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In the first episode of Season 1, co-hosts Annie Liontas and Lito Velázquez speak with LitFriends Angela Flournoy & Justin Torres about their enduring friendship, writing in a precarious world, and chosen family. Links https://sites.libsyn.com/494238 www.annieliontas.com www.litovelazquez.com https://linktr.ee/litfriendspodcast https://www.instagram.com/litfriendspodcast/ https://www.facebook.com/profile.php?id=61553436475678 https://justin-torres.com/ https://www.angelaflournoy.com/ https://www.asalisolomon.com/ Transcript Annie & Lito (00:01) Welcome to LitFriends! Hey LitFriends! Annie: Welcome to the show. Lito: Today we're speaking with the great writers and LitFriends, Justin Torres and Angela Flournoy. Annie: About chosen family, the dreaded second novel, and failure and success. Lito: So grab your bestie and— 
 Both: Get ready to get lit! Lito: That's so cute. Annie: It's cute. It's cute. We're cute! Lito: Cute, cute… So you had a question? Annie (00:29) I do. I have a question for you, Lito. Are you a cat or an ox? Lito: I mean, I would hope that the answer is so obvious that it almost bears not asking the question. I'm a cat. Annie: Okay, so Asali Solomon at The Claw asked us all, are you an ox or a cat? Lito: That's a great question. Annie: And as a writer... You know, the oxen are the people who work every day in the field, clock in, clock out, pay themselves a quarter an hour. I'm literally talking about me. The cats are people who are playful, exploratory, when the mood strikes them… Lito: Why are you looking at me when you say that? Annie Lito (01:26) So are you an ox or a cat? Lito: I'm a cat. I think anyone who's ever met me would say I'm a cat. Annie: How does that show up in your writing? Lito: Well, I mean, play is so important to me—she'll be on the  podcast in a couple of episodes, but when I first...was studying with Lucy, that was one of the first things that she spoke about in our class, and it kind of blew up my whole world. I had been writing for a long time already, but I hadn't thought of it as play, or there was some permission I needed or something. So the idea of play is really central to what I do and love. You wouldn't necessarily know that from the novel that I'm writing, which is sort of a dark book. Um, but it did start out with a lot of play and, I'm also, as you could probably just hear, my cat is coming into the room. Annie: Your cat is like, yes, Lito is us. RiffRaff is like, "Lito is cat." Lito: My cat Riff Raff, yes. Smarty pants. Um, he needed to join in on this conversation. Anyways, I'm a cat. I, I'm fickle when it comes to my work. Um. I don't want to work on my novel all the time, which is great because life has found so many ways to prevent it from happening. So in the new year, in 2024, it will be 7 years since I've started writing this book, and it's still, it's going to take a few more months at least. And what about you? Annie:  (03:09) I'm four oxen pulling a cart carrying all of my ancestors. I am very much the immigrant who says, get up, go do the work, come back, go do the work. And believe it or not, for me, there is a lot of joy in that. It's a... It allows, you know, it's Csikszentmihalyi's Flow, actually. So it doesn't feel like drudgery, usually. It does feel like joy. And I'm actually curious for all you LitFriends out there, if you're an ox or a cat. Lito: Yes, that's such a great idea. Please email us at litfriendspodcast@gmail.com, and tell us if you're a cat or an oxen or share on all your socials. Annie: Yeah, maybe we should poll them. That would be fun. Lito: That's a good idea. #LitFriendsPodcast. Annie: The reason I'm asking is because, of course, both Justin and Angela, who we speak with today in this episode, talk about what it's like to go for 10 years between books. "A banger a decade," is what Angela says. Lito: It's so funny. Annie: And you, you know, part of that, they have this very rich conversation about how, when you put everything into the first book, it takes a lot to get to the second book. But I think also there's a lot of play, right? And there's a lot of understanding that writing appears in different forms. And it might be the second novel, but it might be something else. Lito: For sure. I really like how they talk about— that the practice of writing is actually a practice of reading. And I think that any serious writer spends most of their time reading. And not just reading books, but texts of all kinds, in the world, at museums, as Justin points out, art, television, even the trashiest TV show has so much to offer. Annie: (05:12) And there's such a generosity to the way they think of themselves as artists, and also generosity in how they show up for one another as friends, and acknowledging when they fail one another as we as we see in this episode. And I remember my introduction to Justin when I was a grad student at Syracuse. I read We the Animals and fell in love with it, asked him to come do a reading at Syracuse, which was wonderful. And my wife who, at that time was my Bey-ancé, she was turning 30. We had no money. I couldn't buy her anything. Not in grad school. So I asked Justin if he would autograph his story, "Reverting to a Wild State," which is about a breakup in reverse, for Sara. Lito: Oh, I love that story. Annie: And he did, and he thought it was so beautiful, and I was like, "let me send it to you." He's like, "no, I've got it." He just shipped it to me. He didn't know me. We didn't know each other. Lito: He knew you because of books. He knew you because he loved literature. Annie: Yeah. And I remember that in it. I held on to it at a time when that act really mattered. Lito: One of the things I love about our interview with Justin and Angela is how much all of us talk about generosity, and how Justin and Angela display it in their conversation with each other and with us. And I'm just curious, how do you see that coming through also in Angela's work? Annie: (07:00) You know, I remember her talking about how the idea for the book began with this image of people moving around a house at night. This is The Turner House. And she says this image opens up a lot of questions. And one of the things that really stays with me about that book is how masterful she is at shifting perspective, particularly between siblings, which I find to be such a challenge for writers, right? Like your siblings are the people who are closest to you and sometimes also the farthest away. And she gets that so intimately on the page. And of course, in our conversation with Angela and Justin, one of the things they talk about is being family, essentially being siblings. And that's one of the most powerful echoes of the conversation. They talk about being a chosen family and having to choose again and again and again. And that spirit of consciousness and connection, I feel that very much in Angela's work, and of course in Justin's too. Lito: Oh Annie, I choose you again and again, I choose you. Annie: Oh, I choo-choo-choose you! Lito: So stupid. Annie: (08:05) After the break, we'll be back with Justin and Angela. Annie: (08:24) And we're back. Lito: I just wanted to mention, too, that we spoke with Angela and Justin in October during the writer's strike in Hollywood, and just before Justin's new book, Blackouts, was released. And just last week, as you're hearing this podcast. Annie: Just last week. Lito: Just last week! He won the National Book Award for a book that took him 10 years to write. Annie: Absolutely. Annie: Justin Torres is the author of Blackouts, a novel about queer histories that are hidden, erased and re-imagined. Blackouts won the 2023 National Book Award for fiction. His debut novel, We the Animals, has been translated into 15 languages and was adapted into a feature film. He was named National Book Foundation's Five Under 35. His work appears in the New Yorker, Harper's, Granta, Tin House, Best American Essays, and elsewhere. He lives in Los Angeles and teaches at UCLA. Lito: Angela Flournoy is the author of The Turner House, which was a finalist for the National Book Award, won the VCU-Cabel First Novel Prize, and was also a finalist for both the Center for Fiction First Novel Prize and an NAACP Image Award. Angela is a contributing writer at the New York Times Magazine, and her nonfiction has appeared in The Nation, the Los Angeles Times, The New Yorker, and elsewhere. Angela is a faculty member in the low residency MFA program at Warren Wilson College. Lito: (10:36) I'm so grateful that you guys found time to meet with us today, and I've thought about you two as friends since I think this is like the first time you've done something like what you did in 2017, the "Proper Missive"—do you remember that—you published in Spook? And it stuck with me. I was like a big, nerding out, and I bought it and I have it still. And I thought about that. And Justin, you know that you're very personal— there's a personal connection with me because I found your book on my way to my first master's program. No one had said anything about it to me where I was coming from, and it was really great. And Angela, I first found your book. I was so amazed and moved by the talk you don't remember at Syracuse. Angela: I don't remember the lunch. I remember being at Syracuse, and there being a talk, yes. Lito: You inscribed your book, "Here's to Language," which I think is hilarious and also really sweet. And I think we must have said something about language at some point. But anyways, thank you so much both for being here. Justin: Thank you for having us. Angela: Very happy to be here. Lito: So let's start. Why don't you tell us about your friend in a few sentences? So Angela, you can go first. Tell us about Justin. Angela: (11:23) Justin is the first person that I met in Iowa City when I was visiting and deciding if I was going to go there, but was I really deciding no? I'll let you go there. But that I could like, deciding whether I would be miserable while I was there. And so Justin was the first person I met. And feel like Justin is five years older than me. It has to be said.  Justin: Does it? Angela: When I think about people, and I think about like mentors, I have other like amazing mentors, but like, I think that there's really something special about somebody who some people might think is your peer, but like, in a lot of ways you've been like looking up to them and, um, that has been me with Justin. I think of him as like a person who is not only, he's a Capricorn, and he has big Capricorn energy. I am an Aquarius. I do not want to be perceived— Justin: I don't agree with any of this. But I don't know. I don't follow any of this. Angela: But Justin is in the business of perceiving me and also gathering me up and helping me do better. My life is just always getting better because of it. I'm grateful for it. Annie: That is beautiful, all of that is beautiful. Justin, tell us about Angela. Justin: I can't follow that, that is so...  