put 26 people in headbands — the kind that read blood flow inside the prefrontal cortex literally in real time. (Gosh, I wish it were here.) They were given three minutes to color in a mandala, to doodle around a circle, and to free-draw whatever they wanted. The results were published back in 2017 in Art Therapy. Guess what? All three activities lit up the medial prefrontal cortex. Wow. Wow. That region is part of the brain's reward pathway. Are you picking up what I'm putting down? That's the same circuit that fires when someone you love walks into the room. This is when you get to have tea with your best friend and you're jumping up and down. This is when your lover winks at you and you know what's coming next. This is when those of us in Intentional Creativity know that I'm going to do a power-packed livestream that's going to knock our red striped socks off. We feel love.The people she studied were not artists — most of them. And their brain did not care, in a literal way. Their brain didn't care if they were an artist. Their brain rewarded them anyway, for the simple act of creating color across a page with their hands. What's interesting too is that working inside of shapes — as in coloring — really does something powerful to the brain and to memory. It's just so exciting.In a separate study, the same researchers took 39 adults, gave them 45 minutes with markers, clay, and collage materials — nothing structured — and measured the cortisol in their saliva before and after. I kid you not. Cortisol in the saliva. Cortisol is the hormone your body produces under stress, the one that keeps so many of us awake at three in the morning, especially those of us going through midlife. Seventy-five percent of the participants showed lower cortisol after making art. No skill required. No talent required. No making it pretty. No perfectionism required. It is not an act of performance. It is an act of self-expression. The brain is responding to the act itself. It's in a way metacognition — becoming conscious of becoming conscious, while being intentional about what you're creating.There's something else I want to add, because when you're coloring and your brain doesn't have to make decisions, you can actually break a psychotic loop. This comes from nurses at Stanford who use my coloring books, Color of Woman. If they could get patients to color, they could break a psychotic loop. Wow. Why are we not talking about this more? Whether you're in a psychotic loop or not, wouldn't it be helpful to know that you could sit down and color and you would start to go into a different brain state? This is so important. (And it doesn't work if there's a blank page — for that psychotic-loop piece.)Now, our part in this. For close to 30 years I have been working with creating with intention, and since 2008 I've been training others to work with Intentional Creativity. I have not been teaching people to become brilliant artists — though some of them are. I have not been teaching people to make perfect paintings, though some of them do. I have not been teaching perfection technique to make a painting that would hang on the wall of a gallery. No. We've been into self-expression — to see what happens inside when you express yourself.Painting like this is a way of * Exploring our inner world. * A way of coming face to face with the often hidden identity within ourselves. * A way of activating the inner healer and the energies that go with that. * A way of catalyzing the brainwaves to move from beta to alpha to theta, so we can cross over into that state of the imagination and reach the subconscious domains. * A way of allowing the canvas itself to be a portal — to hold what the body carries* To express into form what was once inside and didn't have anywhere to go. * A composting of energy, now expressed onto the canvas. We call it medicine painting. Tens of thousands of people in our community have painted with it, and before I started doing it, we had two generations of artists who did it before me.Here's what the neuroscientists have not measured — but I would bet my brushes and my striped socks they would receive incredible results. The study in Kaimal's lab gave people markers and said, Go. There wasn't an intention set. Of course, the intention was that they were being measured. BUT. There wasn't an invocation. There wasn't a prayer. There wasn't a lighting of a candle. There wasn't a moment of asking what the piece of paper or the canvas wants to express to us. There wasn't a moment of what message are you receiving. And the cortisol still dropped. BOOOM DIGGITY. The reward pathway still lit up. The body still received a measurable gift — and the “able to experience it” part is super important to me. Because when we do this work and invite people to experience and acknowledge that it's happened, it creates more reward and more bliss and more affirmation and more faith that we could do it again and again. Which is why the science matters to me — because I want us to be able to do it again and again, in risk groups, in affinity groups, in groups of children, with people who need it. We need to bring this work everywhere.Imagine what the data would look like if the people being measured were bringing an intention. An intention to heal an illness. An intention to repair a marriage. An intention to pray for the end of war. Do you know how much power comes into the field, into the body, when one of us places our hand on the canvas and the other hand on the heart and says, What wants to be revealed? When a woman holds the red thread with other women in her circle, when she blesses the water and the cup of rain with holy water sprinkled from the places that matter to her, that brush is then charged with all of that energy. When we set an intention to alchemize trauma and wounds from years ago, patterns stuck in the body — then, when the brush expresses lightning, because we are daughters of lightning, it gets moved.In Intentional Creativity we say that the intention sets the field. This comes from Einstein's theories “the field is the sole governing agency of the particle”. The energy around us is