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How can you be more relaxed about your writing process? What are some specific ways to take the pressure off your art and help you enjoy the creative journey? With Joanna Penn and Mark Leslie Lefebvre. In the intro, Spotify 2025 audiobook trends; Audible + BookTok; NonFiction Authors Guide to SubStack; OpenAI and Disney agreement on Sora; India AI licensing; Business for Authors January webinars; Mark and Jo over the years Mark Leslie LeFebvre is the author of horror and paranormal fiction, as well as nonfiction books for authors. He's also an editor, professional speaker, and the Director of Business Development at Draft2Digital. Joanna Penn writes non-fiction for authors and is an award-winning, New York Times and USA Today bestselling author of thrillers, dark fantasy, and memoir as J.F. Penn. She's also an award-winning podcaster, creative entrepreneur, and international professional speaker. Mark and Jo co-wrote The Relaxed Author in 2021. You can listen to us talk about the process here. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. Show Notes Why the ‘relaxed' author Write what you love Write at your own pace Write in a series (if you want to) Schedule time to fill the creative well and for rest and relaxation Improve your writing process — but only if it fits with your lifestyle You can find The Relaxed Author: Take the Pressure Off Your Art and Enjoy the Creative Journey on CreativePennBooks.com as well as on your favorite online store or audiobook platform, or order in your library or bookstore. You can find Mark Leslie Lefebvre and his books and podcast at Stark Reflections.ca Why the ‘relaxed' author? Joanna: The definition of relaxed is “free from tension and anxiety,” from the Latin laxus, meaning loose, and to be honest, I am not a relaxed or laid-back person in the broader sense. Back in my teens, my nickname at school was Highly Stressed. I'm a Type A personality, driven by deadlines and achieving goals. I love to work and I burned out multiple times in my previous career as an IT consultant. If we go away on a trip, I pack the schedule with back-to-back cultural things like museums and art galleries to help my book research. Or we go on adventure holidays with a clear goal, like cycling down the South-West coast of India. I can't even go for a long walk without training for another ultra-marathon! So I am not a relaxed person — but I am a relaxed author. If I wanted to spend most of my time doing something that made me miserable, I would go back to my old day job in consulting. I was paid well and worked fewer hours overall. But I measure my life by what I create, and if I am not working on a creative project, I am not able to truly relax in my downtime. There are always more things I want to learn and write about, always more stories to be told and knowledge to share. I don't want to kill my writing life by over-stressing or burning out as an author. I write what I love and follow my Muse into projects that feel right. I know how to publish and market books well enough to reach readers and make some money. I have many different income streams through my books, podcast and website. Of course, I still have my creative and business challenges as well as mindset issues, just like any writer. That never goes away. But after a decade as a full-time author entrepreneur, I have a mature creative business and I've relaxed into the way I do things. I love to write, but I also want a full and happy, healthy life. I'm still learning and improving as the industry shifts — and I change, too. I still have ambitious creative and financial goals, but I am going about them in a more relaxed way and in this book, I'll share some of my experiences and tips in the hope that you can discover your relaxed path, too. Mark: One of the most fundamental things you can do in your writing life is look at how you want to spend your time. I think back to the concept of: ‘You're often a reflection of the people you spend the most time with.' Therefore, typically, your best friend, or perhaps your partner, is often a person you love spending time with. Because there's something inherently special about spending time with this person who resonates in a meaningful way, and you feel more yourself because you're with them. In many ways, writing, or the path that you are on as a writer, is almost like being on a journey with an invisible partner. You are you. But you are also the writer you. And there's the two of you traveling down the road of life together. And so that same question arises. What kind of writer-self do you want to spend all your time with? Do you want to spend all your time with a partner that is constantly stressed out or constantly trying to reach deadlines based on somebody else's prescription of what success is? Or would you rather spend time with a partner who pauses to take a contemplative look at your own life, your own comfort, your own passion and the things that you are willing to commit to? Someone who allows that all to happen in a way that feels natural and comfortable to you. I'm a fan of the latter, of course, because then you can focus on the things you're passionate about and the things you're hopeful about rather than the things you're fearful about and those