Angela: Acurate! Justin: You're so prepared! You're so sweet! I'm so touched! Angela: Only a Capricorn would be touched by somebody saying that you perceive them and gather them up and make them feel better. Ha ha ha! Justin: I like that, I do like that. Let's see, yeah. I mean, I think that when we met, I had already been in Iowa for a year, and within two seconds, I was like, oh, we're gonna be friends, and you don't know it yet. But I knew it intensely. And yeah, I think that one of the, I agree that I think we keep each other honest, I think. I think that one of the things that I just so appreciate about Angela is that, you know, yeah, you see my bullshit. You put up with it for like a certain amount of time, and then you're like, all right, we need to talk about the bullshit that you're pulling right now. And I love it, I love it, love it, love it, because I don't know, I think you really keep me grounded. I think that, yeah, it's been really (14:09) wonderful to have you in my life. And like, our lives really, really kind of pivoted towards one another. You know, like we've, it was not just like, oh, we were in grad school and then, you know, whatever, we have similar career paths, so we stayed friends or whatever. It's like, we became family. And, you know, every, every kind of major event in either of our lives is a major event, a shared major event, right? And that's like, yeah, I don't know. I can't imagine my life without you. I honestly can't. Angela: Likewise. I gave birth in Justin's home. Annie: Oh! Sweet! Justin: In my bathroom, over there. Right over there. Lito: Whoa, congratulations, and also scary(?)! Angela: It's in a book I'm writing, so I won't say so much about it, but it was a COVID home birth success story. And yeah, like family. Lito: Was that the plan or did that just happen? Angela: Well, It wasn't the plan and then it was the plan. Justin: Yeah, exactly. COVID wasn't the plan. Angela: No. Justin: The plan was Angela was gonna sublet my place with her husband and she was pregnant. And then, COVID happened Angela: There were a lot of pivots. But we did, it was like enough of a plan where we got his blessing to give birth in his home. Justin: It wasn't a surprise. Angela: It was a surprise that it was in the bathroom, but that's a different story. Annie: You blessed that bathroom is all I can say. Angela: Yeah. Lito: We'll be right back. Back to the show. Annie: (16:22) Well, I want to come back to what Lido was saying about proper missives. I love the intimacy. I mean, I know you weren't writing those to one another for kind of public consumption, but the intimacy and the connection, it's so moving. And I was thinking about, you know, Justin, you, you talk about Angela as kind of pointing the way to beauty and helping you see the world anew or differently. And Angela, you talked about how Justin encourages you to take up space as a political act. I'm just wondering what else you all have taught one another. What has your LitFriend taught you? Justin: Yeah, I mean, we did write that for public consumption. Angela: Yes, it was the editor-in-chief of Spook, Jason Parham. Spook is relaunching soon, so look out for it. He just told me that, like, the other day. And he's moving to L.A. So many things are happening. But he reached out to us and was really interested in—he's a big archives guy and like how—he thought it was valuable the way that writers of past generations, they have these documents of their letters to each other, to their editors, to their friends, to their enemies, and how this generation, because we're just texting through it, we don't really have that. And so that was really just the extent of the assignment, was to write letters to each other, which, of course, we still ended up using email to do. But we really tried to keep it in the spirit of a letter and not just something you kind of dash off. Justin: And we were not living in the same place at that time. Angela: No. Justin: So it was, it did feel kind of— Angela: I was in Provincetown, I think. Justin: Yeah, I remember I was on a train when I was, when I was doing— I can't remember where I was going or, but I remember a lot of it was— or a few of those correspondences— because it went over days, weeks. Lito: Yeah, you were going to Paris. Angela: Oh. Glamorous train. You were on the Eurostar. Justin: Wow. Annie: You basically said the same thing then, Angela. Call him out. Justin: (18:32) Yeah, and I think that what I was saying was that one of the things I loved about that was it really forced us to dive deeper, right? To kind of— Sometimes we can stay very much on the surface because we talk every day. And so it was really nice to see, not just what was kind of on your mind in the background, but also how you were processing it, how you kind of made language and meaning out of it. I was just like... I don't know, it's like, I know you're so deep, but then we also love to be shallow. And so it's so nice to be like, to connect from that deep place. Annie: One of the things that I'm so drawn to about both of your work is how you write about family, the way it shapes us, the way it wounds us, what it means to watch family members suffer. You talk about it as the question of the donut hole in "Proper Missive. Angela, I remember you were writing about your father. When you were writing about him, you talk about, "the assumption that a flawed person should be subject to anyone's definition." And Justin, I'm thinking quite broadly in terms of, you know, chosen or logical family. One of my favorite pieces that I teach in my creative non-fiction class is "Leashed," and you write there, "my friends, those tough women and queers were all too sharp and creative for their jobs. If I'm nostalgic, it's not because I was happy in those precarious years, but because I was deeply moved by our resourcefulness." I'm just wondering how you think about, you know, (20:09) family, logical family, and how your lit friendship fits into this? Justin: Who's going first? Angela: You. Justin: Let's see, I think that it's such a great question. I actually like, I use that little short kind of tiny little piece that you referenced. I use that in my book, in Blackouts, that's coming out. I think that, which is a book about chosen family as well, and lineages, and what do you do when you feel there's some kind of disruption, right? That like if you're estranged from your biological family or you know or you just need these connections, these kind of queer connections to and other ways of thinking about family that are not related to (21:06) bloodlines. Like we said earlier, we are family, and we've known that for quite a while. It was something that, I don't know. You know, it's like something that I don't think you ever really need to say. It's just you know who your people are. And I think that, and I think that it's a choice that you make and remake again and again and again. And that is something that is, I don't know, it's so exceptional, right? Compared to bloodlines and biological family, which can be hugely important and bring a lot of meaning to people. But that you're choosing this again and again. Like almost like the kind of past tense chosen family is like, it's like a little bit inaccurate, right? It's like the family you choose, and keep choosing, and you're choosing right now, you know? So I love that. Yeah. Angela: Just that the continuity of it, not in the sense that it's always going to be there, but that like you are, you're like an active, uh, engager like in it. In it, I just think about, I think about that, like, uh, at this point we know each other for 14 years. And the way that there's just necessarily we're not the same people but you have to keep, and you have to keep engaging, and you have to keep figuring out how to navigate different things and I think particularly as like LitFriends there's the huge thing you have to navigate which is especially if you're friends before that you're just like some kids who got into this program that people think are fancy, but you're just like, anything can happen, right? From there to being the capital— going from just like lowercase w, "writer," to capital A, "Author." And like what that, I mean, I've seen many a friendship where that is the rupture. And so particularly figuring out, like, how are you going to navigate that, and how are you going to still be in each other's lives. (23:16.33) Um, one thing I think about, as a person who thinks about family a lot is, with your family, sometimes you can like harm one another, and you'll just take some time off, or you'll just be like, that's how they are. But with the family that you continue to choose, you have to, ideally, you gotta do something about it. You have to actually have the engagement, and you have to figure out how to come out on the other side of it. And that is something that is harder and really in so many ways, all the more precious because of it. And it requires a kind of resilience and also just like a trust. And again, because Justin, you know, likes to gather me up, there's been a few times when I was like, "Oh, no, like, we've got beef, what's gonna happen?" And Justin is like, "we're family, what's gonna happen is we're gonna have to talk about this beef, and then move on." Justin: Yeah. And I think that I think that also you have, you're really good at reminding me to be responsible, right? That just because I've made this commitment, in my mind, right, Like we're committed forever. Like we're family. Like we can't, we can't break up, right? Like it's just like, that's just the way it is. It doesn't get me off the hook of showing up in other ways and being responsible and like, you know, that I can be quite flaky. Angela: I mean, that's just, you've been in L.A. long enough. It's just, you're just becoming native. Justin:  I think I always don't, I don't wanna disappoint you. I don't want you ever to feel like you were looking around for support, and I wasn't there. Angela: Do people cry on this podcast? Annie: We time it. Right at the half hour. Justin: There's been a few moments when I feel it, when I've felt (25:21) maybe that wasn't there enough, you know? And, you know, and if, you know, and like, I don't know, that's when you know it's the real stuff because it like keeps me up at night. You know, I'm just like, wow, you know, what does she need? What can I give? How can I be there? And yeah. Angela: Wow.  