what's creating what goes on the canvas. The thought we have and the intention we set will impact what shows up on the canvas. Then we observe it with our eyes, and the material goes back through the brain and translates back through the hands again. The moment you choose what this experience is for, the body has already started doing the work of translating the thought through the body, and the brush is just the place where the choice makes the inner vision possible — and then visible.What the neuroscience is beginning to show is that this is not metaphoric. Self-expression is not just a great idea. The state of the nervous system, before this act of beauty, this act of devotion — I'm so humbled by this. You can tell I'm just all lit up. When we come to the canvas, our nervous system is firing and wiring in a particular way. When we bring intention to the canvas, the nervous system shifts and becomes more regulated. The heart and brain can come into coherence. A brain and a mind that has been communicated with — that this sacred act will enable you to receive different signals — will receive messages you can't even imagine. Intention is a neurological primer of possibility. All meditation teachers know this. Our grandmothers who blessed the bread while kneading it, know this. Our aunties who sew the quilts know this. Every woman in our community who has ever painted herself back into her own body and told her own story — we know this. We've crossed a threshold into another way of being, and there is no way to step back from it, because once you know, you know.More studies are coming, and they will demonstrate what we have already been practicing. They will catch up to what we've already been doing. Consider what this means for us — for women in midlife, who have been carrying grief and rage and trauma and versions of ourselves we've tried to leave behind in those old relationships. We've worked it. We've gone to therapy. We've used our journals. And yet something still isn't moving. Painting with intention opens the door to a healing that most of us could never imagine was possible with something so simple — something that does not require talent. The data from these researchers shows us that the brain rewards the act of self-expression, having nothing to do with skill.You do not need to know what's going to happen. You do not need to control the outcomes. In fact, if you try to do that, your brainwaves will change and perhaps constrict. Intention does not require a known outcome. It requires inquiry and a willingness to show up and to not be in control. You don't even need to believe it's going to happen for it to work. You just need to show up. Your cortisol is going to drop anyway. Somewhere in the medial prefrontal cortex, lights begin to fire and wire. The reward begins to spark. Your nervous system registers that something on your behalf has begun. And then there's the craving — the craving to do it again.The handwriting research showed us that we lose something when we are just typing. The painting research shows us that when we bring ourselves to the canvas, we actually create wellbeing and bliss. But I want you to hear that you do not have to be talented. You do not have to know what you're called to. If you will pick up a brush with us and cross a threshold and set an intention — if you will ask the questions you've been afraid to ask in the good company of other powerful women — then we can cross the threshold together. The canvas reveals an answer. Our paintbrush is less like a brush adding color, and more like an archeologist revealing something that's already inside. Our vision is that you already have everything you need inside of you, and what we're doing is creating a condition in the field that allows it to be expressed.And so, with my heartfelt invitation and my emphatic hand motions — which you cannot see — I invite you to join me for Threshold, a brand-new class that is going to rock our world, because that's what I'm intending is going to happen, and it happens every time as long as people show up. Plus, there's a money-back guarantee. Or if you're ready to dive into the big mama codex of our work, it's called Stardust Initiation. You can find everything at musea.orgThis is Curate Shiloh Sophia, and I'm looking forward to gathering with you and transforming our brains and hearts and hands as we fire and wire together. As we say in the Stardust lineage: with our feet on the good red earth and our hands in the stars, our hearts on our sleeve and our hands in the medium, we create — and we become the oracle that we are seeking. It happens in real time. It happens right now. And it happens every time1. Van der Weel, F. R., & Van der Meer, A. L. H. (2024). Handwriting but not typewriting leads to widespread brain connectivity: A high-density EEG study with implications for the classroom. Frontiers in Psychology, 14, 1219945.https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2023.1219945/fullOpen access. The 36-student EEG study referenced in the opening of the piece. Note: the lead author is Van der Weel; Van der Meer is corresponding author and the public face of the work.2. Kaimal, G., Ayaz, H., Herres, J., Dieterich-Hartwell, R., Makwana, B., Kaiser, D. H., & Nasser, J. A. (2017). Functional near-infrared spectroscopy assessment of reward perception based on visual self-expression: Coloring, doodling, and free drawing. The Arts in Psychotherapy, 55, 85–92.https://www.sciencedirect.com/science/article/pii/S019745561630171XThe fNIRS study showing medial prefrontal cortex activation during the three art tasks. 26 participants. Doodling produced the strongest signal.3. Kaimal, G., Ray, K., & Muniz, J. (2016). Reduction of cortisol levels and participants' responses following art making. Art Therapy: Journal of the American Art Therapy Association, 33(2), 74–80.https://www.tandfonline.com/doi/full/10.1080/07421656.2016.1166832Open access. The cortisol study. 39 adults, 45 minutes of art-making, 75% showed lower cortisol afterward, no correlation with prior art experience. Get full access to Tea with the Muse at teawiththemuse.substack.com/subscribe