that bring anxiety and stress into your life. To me, that's part of being a relaxed author. That underlying acceptance before you start to plan things out. If the writing life is a marathon, not a sprint, then pacing, not rushing, may be the key. We have both seen burnout in the author community. People who have pushed themselves too hard and just couldn't keep up with the impossible pace they set for themselves. At times, indie authors would wear that stress, that anxiety, that rush to produce more and more, as a badge of honor. It's fine to be proud of the hard work that you do. It's fine to be proud of pushing yourself to always do better, and be better. But when you push too far — beyond your limits — you can ultimately do yourself more harm than good. Everyone has their own unique pace—something that they are comfortable with—and one key is to experiment until you find that pace, and you can settle in for the long run. There's no looking over your shoulder at the other writers. There's no panicking about the ones outpacing you. You're in this with yourself. And, of course, with those readers who are anticipating those clearly communicated milestones of your releases. I think that what we both want for authors is to see them reaching those milestones at their own paces, in their own comfort, delighting in the fact their readers are there cheering them on. Because we'll be silently cheering them along as well, knowing that they've set a pace, making relaxed author lifestyle choices, that will benefit them in the long run. “I'm glad you're writing this book. I know I'm not the only author who wants peace, moments of joy, and to enjoy the journey. Indie publishing is a luxury that I remember not having, I don't want to lose my sense of gratitude.” —Anonymous author from our survey Write what you love Joanna: The pandemic has taught us that life really is short. Memento mori — remember, you will die. What is the point of spending precious time writing books you don't want to write? If we only have a limited amount of time and only have a limited number of books that we can write in a lifetime, then we need to choose to write the books that we love. If I wanted a job doing something I don't enjoy, then I would have remained in my stressful old career as an IT consultant — when I certainly wasn't relaxed! Taking that further, if you try to write things you don't love, then you're going to have to read what you don't love as well, which will take more time. I love writing thrillers because that's what I love to read. Back when I was miserable in my day job, I would go to the bookstore at lunchtime and buy thrillers. I would read them on the train to and from work and during the lunch break. Anything for a few minutes of escape. That's the same feeling I try to give my readers now. I know the genre inside and out. If I had to write something else, I would have to read and learn that other genre and spend time doing things I don't love. In fact, I don't even know how you can read things you don't enjoy. I only give books a few pages and if they don't resonate, I stop reading. Life really is too short. You also need to run your own race and travel your own journey. If you try to write in a genre you are not immersed in, you will always be looking sideways at what other authors are doing, and that can cause comparisonitis — when you compare yourself to others, most often in an unfavorable way. Definitely not relaxing! Writing something you love has many intrinsic rewards other than sales. Writing is a career for many of us, but it's a passion first, and you don't want to feel like you've wasted your time on words you don't care about. “Write what you know” is terrible advice for a long-term career as at some point, you will run out of what you know. It should be “write what you want to learn about.” When I want to learn about a topic, I write a book on it because that feeds my curiosity and I love book research, it's how I enjoy spending my time, especially when I travel, which is also part of how I relax. If you write what you love and make it part of your lifestyle, you will be a far more relaxed author. Mark: It's common that writers are drawn into storytelling from some combination of passion, curiosity, and unrelenting interest. We probably read or saw something that inspired us, and we wanted to express those ideas or the resulting perspectives that percolated in our hearts and minds. Or we read something and thought, “Wow, I could do this; but I would have come at it differently or I would approach the situation or subject matter with my own flair.” So, we get into writing with passion and desire for storytelling. And then sometimes along the way, we recognize the critical value of having to become an entrepreneur, to understand the business of writing and publishing. And part of understanding that aspect of being an author is writing to market, and understanding shifts and trends in the industry, and adjusting to those ebbs and flows of the tide. But sometimes, we lose sight of the passion that drew us to writing in the first place. And so, writing the things that you love can be a beacon to keep you on course. I love the concept of “Do something that you love, and you'll never work a day in your life.” And that's true in some regard