There you are. Justin: Here we are. Annie: Lito and I are also family, and it sort of feels never too late. But what you're saying about kind of the like renewing your vows, renewing your commitment over and over, it feels very, very true. Lito: Very true. Yeah yeah yeah. Annie: And life-saving, you know, like life affirming. Lito: It feels real. Justin: Yeah. Look at us. I'm proud of us. I'm proud of you guys too. Lito: It's a love fest over here. Angela: Thanks for having it. Annie: We'll be right back. Annie: (26:26) Welcome back. Angela: Also, particularly again, thinking about a lot of the friends that you have, they're not necessarily also sometimes colleagues. And I think that one thing that Justin really modeled, because I didn't have anything to be transparent about, was just transparency about things. Not just how much he's getting paid for things, but just like what was worth it, what's not worth it, like what is just the way something is and you can like take it or leave it. And I think that in the beginning it was more of me kind of taking that information because I didn't have anybody offering me anything. But now I feel like it's really an exchange of information. And I think that there are people who I love, like, in this industry, if you will, who that's just not our relationship. That doesn't mean we don't have great friendships, but like that is something that like if I'm broke, he knows I'm broke. I never feel the need to pretend and hide or like, you know, and likewise, like if he don't got it, I know he don't got it. It's not, it's just, it just, and I feel like that is something also that is a, it's, um, I think it's important. Especially because you write a book, you know, it does well. And then there are some years in between before you write another. Some of us in this room, maybe take a decade. All of us in this room, maybe take a decade. But yeah, so just really being able to be, to feel like you can still show up at any point in whatever you're doing creatively. Justin: (28:16) Because this is about literary friendships, I think that it's, yeah, there's those two sides, right? There's the business side, which can cause a lot of friction, especially if, you know, things go differently for different books and people have different trajectories. I mean, you're like, you know:  you've surpassed.  Angela: I don't know if that's true.  Justin: But there's that like business side of it. And then there's the literary side as well. And I think that sometimes if it just slides too much into talking about—it's like we could both be selling sprockets, right? There's so much minutiae. It's like we could talk about contracts and whatever and like gigs and da-da-da ad nauseam. And we have to remember to talk about literary side, the literature, the work, the sentences, what we're reading in order to kind of sustain the literary quality of a literary friendship, right?  Angela: One thing I remember you told me, I don't know, ages ago that I thought at the time like oh he's gassing me he's practicing things that he says his students tell me—but now I realize that it is also one of the reasons why our friendship has sustained is you were like ,you know, we can talk about whether a book is successful in 800 ways, but we have to try to remember to just be fans, to be fans of books, of literature, of people writing. And I think that is something that I not only try to practice, but that's something that I think is really foundational to relationship. Everyone can be a hater, and it can be fun sometimes, but like… (30:08) We really do like want to put each other on to the books that we're like excited about. Like I remember when you read or reread Seasons of Migration to the North by Tayeb Salih, and I hadn't read it before.  I mean, it's like a, it's a seminal or really a really famous African text, but I had never read it. Or like Maryse Condé, like I hadn't read it as like a real adult and being able to just like talk about that and know that there's a person who's, you know, you could be in polite conversation with somebody who you think is really smart and then you're like you know what I decided I wanted to reread—I don't know—something a person might wanna reread and they're like, Oh, what are you gonna do next? You gonna read a Moby Dick? And you're like, Oh damn, they just shamed me. You know, they just shamed me for being a nerd. But that's not gonna happen here. Yeah, beautiful. Yeah, yeah, absolutely.  Annie: I do wanna go back to something you were alluding to. Angela, you were talking quite openly about it, too, which is shifting from writer to capital A author and the pressure that comes with that.  For the two of you, you had incredible well-deserved success early in your career, but I imagine that doesn't come without a lot of sleepless nights, right? I'm thinking about an interview I heard with Ta-Nehisi Coates where he talks about his friends not reaching out thinking, like, He's good, like, You blew up, you're good. And talking about actually what a lonely position that can be. I'm just wondering, you know, how you've both managed to take care of one another through those highs and lows, or being on that track alongside one another.  And even, you know, competition between lit friends. Justin: (32:13) Yeah, I mean, I think that we're just kind of, like our dispositions: we're very lucky in that I think we, before we met, it wasn't something that we like decided on. It was just before we met, I think we're just boosters, right. We're like, The people we love, their success is our success, right? And I think that's one of the reasons to where we are such good friends, it's because we share that, right? So that I think makes it slightly easier as far as like the competition side of things goes. I think that if it really does feel like you're a family and you're community and like you understand that this is a kind of shared win. I don't know, it's hard to talk about though because we both got really lucky.  Angela: Yeah.  Justin: You know, I mean, who wants to hear from people who got really lucky with their first books talking about how hard it is? You know what I mean?  We just, we didn't have, we didn't have any kind of that disparity between— Angela: Yeah, I'm sure, but—I would say even so—if we had different dispositions, we might be trying to split hairs about who got what. But I think for me—and Justin and I grew up very differently in some ways, but I think we grew up from a class background similarly, and we're both like, We're not supposed to be here, like, what can we get? Like, what can we get? And like, who has the information to help us get it? And so I've never been like, why is he in that room when I'm not in that room? I'm like, give me the intel about the room. That might be the closest I ever get to being in there, but I need to know like what's going on in there. And that has, I think, been the way that I just view any success of anybody that I know. that I feel like I can ask those questions to is like, not necessarily like, oh, can you put me on? Like now that you have something, can I have some of it? But just like, just information, just like, what's it like? And that to me is really useful. But also I think that one thing, when you have people, not just Justin, but like other friends and mentors of mine, when you have people who are honest and upfront about whatever kind of success they've had, you… you just realize that there's a lot of different ways to feel successful, right? Because I have friends who, to me, I'm like, they made it, but they're not convinced they have. And I have other friends that, like, to the outside world, they'd be like, wow, they have a little book, nobody cares. But they feel like they did it, you know? And so I realized it's so much about disposition also. Lito:   Do you feel that a lot about being each other's boosters? I mean, obviously it's about your personalities and who you are as people. I'm also curious how much of that, like Angela, you said you were a gatecrasher. You feel like a gatecrasher a lot. I don't know. What are your thoughts on intersectionality? How does it inform your work and your friendship? How does it affect how you boost each other? I'm also curious if there's something particular about lit friendships that intersect with intersectionality and those categories, especially for people who form intimate relationships with men.  Justin:   Wait, say more.  Like how do blowjobs come in?   Angela:  (36:01.171). I was like one thing we have in common is— Lito: More like, less blow jobs, more like having to deal with men and the various ways they, you know, respond to patriarchy.  Justin: Yeah, I think you kind of said it, right? I think that there's something about hustling and figuring out, like, how am I gonna find some stability in this world.  And I mean we have nominated each other for every single thing that there is. If either one of us gets a chance.  Angela: Till the end of time.  Justin:   Till the end of time, right? And it's just, and I think that, and we've shared all information about everything. There's no, and I think that that's kind of like that quote that you read before, right, about this nostalgia and feeling nostalgic, not for the precarity, but for the way that it bonds people, right? The way that the precarity, like you pull, you share resources, you pull resources, you come together and you talk shit and you don't let people get too down in the dumps and depressed. And you're like, no, we're going to do this. We're going to get ourselves out of this hole and we're going to pull each other up. And, and that I think is like, that's, that's the secret, I think.  Angela: Are you answering the question about men?  Justin:   Oh, men!  Angela: And dealing with men.  Justin: I love that I was just like, oh, you're talking about blow jobs. But no, you were talking about patriarchy.  Lito: Same thing, really.  Annie: In the room I'm in, we do not think there's a difference.  Justin: It's fascinating, right? Because when we were at Iowa together, I remember some of the critiques I got from some of the men, some of the straight men, some of the white straight men, was about a kind of provincialism to my writing, right? That what I was writing about was small and minor and just about particularities of identity and that it wasn't broad and expansive and it wasn't universal. That was expected. That was the kind of critique that was expected. The world has changed so much and so quickly in the last 15 years. It's hard for me to kind of wrap my mind around because that kind of thing, I wasn't, I didn't feel indignant. Maybe I felt a little.  Angela: Yeah, you just, but you just like knew you were going to ignore them. Like, you know, like, but no, but you didn't feel like you were going to, like it was worth, except there were some instances we're not going to get into details, but like, it didn't feel like it was worth spending, like unpacking it or trying to call them out. You just were like, Oh, boop, you're over here. Like, you're not.  Justin: Yeah, yeah. Like, I've been hearing this shit my whole life. Like, it wasn't like, there's no space for this kind of thing in the workshop. I was like, this is the world. This is unexpected. But now I don't think that would fly, right?  Angela:   No. I think maybe in like 70% of workshop spaces that I have been in. Well, I guess I've been running them. But like, I just don't, but like also just the disposition of the students is that they assume that somebody is going to like say something or push back on that. But also I guess maybe more broadly the idea of when you say intersectionality, what do you mean exactly? Lito: I think I wanted to keep it open on purpose. But I think I mean the ways that all of these different identities that we take up and that are imposed upon us, how they intersect with one another, race, class, et cetera. Yeah. Angela: I think one of the reasons why Justin and I gravitated toward each other probably in the beginning and why we ended up in Spook is because I think that—which maybe is also not happening 15 years from then—there is a way that back then, there was a way that even your identity could be flattened, right? Like you're Puerto Rican, which means that you are like a lot of things, right? One of those things like, one of it's like we're both diasporic people, right? But that's one of the things that I think a lot of people would not necessarily think is like a kinship between us, but like I've seen pictures of Justin's cousins. I know I'm giving Primo over here. Like I know what I'm doing. And like that's one way that I think that our relationship feels like, like we just felt like kin when we first met because of that. I think that there's just a lot of ways that in a lot of spaces in this country, you're just not allowed to like have all of those parts of you in the room because people just don't understand it or they do, but they just don't want you to be that also.  