In education, old school is the best kind of school. Secondary students will be forced to learn science, as well as maths and English, in the fifth form. They'll be graded, not on merit or achieved or whatever, but A+ to E. So far so uncontroversial, I would have thought. On top of that, exams will be compulsory in every subject. Gone are the days of handing in pre-prepared essays drafted with the assistance of google. Now, despite the fact 10,000 people provided feedback on the changes, there'll no doubt be union reps upset with change, because they normally are. But old school practices are back in vogue, even in their beloved Scandinavia. Sweeden, for example, is going back to basics in order to get their reading levels back up. They're bringing back physical books and getting rid of iPads and laptops for certain classes. They're bringing back handwriting, not typing. They'll have less time in front of screens. Why are they doing this? It's better for the kids' learning. You're more likely to retain information if you've taken the time to write it out by hand. It imprints into your brain in a way not possible with a laptop or computer. The BBC reports Sweeden's reading levels were top of the class in Europe in 2000 and then started to nosedive around the same time books were replaced by digital in classrooms. So, when people complain about these changes being made, it might be prudent to ask whether there was anything wrong with the way we were doing things. And more to the point, what's happened to achievement since we made changes? Barnyard-style classrooms, more internal assessment, choice-your-own-adventure qualifications, fewer exams and laptops on every desk. These things make student life easier, I'm sure. But easier doesn't mean better, not in the long run.See omnystudio.com/listener for privacy information.