because I've always felt that way for almost my entire adult life. I've been very lucky. But at the same time, I work extremely hard at what I love. Some days are harder than others, and some things are really difficult, frustrating and challenging; but at the end of the day, I have the feeling of satisfaction that I spent my time doing something I believe in. I've been a bookseller my entire life even though I don't sell books in brick-and-mortar bookstores anymore—that act of physically putting books in people's hands. But to this day, what I do is virtually putting books in people's hands, both as an author and as an industry representative who is passionate about the book business. I was drawn to that world via my passion for writing. And that's what continues to compel me forward. I tried to leave the corporate world to write full time in 2018 but realized there was an intrinsic satisfaction to working in that realm, to embracing and sharing my insights and knowledge from that arena to help other writers. And I couldn't give that up. For me, the whole core, the whole essence of why I get up in the morning has to do with storytelling, creative inspiration, and wanting to inspire and inform other people to be the best that they can be in the business of writing and publishing. And that's what keeps me going when the days are hard. Passion as the inspiration to keep going There are always going to be days that aren't easy. There will be unexpected barriers that hit you as a writer. You'll face that mid-novel slump or realize that you have to scrap an entire scene or even plotline, and feel like going back and re-starting is just too much. You might find the research required to be overwhelming or too difficult. There'll be days when the words don't flow, or the inspiration that initially struck you seems to have abandoned you for greener pastures. Whatever it is, some unexpected frustration can create what can appear to be an insurmountable block. And, when that happens, if it's a project you don't love, you're more likely to let those barriers get in your way and stop you. But if it's a project that you're passionate about, and you're writing what you love, that alone can be what greases the wheels and helps reduce that friction to keep you going. At the end of the day, writing what you love can be a honing, grounding, and centering beacon that allows you to want to wake up in the morning and enjoy the process as much as possible even when the hard work comes along. “For me, relaxation comes from writing what I know and love and trusting the emergent process. As a discovery writer, I experience great joy when the story, characters and dialogue simply emerge in their own time and their own way. It feels wonderful.” — Valerie Andrews “Writing makes me a relaxed author. Just getting lost in a story of my own creation, discovering new places and learning what makes my characters tick is the best way I know of relaxing. Even the tricky parts, when I have no idea where I am going next, have a special kind of charm.” – Imogen Clark Write at your own pace Mark: Writing at your own pace will help you be a more relaxed author because you're not stressing out by trying to keep up with someone else. Of course, we all struggle with comparing ourselves to others. Take a quick look around and you can always find someone who has written more books than you. Nora Roberts, traditionally published author, writes a book a month. Lindsey Buroker, fantasy indie author, writes a book a month of over 100,000 words. If you compare yourself to someone else and you try to write at their pace, that is not going to be your relaxed schedule. On the other hand, if you compare yourself to Donna Tartt, who writes one book every decade, you might feel like some speed-demon crushing that word count and mastering rapid release. Looking at what others are doing could result in you thinking you're really slow or you could think that you're super-fast. What does that kind of comparison actually get you? I remember going to see a talk by Canadian literary author Farley Mowat when I was a young budding writer. I'll never forget one thing he said from that stage: “Any book that takes you less than four years to write is not a real book.” Young teenage Mark was devastated, hurt and disappointed to hear him say that because my favorite author at the time, Piers Anthony, was writing and publishing two to three novels a year. I loved his stuff, and his fantasy and science fiction had been an important inspiration in my writing at that time. (The personal notes I add to the end of my stories and novels came from enjoying his so much). That focus on there being only a single way, a single pace to write, ended up preventing me from enjoying the books I had already been loving because I was doing that comparisonitis Joanna talks about, but as a reader. I took someone else's perspective too much to heart and I let that ruin a good thing that had brought me personal joy and pleasure. It works the same way as a writer. Because we have likely developed a pattern, or a way that works for us that is our own. We all have a pace that we comfortably walk; a way we prefer to drive. A pattern or style of how and when and what we prefer to eat. We all have our own unique comfort food. There