Justin: It's not convenient.  Angela: Right. Which is why I was like, of course, Jason would ask you and I to be in Spook, which is a magazine that's a black literary magazine. Cause Jason gets it. Shout out to Jason again.  Justin: I can't believe he's moving to L.A., that's so exciting.  Angela: Supposedly like any day now, he's just gonna arrive. There's just ways that when you find your people, you don't have to always separate these parts of you and you don't always have to keep reminding them also, they sort of understand. But also parts of you change obviously and the way that you feel about your identity changes and your people will embrace that and keep, you know, keep making space for that too. Justin: Making space.  Annie: We'll be back in a moment with Angela and Justin. Lito: (42:22) Hey Lit Fam, we hope you're enjoying our conversation with Justin and Angela. We are quite awed by their thoughtful discussion and moved by their deep love for each other and their art. If you love what we're doing, please take a moment now to follow, subscribe, rate, and review the LitFriends Podcasts on Apple Podcasts, Spotify, and wherever you listen to podcasts. Just a few moments of your time will help us so much to continue bringing you great conversations like this week, after week. Thank you for listening. Annie: (42:59.178) Back to our interview with Justin Torres and Angela Flournoy.  Lito: Justin, you have your sophomore book. How do you feel about it? Are you going to write a sequel for We the Animals like you talked about at one point? Angela, same question. Are there sequels coming forth for you, Angela, to Turner House, or are you moving on to something else? Or you sort of briefly mentioned another book about, uh, I remember you mentioning at some point a book about friends, four female friends, if I remember correctly. Anyways, what's coming next?  Annie: Yeah, and I wanna know about the dreaded second novel because I feel like that's where I'm at. I feel like that's where a lot of writers get stuck. Jutin: Second novel's awful. I mean, you think the first one's bad. You think it takes everything that you have inside of you and then you're like, oh, I've gotta do it again. And yeah, I don't know. I really had a very hard time with it. And I mean, nobody knows better than Angela. I really, really didn't feel like I was up to the task. I knew that I wanted to do something different. I knew I wanted to kind of change the way I write and be a different kind of writer, but I just felt like I was falling on my face.  Even after it was done and out until like last week, I was just, I just felt anxiety about it, and I felt really neurotic and I was being really neurotic. And I remember the other night we were hanging out and drinking and maybe there was some mushroom chocolate involved. I was just, like I was just on my bullshit and Angela was just like stopped and she was just like, What is it gonna take to make you happy? Like what is it gonna take? Like look around. And it was like, it was a really good intervention. But then it also led to this conversation about happiness, right? And about like whether that is the goal, right? Like feeling kind of tortured and, and feeling like this gap between what you want for your book and your own capabilities. And that never goes away. You just live in this, in this torturous phase. And like, maybe it's about just coming to acceptance with that, rather than striving for happiness. I don't know. But it's still ringing in my ear. What is it gonna take?  Lito: It's a great question.  Angela:   Maybe some projection, I don't know, on my part.  I am still working on that novel. It's due at the end or at the beginning of next year. It's gonna come out in 2025. You know, God willing. And... similarly the second novel, I think it depends on your disposition, but I think both of us are very interested in and task ourselves with having real skin in the game with what we right. That means sometimes you got to figure out where you get that skin from.  Lito: There's only so much.  Angela: Like, if you played yourself for the first book, then it's gonna take a while. And when I think about, like, when I try to count for the years, I don't know I could have done it any quicker. Like, I just don't know. And I don't think that's gonna be the case for every book, but I do think between that first and that second, especially, were you 30? Where were you? I was 30, yeah. And then I was 30, too. I was 30 also when my book came out. You're just a baby.  You're just a baby.  Lito: Do you fall into the trap of comparing yourself to other people? Well, they wrote a book in two years and I— Justin:  (47:07) Yeah, sure. I mean, I also like compare myself to people who took longer like that feels good. That feels good.  Angela: Listen, I'm like Deborah Eisenberg. Just a banger every decade. That's it. That's all I owe the world. A banger a decade. Lito: A banger a decade. I like that. I like comparing myself to Amy Clampitt, who wrote her first collection of poetry, like in her 70s or something and had some success.  Justin: I generally wish people would slow down. I mean, I get that sometimes there's just like an economic imperative, right? But if you're lucky enough that, I don't know, you get a teaching job and you can slow down, why not slow down, right? Like, I don't know, sometimes I feel like there are a lot of books in this world. And the books that somebody spent a lot of time over, whether or not they are my tastes—I'm just so appreciative of the thoughtfulness that went in.  You can feel it, right? That somebody was really considering what they're building versus dashing it off. They should slow down, if they can.  Angela: But I also feel like we need both kinds. There are people who I appreciate their books, their kind of time capsules of just like, this is the two years, this is where I was. I think of Yiyun. We need an Yiyun Li and we need an Edward P. Jones. Edward P. Jones, you're gonna get those books when you get the books. And Yiyun Li, every couple years, you're gonna get something that, to me, I still, they still feel like really good books, but they're also just like, this is where she is right here, and I respect it and I appreciate it. Everybody can't be one or the other, you know?  Justin: You're right, you're right, you're right. It's much fairer.  Annie: She's someone who, I mean, you know, seems to have changed so much even within that time period. And we had her on a couple of episodes ago and yeah, she's just on fire. She's amazing.  Justin: (49:06) And people speed up as well, right? Because her first couple of books, there were big gaps. And then same thing with like Marilynne Robinson, right? She had massive gaps between books. And then suddenly it starts to speed up. And they're coming out every year, every two years. Yeah. Annie: It's the mortality.  Lito: Well, and life, well, I think lifestyle too, right? Like what you do, how busy you are and what you do out in the world. Like going out and meeting people and being gay in the world, that takes up time.  Annie: And your work has had other lives too. I mean, I'm thinking about how We the Animals was adapted to film in that beautiful, intimate portrait. And I know, you know, Angela, you've been working with HBO and some projects as well. I'm just, just wondering if you want to talk about your work in these other media, how it's been, and even thinking about the strikes, right? Like the WGA-SAG strikes and how that has been on the ground too.  Angela:  Very happy that the strike is over. Solidarity to our SAG-AFTRA brothers and sisters still out there. I passed them on the way here on Sunset. I did honk, wish I was out there today. But I think that for me, it's just like a bonus. Like I, especially now, there's a way that right now writers will say things that are a little snobby like, Oh, I could never be in a writer's room, the group project, man. But like when now that I know so many TV writers living here and I've met so many over the past 146 days on the line, I realized that it is, you just have to be so nimble and agile and you have to also be so not precious about story. But no less smart. A lot of things might end up on TV dumb, but I don't want to blame the writers for that. Now that I really have a real understanding of just how the sausage is made and just how big of like a game of telephone it is—and how much you have to relinquish control because at the end of the day it's like you're making this text, it's literary, but it's also like an instruction manual. It's a completely different way to think about writing. And I don't know how long I live in LA or how many like of those kind of projects I will do but I'm really grateful. And one reason I'm really grateful is because doing those projects and having those years where people thought I wasn't doing anything, but I was actually writing so much and like doing so many revisions.  It helped me realize that there is a way that I blame MFAs for making us like feel very siloed. And like, if you're supposed to be a fiction writer, that's the only thing that you do that's like an output that anyone cares about. But it's so new—like, how many screenplays did Joan Didion write? Like James Baldwin wrote screenplays. Before, it was just like, you're writing, you're writing. Like it's all, it all is the job. And I think every time a poet friend of mine like puts out a novel, sends it to me, read, sends it for me to read—first off, they usually are very good. But then also I'm just like, yes, fiction writers, I think, I don't know who did it. I blame graduate programs, but they have put themselves in this small box. Justin: But yeah, I mean, it's like the MFA, a lot of them feel like teacher training programs and that the next step is teaching. But if you don't want to teach the old models, definitely like you just write for TV. Angela: You write for film, you write for magazines, newspapers, you just do the thing. And that has felt very freeing to me, to just see meet more people who are doing that and also to allow myself to do that. Justin (52:49) Yeah, I mean, I really enjoyed the process of having my film—the book made into a film. I think I had an unusual experience with that. Like a lot of times the author is cut out or, you know, is not deferred to in any way, or nobody's inviting you in. I think because it was such a low budget film, and the director is just a really wonderful person who is incredibly collaborative.  