Handwriting may be one of the most underestimated foundations of student success in today's educational landscape.        In this episode, I sit down with handwriting expert and Squiggle Squad founder Holly Britton to explore the science of handwriting and why it remains an essential part of literacy, brain development, and student learning. We unpack the difference between handwriting as simple penmanship versus handwriting as a critical transcription skill, and why developmentally appropriate instruction is key to helping students build confidence, literacy, and long-term academic success.         Keep up with me on Facebook: https://www.facebook.com/akellycoaching/       Check out Squiggle Squad here: https://squigglesquad.com/

Send us Fan Mail Study Abroad Stress? Use Handwriting to Build Focus, Confidence & Calm Studying abroad looks exciting from the outside… But what happens when the excitement fades—and reality begins?Loneliness. Stress. Financial pressure. Confidence issues. And the silent question many students don't say out loud: 

Show Notes/Brief Summary/Blog Post:Holly Britton, founder of Squiggle Squad, discusses the importance of handwriting as a foundational skill for children's learning, its connection to cognitive development, and practical strategies for effective handwriting instruction.Chapters:00:00 Introduction to Handwriting Challenges03:06 Rethinking Handwriting as a Tool05:48 The Cognitive vs. Mechanical Aspects of Writing08:39 The Importance of Handwriting in Education11:33 Squiggle Squad: A New Approach to Handwriting14:21 Developmentally Appropriate Handwriting Instruction17:12 The Progression of Handwriting Skills19:57 Addressing Learning Differences in Handwriting19:59 The Importance of Early Handwriting Instruction23:37 Group vs. Individual Instruction in Handwriting26:42 Connecting Handwriting with Thought Expression28:39 The Neurological Connection of Handwriting33:15 Resources for Handwriting Instruction36:34 The Impact of Technology on Writing Skills38:33 Hope for the Future of Handwriting Education41:13 We Have Hope Kim Outro.mp3Episode Highlights:The importance of handwriting as a tool for thoughtMotor skills development and age-appropriate instructionThe systemic issues in handwriting education and teacher trainingThe science behind handwriting and cognitive developmentQuotes:"If your hand can't flow, your thoughts can't.""Handwriting is the base unit for writing.""Writing your thoughts out is incredibly powerful."More on Holly Britton and Squiggle Squad:Squiggle Squad Website - https://squigglesquad.comHolly's Substack on Science of Handwriting - https://hollyonsgood.substack.comMore on Love Your School/Links Mentioned in Episode:Visit Our Show Notes Page HERE!Questions? Email Us! kim@loveyourschool.org www.loveyourschool.orgVisit our Facebook HERE!Visit our Instagram HERE!This show has been produced by Love Your School WV.

Daniel 5 "Handwriting on the Wall" -Matt Freeman by Matt Freeman

Hour 3 for 4/23/26 Drew welcomes Dr. Audrey van der Meer for a conversation about the cognitive benefits of handwriting (3:55). Then, Drew welcomes editor-in-chief and co-founder of The Dispatch Jonah Goldberg to discuss why the American Revolution was such a big deal (11:57). Topics/calls: if the significance of the Revolution has been lost (20:02), the Declaration of Independence and living up to our highest ideals (24:16), Washington/Adams and term limits (29:11), human nature & the Revolution (33:53), the lessons of 1776 (41:13), and the balance of liberty (44:52). Links: Jonah’s article on the America Revolution Follow Jonah on X The Dispatch Original Air Dates: 2/13/26 and 4/15/26

On today's episode, we discuss a deep‑dive Bible study on Daniel and Revelation, as James, Jimmy, Texas Jim, Glenn, and Chris “the giant preacher” trace how Daniel's visions of statues, beasts, and “seventy sevens” map onto the rise and fall of Babylon, Medo‑Persia, Greece, and Rome and then frame the end‑times debate. James leans on David Jeremiah's book “Handwriting on the Wall” and classic dispensational teaching to argue that Revelation is like a magnifying glass on Daniel's 70th week, that the prophetic “clock” pauses during the church age, and that a future seven‑year tribulation focused on Israel still awaits, from which the indwelt church will be raptured. James Wilkerson, drawing on seminary coursework and Tom Holland's “Dominion,” emphasizes how precisely Daniel 9's 69 “weeks” can be calculated from Nehemiah's rebuilding decree to Jesus' entry into Jerusalem, but questions whether it is biblically sound to exclude the entire church age from the 70‑week timeline. Jimmy Williams offers a mediating view: many prophecies had near fulfillments—like Antiochus IV's desecration of the temple or Diocletian's persecutions—that serve as types pointing to a final antichrist, and he cautions listeners not to chase timelines at the expense of daily discipleship, stressing instead that God's plan still uniquely involves ethnic Israel even as more Jews and others come to faith through today's information‑rich world. Don't miss it!

Ever thought about how handwriting shapes your brain?