are these patterns that we're comfortable with, and potentially because they are natural to us. If you try to force yourself to write at a pace that's not natural to you, things can go south in your writing and your mental health. And I'm not suggesting any particular pace, except for the one that's most natural and comfortable to you. If writing fast is something that you're passionate about, and you're good at it, and it's something you naturally do, why would you stop yourself from doing that? Just like if you're a slow writer and you're trying to write fast: why are you doing that to yourself? There's a common pop song line used by numerous bands over the years that exhorts you to “shake what you got.” I like to think the same thing applies here. And do it with pride and conviction. Because what you got is unique and awesome. Own it, and shake it with pride. You have a way you write and a word count per writing session that works for you. And along with that, you likely know what time you can assign to writing because of other commitments like family time, leisure time, and work (assuming you're not a full-time writer). Simple math can provide you with a way to determine how long it will take to get your first draft written. So, your path and plans are clear. And you simply take the approach that aligns with your writer DNA. Understanding what that pace is for you helps alleviate an incredible amount of stress that you do not need to thrust upon yourself. Because if you're not going to be able to enjoy it while you're doing it, what's the point? Your pace might change project to project While your pace can change over time, your pace can also change project to project. And sometimes the time actually spent writing can be a smaller portion of the larger work involved. I was on a panel at a conference once and someone asked me how long it took to write my non-fiction book of ghost stories, Haunted Hamilton. “About four days,” I responded. And while that's true — I crafted the first draft over four long and exhausting days writing as much as sixteen hours each day — the reality was I had been doing research for months. But the pen didn't actually hit the paper until just a few days before my deadline to turn the book over to my editor. That was for a non-fiction book; but I've found I do similar things with fiction. I noodle over concepts and ideas for months before I actually commit words to the page. The reason this comes to mind is that I think it's important to recognize the way that I write is I first spend a lot of time in my head to understand and chew on things. And then by the time it comes to actually getting the words onto the paper, I've already done much of the pre-writing mentally. It's sometimes not fair when you're comparing yourself to someone else to look at how long they physically spend in front of a keyboard hammering on that word count, because they might have spent a significantly longer amount of a longer time either outlining or conceptualizing the story in their mind or in their heart before they sat down to write. So that's part of the pace, too. Because sometimes, if we only look at the time spent at the ‘writer's desk,' we fool ourselves when we think that we're a slow writer or a fast writer. Joanna: Your pace will change over your career My first novel took 14 months and now I can write a first draft in about six weeks because I have more experience. It's also more relaxing for me to write a book now than it was in the beginning, because I didn't know what I was doing back then. Your pace will change per project I have a non-fiction work in progress, my Shadow Book (working title), which I have started several times. I have about 30,000 words but as I write this, I have backed away from it because I'm (still) not ready. There's a lot more research and thinking I need to do. Similarly, some people take years writing a memoir or a book with such emotional or personal depth that it needs more to bring it to life. Your pace will also shift depending on where you are in the arc of life Perhaps you have young kids right now, or you have a health issue, or you're caring for someone who is ill. Perhaps you have a demanding day job so you have less time to write. Perhaps you really need extended time away from writing, or just a holiday. Or maybe there's a global pandemic and frankly, you're too stressed to write! The key to pacing in a book is variability — and that's true of life, too. Write at the pace that works for you and don't be afraid to change it as you need to over time. “I think the biggest thing for me is reminding myself that I'm in this to write. Sometimes I can get caught up in all the moving pieces of editing and publishing and marketing, but the longer I go without writing, or only writing because I have to get the next thing done instead of for enjoyment, the more stressed and anxious I become. But if I make time to fit in what I truly love, which is the process of writing without putting pressure on myself to meet a deadline, or to be perfect, or to meet somebody else's expectations — that's when I become truly relaxed.” – Ariele Sieling Write in a series (if you want to) Joanna: I have some stand-alone books but most of them are in series, both for non-fiction and for my fiction as J.F. Penn. It's