He wanted me involved in every single part of it, and so I loved that. I think, I don't know, I think I might wanna adapt Blackouts for a play. I've been thinking about it lately. Angela: You should. I mean, in so many ways, it is kind of like a two-hander. Yeah. I could see it. Yeah.  Justin: A two-hander. Look at you ready to lingo. No, that's some biz lingo.  Lito: That's going to be the title of this podcast. It's a two-hander. How has art shaped your friendship? And I mean, art, like other genres, we've talked about getting out of the box of fiction, but what movies or art or music do you love to talk about or do you just talk about everything or anything that you're watching and how have other genres affected your work? Like, do you listen to music? Are you influenced by visual art?  Angela: You wanna talk about things you watch on television? You ready to come out in that manner?  Justin: No.  Lito: You watch lots of TV? No. Are you a Housewives person?  You're a Housewives watcher, aren't you?  Justin: Housewives is too highbrow for me. I have like a…I have a secret fetish that is mine. Angela: You have to keep some things for yourself. Justin: Yes. But it's just like, that's how I turn my brain off when my brain needs to be turned off.  Annie: I will wait another decade for that story. Justin: I also like culture and high art as well. You write about art a lot. You do profiles. Angela: I do. I wish I did it more. It's just everything, you know, takes time. I think for me, like when I think about—I just am learning different ways to make a life out of, you know, out of your mind and out of art. And one thing that I've learned when I talk to, like visual artists, particularly, is this idea—I think poets also have this—but fiction writers, a friend of mine actually, a poet, recently asked me, like, how does a fiction writer get a practice, like a practice of writing? Practicing their craft in a way that like a visual artist, you know, they go to the studio practice or poet might have a practice. And I don't believe necessarily that sitting down to write every, you know, three hours every day is the same thing. Because like if you don't know what you're writing, but I really do think that practice is more grounded in reading.  Justin: And reading, I think reading literature for sure, but also reading the world, right? And that's what you do when you go to an exhibit or you go to a museum or you go to a concert or whatever, right, you're like reading, you know, and you're reading the experience, you're reading for other things.  Lito: Is there anything you're both fans of that you both talk about a lot? Any artists or musicians or movies? Justin (56:26) You know, I think that we have some lowbrow sharing tastes. But I think that our highbrow, I don't know. We don't talk a lot about our pursuant— I think I'm into a lot of, like when I was looking at, when I was putting together Blackouts, I was looking at a lot of archival photos and like the photos of Carl Van Vechten, I just, I'm obsessed with…  I've been spending a lot of time with them, thinking about him and his practice. I think that, you know, I like all kinds of stuff. I'm like a whatever, what's that horrible term? Culture vulture?  Angela: I don't think that's what you wanna say. But I know what you mean, yeah.  Justin: Yeah, I am democratic in my tastes. I'm just like, I like everything. We don't have a lot of shared tastes, I don't think.  Angela: Um... No?  Justine: No.  Annie:  I sort of love that. I mean, it, um, the friendship, belies, that, you know, it's only a bonus in that way. I think Lito and I also have very different tastes. There's something kind of lovely about that. Lito: I remember Annie making fun of me for not being hardcore enough in my taste in hip-hop. Annie:    I guess we're putting our dirt out there too.  Lito:   We'll be right back with the Lightning Round. Annie:   Ooh, Lightning Round. Annie: (58:12) Thank you both for talking with us today. This was really wonderful. We really feel the honesty and warmth in your friendship and we're so appreciative that you're sharing that with us today and with all of our LitFriends. We're excited for both your books and we're so grateful you spent the last hour with us.  Angela: That was a pleasure.  Justin: Thank you. Lito: All right, we're gonna we— wrap up the podcast with a Lightning Round, just a few questions. We will ask the question and then I guess we'll do it this way. When I ask the question, Angela, you can answer. And when Annie asks the question, Justin, you answer first. Sorry, first answer first. You're both going to answer the question. What is your first memory?  Angela:  My sister roller skating through sprinklers and falling and hitting her head. Justin: I literally have no idea. I, yeah, I don't know. It's a blackout.  Angela: How many times have you said that?  Lito:  Very on brand.  Angela: You've had a long book tour. Justin: I'm practicing.  Annie: Who or what broke your heart first?  Angela: Is it too deep to say my daddy? I know.  Justin: I was going to say my daddy.  Angela: That's why we're friends.  Justin: I know. It's so sad.  Angela: (59:37) Daddy issues.  Lito: Who would you want to be lit friends with from any time in history?  Angela: Toni Morrison.   Justin: Yeah, maybe Manuel Puig. He seemed really cap and hilarious. And also a brilliant genius.  Angela: I need Toni Morrison to tell me how to raise my child. And to still write books. Someone help me. Annie: What would you like to see your lit friend make or create next, maybe something collaborative or something different or a story they haven't told yet?  Justin: I mean, I think I would love to see you actually write something kind of ekphrastic. Like I'd love to see you write about art. I love when you write about art. I love your thoughts about art and art makers. So maybe, like, a collection of essays about culture. I'd love that. Angela: Besides this two-handed, this play, which I would love for you to write. Maybe there's more, I mean, there's more voices in the book than two, though. So it doesn't have to be. Justin is a poet. I have said this since the beginning. I'm ready for this collection.  Justin: Never occurred to me in my life. Angela:   That is not true.  Justin:   Well, writing a collection. Angela:   Okay, well, I would love for you to write a collection of poetry.  Justin:   Maybe I will. Maybe you just gave me permission, as the children say.  Angela:   Mm-hmm. I know.  Lito: If you could give any gift to your LitFriend without limitations, what would you give them?  Angela: I would give him a house with a yard and a pool.  Justin: That's what I want.  Angela: In a city he wants to live in. That's the key.  Lito: That's the hard part. Justin:  (01:01:35) Um, I would give Angela time to be with her thoughts and her craft. I guess what does that involve?  Angela:   This is because I call myself a busy mom all the time.  Justin: You are a busy mom. Angela: (01:02:08) Thank you, that's a nice gift. Time is the best.  Justin: I mean, it's not as good as a house with a pool.  Angela: I know, because I can use my time as wisely as possible and yet—no pool. Lito: Well, that's our show. Annie & Lito: Happy Friendsgiving! Annie: Thanks for joining us, Lit Fam. Lito:   We'll be back next week with our guests, Lucy Corin and Deb Olin Unferth. Annie: Find us on all your socials @LitFriendsPodcast. Annie: I'm Annie Liontas.  Lito:   And I'm Lito Velázquez.  Annie:   Thank you to our production squad. Our show is edited by Justin Hamilton. Lito:   Our logo was designed by Sam Schlenker.  Annie:   Lizette Saldaña is our marketing director.  Lito:   Our theme song was written and produced by Robert Maresca.  Annie:   And special thanks to our show producer, Toula Nuñez. This was LitFriends, Episode One.

Tanner Weyland:Hello, this is Tanner Weyland. Welcome back to How to be a Better DM, the official podcast of Monsters.Rent. I'm here with Justin Lewis. Say hi, Justin.Justin:Justin.Tanner Weyland:Hey, hey, no, don't do that. Just kidding, I'm joking.Justin:I'm sorry.Tanner Weyland:It's great to have you. Ha ha ha.Justin:Thank you. It's great to be here.Tanner Weyland:Perfect. So if anyone's new to the podcast, we are going to learn a bit about how to bring our DMing and storytelling to the next level. And today's podcast is kind of a thought experiment. Why don't we see more marriage and families happening, you know, with your players characters? Like, why aren't they starting their own little families and having little kids that they name and train and everything else, right? That's kind of the thought experiment, and finding out if, as DMs, we can do this and make it an enriching and enhancing part of an adventure. First off, Justin, what do you think about this topic?Justin:I think it is an amazing topic. First of all, for those of you who don't know, I'm actually expecting my first child as this podcast releases. My wife's due date is August 4th, so it's like two, a week and a half away. So thinking about families is definitely the top of mind. And so I've been thinking of different book ideas that can involve having a baby or just all sorts of. fun ideas and I think and actually on a different side note my own campaign my players have gotten pretty good like they're pretty high level and it's hard for me to throw a balanced challenge at them without killing them and so I was thinking you know what maybe I'll just give them like a baby and they'll just have to deal with that you knowTanner Weyland:Just do a little bit of just giving them responsibility, a coldJustin:Mm-hmm.Tanner Weyland:hard slice of responsibility and see how they deal with it.Justin:Exactly. I mean, the unfortunate part of doing that would be is how they treat NPCs thus far is not generally good. So I'm kind ofTanner Weyland:No.Justin:afraid, you know.Tanner Weyland:Well, that's perfect. I mean, in a way that kind of speaks to one of the opportunities of, uh, of making, you know, player relationships actually lead to kind of emotional attachment that speaks to it, right? Cause it's like, you can tell different stories if the players feel emotionally connected, because I think a lot of really great characters, players will try and do that naturally, you know, they'll try and be like, oh, let's find the emotional connection. that would make my character actually want to go save this town or save this little girl who got kidnapped or something, right? But not all players are like that, right? And so kind of giving them that natural connection of like, hey, it's your wife, it's your fiancee, it's the girl in the town who you've been spending more time with or your child. I think that that's just a very natural way to get player buy-in. if that makes sense.Justin:Yeah, and I think that can also be a reason why Dungeon Masters might avoid the family just because it might not feel earned, you know?Tanner Weyland:Mmm.Justin:Or you're trying to establish some sort of family relationship with a character, or sorry, not a character, with a player that generally doesn't do much role playing. And I mean, if you do that, there's a big chance that they'll be like, oh hey brother, okay bye, right. not a big payoff.Tanner Weyland:Yeah, absolutely. And I think that kind of leads naturally into what I want to talk about next,...