Send us Fan MailIf your child can talk for days but freezes the moment a pencil hits paper, the problem might not be “motivation” or “attention.” It might be handwriting. We sit down with educator and curriculum designer Holly Britton, founder of Squiggle Squad, to unpack why handwriting instruction is a core building block for literacy, written expression, and confident learning, especially in the early elementary years. We get specific about what handwriting really is: a transcription skill that has to become automatic so kids can use their brain power for planning, organizing, and revising. Holly explains how fine motor skills and cognitive language skills develop together, why the brain treats writing-by-hand differently than speaking, and how overlapping literacy systems make handwriting more than a nice-to-have. We also talk directionality and why early motor patterns can lock in for years, plus a practical example that can help prevent b and d reversals by teaching consistent start points. Then we zoom out to what developmentally appropriate learning looks like. Holly shares the Squiggle Squad approach of teaching a small set of pre-writing strokes first through gross motor play and finger tracing, before asking young kids to form letters on paper. We also tackle a real classroom issue: kids rarely see adults handwrite anymore, and screen-based “handwriting” demos often fail to model the actual tool, grip, and movement children need to copy. If you care about early literacy, child development, fine motor skills, and practical handwriting tips for parents and teachers, you'll leave with clear next steps and a simple chalk challenge you can do today. Subscribe, share this with a parent or educator, and leave a review with your biggest handwriting question so we can cover it next.Support the showSJ CHILDS - SOCIALS & WEBSITE MASTER LISTWEBSITES- Stream-Able Live — https://www.streamable.live-COMING SOON- The SJ Childs Global Network — https://www.sjchilds.org- The SJ Childs Show Podcast Page — https://www.sjchildsshow.comYOUTUBE- The SJ Childs Show — https://www.youtube.com/@sjchildsshow- Louie Lou (Cats Channel) — https://www.youtube.com/@2catslouielouFACEBOOK- Personal Profile — https://www.facebook.com/sara.gullihur.bradford- Business Page — https://www.facebook.com/sjchildsllc- The SJ Childs Global Network — https://www.facebook.com/sjchildsglobalnetwork- The SJ Childs Show — https://www.facebook.com/SJChildsShowINSTAGRAM- https://www.instagram.com/sjchildsllc/TIKTOK- https://www.tiktok.com/@sjchildsllcLINKEDIN- https://www.linkedin.com/in/sjchilds/PODCAST PLATFORMS- Spotify — https://open.spotify.com/show/4qgD3ZMOB2unfPxqacu3cC- Apple Podcasts — https://podcasts.apple.com/us/podcast/the-sj-childs-show/id1548143291CONTACT EMAIL- sjchildsllc@gmail.com

Neuroscience has discovered that actually writing things by hand dramatically changes and improves how we learn and how our brain develops. We explore here how to make that work for you.

Jon Ritchie, James Seltzer, and guest Ben Davis analyze the Phillies' recent offensive struggles, questioning the team's reliance on slugging over contact hitting. They debate potential lineup adjustments by manager Rob Thomson and examine Bryson Stott's stagnation. The discussion also covers the local playoff races for the Flyers and Sixers, including a breakdown of the NHL postseason magic number. 01:50 - Handwriting and Phone Numbers 05:39 - Phillies Slugging Strategy Critique 10:40 - Potential Phillies Lineup Changes 19:00 - Ben Davis Lateness Punishment 21:50 - Ben Davis Analyzing Phillies 31:01 - Bryson Stott Performance Concerns 37:58 - Aaron Nola Late-Inning Struggles 45:17 - Flyers Playoff Magic Number 48:21 - Sixers Playoff Push Strategy

This edWeb podcast is sponsored by Blackwing Foundation.The webinar recording can be accessed here.In an increasingly digital world, students are spending more time on devices and less time engaging in the tactile act of handwriting. This shift impacts more than just legibility; it affects fine motor development, cognitive focus, and the personal pride students take in their work. When we move away from the keyboard and back to the page, we unlock a unique avenue for creative expression and mindfulness.This edWeb podcast explores how to bridge this gap using Pathways to Creativity: The Lettering Series, a free program with ready-to-use resources designed to make implementation simple for educators. We discuss why tactile skills like functional cursive and hand lettering are vital for building student confidence and visual literacy. You hear a firsthand testimonial from an elementary student who has completed the program and will share how lettering helped her build confidence and discover a new outlet for creative expression.We walk through a comprehensive, “grab-and-go” curriculum developed with professional artist Heather Martinez. Listeners learn how to integrate the program into their existing schedules to provide students with a lifelong creative skill. By the end of this session, you have a clear roadmap to help your students slow down, connect pencil to paper, and rediscover the joy of creating something by hand.This edWeb podcast is of interest to elementary through high school teachers, school leaders, and district leaders.Blackwing FoundationExpand access to arts education by empowering school-based programs with necessary supportDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Learn more about viewing live edWeb presentations and on-demand recordings, earning CE certificates, and using accessibility features.

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.

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

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.

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

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)