Tanner Weyland:Hello and welcome to How to be a Better DM. My name is Tanner Wayland and together we're all gonna learn how to make wonderful adventures for our players. I'm here with Justin Lewis. Justin, how you doing?Justin:A little sick, but I'm alive and well, so that's good.Tanner Weyland:I know, I know. Justin and I were gonna have a barbecue with some friends and that's right around the time that my wife started feeling sick. Justin was like, hey, I'm sick. And then the weather got bad. So, you know, the gods above were like, no, you're not having that barbecue. But we're just happy that you're feeling better.Justin:Thank you.Tanner Weyland:Um, so today we're going to actually talk about kind of a general topic and it's something that you could honestly apply elsewhere, but, uh, we're talking about improving as a DM and how you can plan for that. Uh, what do I mean? So if any of you have heard the, uh, the, of the book, seven habits of highly effective people, uh, on the seventh habit, so to speak is, uh, sharpening the saw. At least I believe that's how they phrase it, right?Justin:Mm-hmm.Tanner Weyland:And with that habit, it's all about like, hey, you're not going to improve bit by bit if you're not planning for it and setting plans that will make you successful in the end, right? And now we put out a lot of episodes about like, hey, you can get better in this way or this way or how you speak with your players or communicate or plan. All of that is good and it's fine and dandy, but You know, I think some people and I'm included with this sometimes when I'm trying to get better. I I kind of take the marination approach where I'm like, oh i'll just listen i'll read a bunch of books I'll listen to some podcasts things like that and then I don't actually end up I don't know justin if this happens with you, but like I just kind of hope that i'll through PhotosynthesisJustin:Osmosis. Yeah.Tanner Weyland:osmosis. Yeah, then i'll just get better instead of actually planning. Does that happen with you?Justin:Yeah, 100%. Especially, and it's kind of hard with this type of thing because it's a hobby for most people. And that's where things, especially for hobbies for me, where I tend to be more reactive with my growth and less decisive and intentional. And for more clarification, I believe the term sharpen your saw for this habit. in the book comes from a famous saying, I don't want to misattribute it, but I think it comes from Abraham Lincoln who said something like, if you give me four hours to chop a tree down, I'll spend the first three sharpening my saw. And it's really that idea that by spending dedicated time improving, it should simplify and streamline the actual activity and task itself. So I think this is a great topic to do today.Tanner Weyland:Yeah, I absolutely agree. And so we're going to jump right in about how you can kind of set yourself up for success, uh, so that you aren't stagnating as a DM, but every time your players are like, wow, they've improved, you know, which, and once again, improvement isn't a negative thing. All of us could improve, uh, in different ways. And in the end, it's going to mean that you have a more fun time and you're going to be less stressed as a DM just straight up. So, Justin, how about you? How would you recommend people improve?Justin:So the very first thing I would say to do, and I would probably recommend this to people even outside of Dungeons and Dragons, just as a life skill, practice writing daily. And the reason why I say that is because successful people produce and everyone else consumes. You can spend lots of time reading, but if you spend even a quarter of that writing, you've created something...

What a way to conclude this year. I was proud to host an interview with top-tier investor, entrepreneur, author, founder of Zion and theAmplify, and just an incredibly creative person, Justin Rezvani! Zion is a blockchain platform designed to help creatives share their work and receive compensation for it. We discussed the importance of blockchain technology in the creative world. Justin Rezvani is an individual of remarkable ambition. He has defied the odds to make his mark on the world, striving for excellence in everything he does and embracing success with open arms. His drive and determination have been key inspirations for those around him, showing what can be achieved through hard work and dedication. We discussed a bunch of amusing topics, such as Bitcoin Lightning Network, Bitcoin censorship, Zion from tech and non-tech points of view, and more! If you're interested in learning more about blockchain technology or advancing your career in creatives, be sure to watch this video! Tune in to gain some great knowledge!

Antonio - What are your thoughts on the sin of gluttony? Justin - Thank you for being on the radio. I was in jail for a year and listened to your show every day. Alex - What is your opinion on me attending a gay wedding? Marie - Do people who leave the Catholic faith for protestants go to Hell? Rose - If you are living a bad life, do you lose your guardian angel? If you repent, do you get a new angel? In Canada, panic buying sets in after Trudeau's handgun ban Randy - Should I end a friendship with someone because they have tarot cards? Anne - Should I congratulate on a homosexual couple on their engagement? Sherry - My nephew just came out that he is Transgender. He has been married for 25 years. How should I respond to him about this?

Once again, Happy Halloween dear listeners!Or is it? This week, Dave welcomes back Justin and Drew to discuss the... peculiar slasher sequel, Halloween 3: Season of the Witch. We've seen Halloween, how will our predictions hold up for this sure-to-be faithful third installment of the franchise? Download now and find out!Episode features new music from Justin- Thank you, mon ami!Part 1 - 0:00 to 30:45Part 2 - 31:00 to 1:39:45 betterlatethanneverpod@gmail.com@BetterLate_Pod

Just Cook It!145 Built-To-Be-Easy Recipes That Are Totally DeliciousBy Justin Chapple Suzy Chase: Welcome to the Cookery by the Book Podcast, with me, Suzy Chase.Justin: My name is Justin Chapple, and my new cookbook is called, Just Cook It!Suzy Chase: You graduated from the French Culinary Institute, then you went on to become the Deputy Test Kitchen Editor at Food and Wine Magazine, in addition to being the host of Mad Genius Tips, your James Beard nominated video series. What does a Deputy Test Kitchen Editor do? That sounds so official.Justin: Believe it or not, it's actually a little more official because I was recently promoted to Culinary Director of Food and Wine.Suzy Chase: Oh, well look at that.Justin: Basically what it means is, I get to cook, and I get to eat all the time, but most importantly I get to develop recipes and food content for everyday people, which is really what I love about my job.Suzy Chase: Basically, the home cook, me?Justin: Yeah, exactly. Basically what I do is ... I've been at Food and Wine for over eight years, and in that time I've had various roles, but the thing that I like to say is my favorite part of my job is I basically translate difficult recipes for the home cook. I've spent so many years testing recipes from famous chefs, or even chefs that really nobody knows about yet, but who would like to run recipes in Food and Wine Magazine. Basically it's been my job for so long to look at the recipes and streamline them, maybe reduce the number of ingredients, simplify the technique so that it's something that is really approachable. Then, I basically redo the recipe, still keeping in mind the chef's vision, and just make it so much easier for the home cook.Justin: When I started writing this book, I thought to myself well, how can I do something that not only has my point of view, rather than so many of the great chefs that I work with, but that teaches people all of the things that I've learned along the way? That's what I've done in, Just Cook It.Suzy Chase: It struck me by how many different types of cuisines are in this cookbook, but it's not discombobulated. It all works together. Is this how you cook at home?Justin: Yeah, it really is how I cook at home. A lot of that is just because over the years I was cooking food from so many different people, I've learned so much about different cuisines. When I started writing down and figuring out what I wanted to put in the book, I thought, okay, well what type of cuisine should it be? Should it be American? Should it be Italian? Should it be French, which is what I'm trained in? But then I thought to myself, I should actually really put all the different types of recipes and cuisines that I cook at home, because I cook very globally. That said, none of the recipes are truly authentic. They're really inspired by a region, or a type of cuisine, or a recipe that I've had at some point. Then I've reinvented it with my own perspective. I think it worked out well.Suzy Chase: I do too. I live for nostalgia, just like you. I'm dying to hear about Grandma Barbara.Justin: Oh, Grandma Barbara, she was my savior, really. She's really the first person who introduced me to home cooking. Part of how she did that was she plopped me down on sofa next to her. She'd say, we're going to watch these shows. We'd watch Yan Can Cook, and we'd watch The Two Fat Ladies, Jacques Pepin, Julia Child. This was before food television was really what it is today. This is back when most of the time when you watched cooking shows, it was on PBS. I love it. I fell in love with it. I remember as a kid I used to say, I want to be a chef. Or at that time, I probably said cook. She encouraged me. She would teach me, started out simple, she would show me how to make tuna salad. One of the most advanced things that she taught me as a kid was how to poach eggs. Of course, I think my poached eggs have come very long way now, compared to the watery mess they were when I was a kid.Justin: She just taught me so much. What I think is so amazing when I look back is, how much she taught me that she doesn't realize, because we didn't grow up with a lot of money, and we didn't have a lot of resources. We didn't have a lot of fancy kitchen equipment. Still, every day she made incredible meals that were so inspiring. Throughout the book, I've taken some of the things that I learned from her and I've made them a little more modern, maybe changed a few ingredients here and there, but really tried to achieve what I remember having as a kid.Justin: A couple of examples are that are my bacon and egg ramen, because growing up she used to take little packaged ramen noodles and she'd put them in the microwave with an egg, some scallions, and maybe a little chicken broth. It ended up becoming something that was totally different than what you think of when you think of packaged ramen. I tried to recreate that in my book. I think I did pretty well. I think she'd be happy with it.Suzy Chase: In the cookbook you wrote, don't tell anyone, but I might have been a little bit dorky as a kid. Not that I've changed much. I was freckly and quirky with all sorts of big bizarre dreams. I would read cookbooks and food magazines, watch Two Fat Ladies, and Yan Can Cook, and fantasize about becoming a chef. What advice would adult chef Justin, tell young, quirky Justin?Justin: Actually, that's a really good question. I'm glad you asked, because I recently was able to speak to this high school culinary program. They had asked me to come. It was actually my high school which since I left they drew out this incredible culinary program for high school students. They asked me to come back and speak to the kids, and I did. One of the things I told them was, don't let anyone tell you that going to trade school or vocational school is a bad thing. Because when I was growing up, you were strongly encouraged to go off to a four year university. I went off to school, yet all I really wanted to do was cook. In our industry we call ourselves career changers, because I had established myself as an adult before I decided to go to culinary school. Then one day I said, you know what? I've always wanted to cook. I still want to cook. I'm going to cook. So I went to culinary school. That was almost 10 years ago.Suzy Chase: I've talked to quite a few cookbook authors who were unfulfilled by working in a professional kitchen because the personal link to the customer was missing. Talk about your connection between the food and the people you make food for.Justin: Well, that's exactly right. When I worked in restaurants, you cook all day. But I was in fine dining, and so you're really kept in the back. You're kept in the kitchen. You don't really get to see reactions. You don't get to see if people are enjoying it. You don't get to hear the feedback of whether or not they want something different. But since I've been at Food and Wine, and I've been creating recipes for the masses, for lack of a better way of describing it, especially nowadays with social media, I get so much feedback. I hear what people want. I hear the types of foods people want to eat, and the types of food people would like to prepare at home. I change what I do based on that. It's what I love about what I do now, is that I get to interact with the people who are actually cooking my food, or the people that I'm cooking for.Justin: When I developed the list of recipes that I was going to put in the book, I really considered all the things I've heard over the years, all the favorite dishes that people like to make at home, all of the types of foods that they'd like to learn more about, which is why, if you go through the pages of Just Cook It, you'll see a lot of vegetable recipes. Because more recently, people are just obsessed with vegetables. They're obsessed with side dishes. That's one of the things I really focused on when I wrote this book, was providing all the different types of vegetables. Some of them are more involved than others, but for the most part they're all super, super easy, really approachable, and they teach you to use ingredients in fun new ways.Suzy Chase: You have a must-have equipment section in the cookbook. One of your must-haves is a cast iron pan. As a New York City apartment dweller, I wish I could grill. How do you grill indoors?Justin: It's really hard, because I also live in New York City, and I have a small apartment, so it's really hard to grill indoors, but I like to use a grill pan. Rather than getting it as hot as possible, if you just reduce the temperature just a little bit, you are better off with the fear of setting off your smoke alarm.Suzy Chase: I've heard you say hacks are one thing, and shortcuts are another. What's the difference?Justin: I get asked that question a lot, because I do have the video series through Food and Wine, which is called, Mad Genius Tips. It's all about food hacks. It's all about finding really bizarre ways of creating a shortcut. Technically a hack is a shortcut, but nowadays the term hack has really become a term for shortcut when the shortcut is really outrageous. Whereas a shortcut is just a smart, often times professional way of making something easier. Throughout my book you will find a few hacks here and there, but for the most part I wanted to include just a ton of shortcuts so that people wouldn't be intimidated, so people weren't afraid to get in the kitchen, so that you can make all the things that you perhaps thought you could never make.Justin: Just for an example, I have my new school beef bourguignon, which is really inspired by a classic beef bourguignon, which if you're not aware of what it is, it's a beef stew made with red wine, probably made famous by Julia Child. In order to make it at home you'd normally dry all your meat and then you cook it in three or four batches in your big pot. Then you have to brown all your vegetables separately. Then you have to braise your meat separately. At the end you put it all together.Justin: But really, I've streamlined the process by first, rather than cooking the meat in so many different batches, I dry it all and I spread it on a baking sheet. Then I broil it so you brown it all at once. Then I put that into the pan, into the pot with the red wine, and your aromatics, and then you braise the meat that way. Then of course rather than browning all your vegetables in different skillets, I add them all in. It's definitely a shortcut, and the recipe is definitely still delicious. I really think it's reinventing how a very classic French dish can be made at home.Suzy Chase: Another shortcut that caught my eye in, Just Cook It, is preserved lemons that can be made in 10 minutes on the stove. Describe that.Justin: I haven't yet been asked about that recipe, so I'm so glad that you did because it's really a brilliant cheater version of preserved lemons. Preserved lemons are lemons that have been salted and basically cured for upwards of a month. They have an incredible, incredible, deep very floral flavor. You don't actually use the flesh of the fruit. Some people do. They like to spread it on toast, or they like to stir it into stews. But for the most part when we talk about using preserved lemon, we talk about just using the rind, because the rind gets really soft once it's been cured. It mellows out and you can actually just eat it, but it's still intense. But, it's used as a condiment, so you can put it into vinaigrette. You can put it into aioli’s. You can put it into a stew, or into a chicken braise, or something like that.Justin: You can buy them in the store. That's definitely something that you can find pretty much at most stores nowadays, but I developed this trick for doing it at home. It's a shortcut that I think is really phenomenal. When you want to use preserved lemons in a pinch, and really what you do is you scrub the lemons and cut them into wedges. Then you cook them in a saucepan with just water, and salt. What it does is it softens the rind, much like the month long curing process would, and with the amount of salt that I use ... Which I think I use three or four tablespoons in the recipe. It gives it that kind of flavor that you would get from the salt curing process.Justin: In my opinion, it's such a smart shortcut for something that could take upwards of a month. Now you can do it at home in really 10 minutes. The best part is once you make them, because they're technically salted still, they can be in the refrigerator for six months. You can do a double or triple batch. Cook them in 10 minutes. Put them into a jar or container, like a plastic container with a lid, put it in the back of the refrigerator, and they'll be there for six months. Every time you need a little, you just take it out, you chop it up, and it's ready to go.Suzy Chase: One thing I hate to do is cut up cucumber. I can never make perfectly diced cukes. Thank you for telling us to smash our cucumber. Talk about that.Justin: That is probably one of my favorite techniques in the whole entire book. Throughout the book you'll find little things like that, like little ideas that don't require more effort. They often times require less effort, but huge reward. That's what smashing the cucumbers is for me. Because what I do is I basically put the cucumbers onto a cutting board. I like to use Persian cucumbers, because I love their really, really, really crisp texture, and the fact that they have very little seeds. You can find them pretty much everywhere now. They're the perfect snackable cucumber.Justin: I basically put it flat on a work surface. I put my knife flat on top of that, with the blade facing away from me. Then I just use my palm, and I just smash them. Then I tear them into pieces. What's so great about that is because the crushed cucumber has all these nooks and crannies now, it absorbed the dressing so much better than if you just sliced them or chopped them, and it makes it more fun to eat.Suzy Chase: That is so smart. That's totally a game changer.Justin: It's 100% a game changer. The salad that goes with it, in my book, Just Cook It, is so simple. It's an Asian inspired salad with just a couple ingredients, and then some herbs which are optional. I just think it's the perfect recipe for now.Suzy Chase: The other evening I made your recipe for shumai stew on page 100, and your peel and eat shrimp on page 191. Now, that stew-Justin: Thank you.Suzy Chase: The stew was so different and delicious. How did that recipe come about?Justin: That recipe came about because I'm a little bit of an addict when it comes to buying frozen dumplings, and frozen raviolis, and stuff like that from the store, because living in New York City, I work until 06:00, and often times the only time I have people over, it'll be on a weeknight. I tend to like shortcuts like prepared raviolis and prepared pot stickers, in this case, shumai. I had bought some shumai from a corner store. Here in New York we call them bodegas. Because I was just craving some little dumplings. I think I remember the ones that I bought, they weren't that great. I ate them, but I had some leftover in the fridge, and I said to myself, how can I use theses up? So I made a stew out of them. It was such a weird, happy accident, because what I really did was just sauteed a little aromatics, like ginger and shallots and garlic, threw in some chicken broth, added the shumai, added some greens, and it became this really hardy Asian inspired dumpling stew that now I make it all the time.Suzy Chase: Oh my God. I've never seen anything like it.Justin: This too, in my opinion, is a game changer because it really shows you a new way of using something. You go to the supermarket. They always have that section of frozen pot stickers, and frozen dumplings. They even have often times the frozen udon noodles in the same area. Those ingredients, believe it or not, you don't have to use them in the traditional way. You can reinvent the way you cook at home very easily. That's what I really wanted to show in this book, was how with just a couple smart ideas, you can change the way you cook forever. That's why I like to say this shumai stew is a game changer as well, because it teaches you something simple like putting those frozen dumplings into a soup.Justin: It's something that you'll walk away from the book with and you'll do it. You might not follow the recipe next time. You might do something else. You might say, well okay, I don't have mustard greens, or I don't have shiitake mushrooms on hand, so what can I do? Maybe you take those shumai dumplings and you do an Italian inspired soup with tomato, and basil, and with your dumplings in there. Because you're using them as a condiment. You're using them as an ingredient as opposed to making them the focal point.Suzy Chase: Here's my problem with the Trader Joe's frozen shumai, is that when I steam them, they get crunchy around the edges. I've decided to never buy those again, but I used them for the shumai stew, and in the stew the shumai stays moist. It doesn't get that weird crunch on the edges.Justin: Right. That's true for a lot of frozen ingredients. Because they get a little frostbitten, and then they start to dry out. That's a really good point. Because they're in the stew, they're going to absorb all that delicious broth and just get really nice and tender and juicy.Suzy Chase: With the peel and eat shrimp, I never knew that if you cooked them in the shell, they stayed juicy and tender. The green chili butter on the shrimp was so luxurious.Justin: That green chili butter, which I sometimes I use jalapeno, other times I use the serranos. It's such a smart secret weapon. It really is, because what I do is sometimes when I make that recipe ... So, for those of you listening, basically my peel and eat shrimp has two really, really smart tips to it. The first one is to cook your shrimps in the shell, because they stay really moist and tender, and you don't overcook them. What I like to do is take little scissors and then I just cut down the back, which not only allows you to remove the vein, but it exposes the meat so that you can spread it with this chili butter. That's the first tip.Justin: The second tip in this recipe, which is a secret weapon in my opinion, is making this green chili butter. You just mash butter with chilies. Like I said, I use jalapeno, or I use serrano, some chives, some lemon zest, and then just salt and pepper. That's it. You blend it in a bowl with a fork, and then you spread it on the meat under the shell of the shrimp. Then you chill the shrimp, and then when you roast them in the oven, they get perfectly cooked and the chili butter is just the little kick that you want, because it doesn't overwhelm the shrimp. But, it makes them even more juicy and more tender.Justin: But the reason I say that green chili butter is a secret weapon is because sometimes I make a double or quadruple batch. And then I use some for the shrimp, and then save the other for anything I want. Sometimes I toss it just on boiled noodles. Sometimes I just put a little pat of it on top of the grilled steak. Sometimes I spread it on top of a grilled, or roasted piece of skinless chicken breast. It just adds this little bit of oomph that you're looking for something that's really simple at home.Suzy Chase: I used jalapenos and I was a little worried because I was feeding my 11 year old. I'm like, just eat the shrimp. I was standing back watching him. But it doesn't absorb the heat. It just had the flavor of the jalapeno.Justin: Right. That's because to make the butter, you first seed the chilies. You seed them and then you mince them, and so because you're removing the seeds and the ribs, that's where all the heat is in the chili. You're really just using the pepper itself. The pepper, sometimes they can be hot, but I have a really smart trick for knowing whether or not a chili is going to be really spicy. We've all been there where a recipe calls for one or two peppers, and you can choose. You never know how much to use because you're not sure how hot they are unless you taste one.Justin: But, I actually learned this trick from my friend Melissa Clark who works for the New York Times. She said, what you do is you cut the jalapeno or the chili in half, and then you smell it. If it smells like a bell pepper, then it's sweeter. But if it smells really spicy then you know it's going to be a really hot chili, and you should maybe start with less before you add more. She taught me that, and I was like, why have I not ever known that? It's such a brilliant trick.Suzy Chase: Right. Well, thank you Melissa Clark.Justin: Yes. So smart. Now I do this. I wish I had known that right before I did the book, because I would have put it on every recipe that has a hot pepper in it.Suzy Chase: Where can we find you on the web and social media?Justin: Well, you can find me all over social media and on the web at, Justin Chapple, just my full name. My last name is spelled C-H-A-P-P-L-E. I really do hope that people reach out, because I'm really responsive on social media and on the internet, just because I love talking with the people that are making my recipes and eating my food. It's one of my biggest pleasures in life.Suzy Chase: Well, I will echo what Valerie Bertinelli said, this is for all of us home cooks who want to up our game in the kitchen. Thanks Justin, for coming on Cookery by the Book Podcast.Justin: Thank you so much.Suzy Chase: Subscribe in Apple Podcasts and while you're there, please take a moment to rate and review, Cookery by the Book. You can also follow me on Instagram, @Cookerybythebook. Twitter is IamSuzyChase, and download your Kitchen Mix Tapes. music to cook by on Spotify at Cookery by the Book. Thanks for listening.

Download Episode! Pilot to Pilot Podcast EP 019 FT. Dave Herwig: Airline Pilot & Former Army Golden Knight. What is going on Avination?! Today I am talking with Dave Herwig, a former Army Golden Knight and newly hired regional airline pilot. When Dave was with the Golden Knights he was given the opportunity to skydive over the White House, at multiple professional sporting events, and travel the country to skydive at air shows. In today's episode, we talk about how being stranded on Lake Eire led to his love for aviation and how he took his first flight lesson at age 42. We also talk about how it only took him 17 days and 40 hours to obtain his private pilot license (PPL) and why he became a Golden Knight. Avination, thank you for listening to today's episode. If you enjoyed it, please let me know! Email me at pilottopilothq@gmail.com or reach out on Instagram @pilottopilot. Happy flying, Justin Thank you to my Patron supporters Daniel Morrissey, Josh Ortiz, and Philip Sutfin. I couldn't do this without you guys!

Do you know someone taking statin drugs or has concerns regarding their cholesterol? If so then this interview is a must! Our awesome guest this week is Justin Smith.  He's the man behind the documentaries Statin Nation and Statin Nation II which are documentary films about cholesterol and cholesterol lowering medications. Have we got it all wrong? In the short video above we discuss the major concerns of having your cholesterol too low and the health risks that go with it. More than 40 million people around the world are currently taking medications to lower their cholesterol level. But an increasing number of doctors and researchers are questioning the supposed link between cholesterol and heart disease. 29 billion dollars is a conservative estimate of the current value of the cholesterol-lowering industry. Learn More about 180 Nutrition: http://180nutrition.com.au/about-us/ Questions we ask in this episode: What advice would you give to anyone who is currently taking statin drugs? In your opinion what really causes heart disease? What are the most common side-effects of statin drugs? Could we really be so wrong when it comes to cholesterol and heart disease? How does the Director of Statin Nation eat? And much much more... Our awesome guest today is Justin Smith, Justin welcome to the show. Justin: Thank you very much, great to be here. Guy: Mate I just realized this morning that you are our fourth documentary maker to come on the show. They’ve always said the same thing like when they started out they had this great idea and they went boy, that’s a lot of hard work. My first question to you is just for our listeners who might not be familiar, what led you in the first place to actually think about starting to make a documentary? Justin: Well it was a surprise to me, because a number of years ago if someone said you’ll end up making documentary films I would have said, oh you are [00:03:00] crazy, that’s never going to happen. I got into this through the issue really because I was working a number of years ago as a personal trainer and nutrition coach. Through my own independent research, I became aware of the cholesterol myths, and all the myths associated with the fact thatwe … Well we are told that we all need a low fat diet. I just found out when working with clients that didn’t work for a huge number of clients, so that prompted me to do my own research into it. I came across … There is a doctrine in Sweden many people would already be aware of. Doctor [inaudible 00:03:28] and he of the classic [inaudible 00:03:48]. Guy: Sorry Justin, it’s breaking up a little bit. Justin: Okay, so after reading [inaudible 00:03:55] Scott’s book, then eventually I [00:04:00] kept on doing my own … More of my own independent research, and that led to me self publishing my own book about cholesterol. After publishing the book I was still very frustrated, because I wanted to get the information out to a lot more people, and they came up with the idea of making a documentary film. They had to contact some of the key researchers in that field, and I was actually relay surprised they all said yes, most of them said yes, and eventually got the first documentary together Statin Nation. That was really well received, so I went on then to make Statin Nation 2. Guy: Statin Nation came out 2012, is that correct? Justin: Yes, at the end of 2012 it was released online and then the DVD was available early 2013. Guy: Yeah right yeah.Justin: Then Statin Nation 2 was released in March 2015. [00:05:00]Stu: I got a story to share as well Justin, so I remember first stumbling upon Statin Nation on the internet somewhere, and I ordered a copy of the DVD and saw it, and thought wow this is like radical stuff and really, really inspiring and thought provoking. Then because I live in Sydney and my parents are in the UK, and then I had a phone call with my parents, my mom and dad, and I said to my dad how are you doing? He said I’m okay, and there is my mom in the background, and she said tell him about the pills you are on, and I said, oh, well so tell me about these pills. He said, oh I have just been put on some medication to help because my cholesterol is really high. He said I’m not feeling very well, he said my legs are really aching and I get really, really tired, and I just don’t feel myself. I asked him what the name [00:06:00] of the pills were, and I did little bit of research and realized that they were Statin drug, and was shocked especially after watching the movie. I ordered a copy of the movie, and sent it to his house in the UK, and I said I want you to watch this and then I want you to give this to your doctor. He watched and he said, oh God I can’t believe this is just … This is crazy stuff. He did exactly that, he gave it to his doctor as well and his doctor watched it, and his doctor took my dad off the pills and said, I need to do some more research. Subsequently from this point forward like he’s been fine and all of the side effects that he was experiencing have disappeared. Really, really thought provoking and just great to be able to point somebody to an independent impartial source to say, “Look, I’ve found this stuff, but you relay need to watch this and make up your own opinions,” so thanks so much for making the movie, it was excellent. Full Transcript & Video Here:  http://180nutrition.com.au/180-tv/statin-nation-just-smith/    

David: What SEO and link building tactics are working for big name brands in 2014? Is guest posting dead or is this something that still works from an SEO prospective? And what about link bait, what are the most effective strategies to encourage back links? Those are just three of the questions that I intend to ask, today's special guest, Justin Deaville. Justin, welcome to DMR. Justin: Thank you very much David, how are you doing? David: Very good thank you. Well, Justin is Managing Director at award winning digital marketing agency, Receptional.com. He was also previously Chief Executive officer at Keyword Research company, Wordtracker. So Justin, you've been involved with keywords, SEO and link-building for quite a few years, now. What's your opinion in terms of how SEO and Keywords have evolved over the last few years. Do any tactics that used to work six or seven years ago, still work today? Justin: That is a good question, David. And, maybe I could let you in to a secret and say that most of the tactics I will be talking about, while not exactly the same format, you know, marketing in its general sense hasn't changed that much and there will be kind of variations on some of the tactics that were working several years ago. I mean, I think SEO has changed probably more in the last eighteen months than almost any point in its history and so some of the old school tactics of directory style link building that, you know, you used to employ someone often that would be someone in India who would charge you $10 to generate a thousand links. That kind of old school link building is absolutely dead. That would do you a lot more harm than good but, you know, the old school tactics which were based around good solid marketing and replicating the good marketing tactics that you would use offline but online, those things will work and will probably continue to work for many years after I am no longer here. David: (laughter) Well let's hope it’s a long way off. Justin: Yes. (laughter) I think we both agree on that.