how I like to read and write. As we draft this book, I'm also writing book 12 in my ARKANE series, Tomb of Relics. It's relaxing because I know my characters, I know my world; I know the structure of how an ARKANE story goes. I know what to put in it to please my readers. I have already done the work to set up the series world and the main characters and now all I need is a plot and an antagonist. It's also quicker to write and edit because I've done it before. Of course, you need to put in the work initially so the series comes together, but once you've set that all up, each subsequent book is easier. You can also be more relaxed because you already have an audience who will (hopefully) buy the book because they bought the others. You will know approximately how many sales you'll get on launch and there will be people ready to review. Writing in a non-fiction series is also a really good idea because you know your audience and you can offer them more books, products and services that will help them within a niche. While they might not be sequential, they should be around the same topic, for example, this is part of my Books for Authors series. Financially, it makes sense to have a series as you will earn more revenue per customer as they will (hopefully) buy more than one book. It's also easier and more relaxing to market as you can set one book to free or a limited time discount and drive sales through to other books in the series. Essentially, writing a book in a series makes it easier to fulfill both creative and financial goals. However, if you love to read and write stand-alone books, and some genres suit stand-alones better than series anyway, then, of course, go with what works for you! Mark: I like to equate this to no matter where you travel in the world, if you find a McDonald's you pretty much know what's on the menu and you know what to expect. When you write in a series, it's like returning to hang out with old friends. You know their backstory; you know their history so you can easily fall into a new conversation about something and not have to get caught up on understanding what you have in common. So that's an enormous benefit of relaxing into something like, “Oh, I'm sitting down over coffee, chatting with some old friends. They're telling me a new story about something that happened to them. I know who they are, I know what they're made out of.” And this new plot, this new situation, they may have new goals, they may have new ways they're going to grow as characters, but they're still the same people that we know and love. And that's a huge benefit that I only discovered recently because I'm only right now working on book four in my Canadian Werewolf series. Prior to that, I had three different novels that were all the first book in a series with no book two. And it was stressful for me. Writing anything seemed to take forever. I was causing myself anxiety by jumping around and writing new works as opposed to realizing I could go visit a locale I'm familiar and comfortable with. And I can see new things in the same locale just like sometimes you can see new things and people you know and love already, especially when you introduce something new into the world and you see how they react to it. For me, there's nothing more wonderful than that sort of homecoming. It's like a nostalgic feeling when you do that. I've seen a repeated pattern where writers spend years writing their first book. I started A Canadian Werewolf in New York in 2006 and I did not publish it until ten years later, after finishing it in 2015. (FYI, that wasn't my first novel. I had written three and published one of them prior to that). That first novel can take so long because you're learning. You're learning about your characters, about the craft, about the practice of writing, about the processes that you're testing along the way. And if you are working on your first book and it's taking longer than planned, please don't beat yourself up for that. It's a process. Sometimes that process takes more time. I sometimes wonder if this is related to our perception of time as we age. When you're 10 years old, a day compared to your lifetime is a significant amount of time, and thinking about a year later is considering a time that is one-tenth of your life. When you have a few more decades or more under your belt, that year is a smaller part of the whole. If you're 30, a year is only one-thirtieth of your life. A much smaller piece. Just having written more books, particularly in a series, removes the pressure of that one book to represent all of you as a writer. I had initial anxiety at writing the second book in my Canadian Werewolf series. Book two was more terrifying in some ways than book one because finally, after all this time, I had something good that I didn't want to ruin. Should I leave well enough alone? But I was asked to write a short story to a theme in an anthology, and using my main character from that first novel allowed me to discover I could have fun spending more time with these characters and this world. And I also realized that people wanted to read more about these characters. I didn't just want to write about them, but other people wanted to read about them too. And that makes the process so much easier to keep going with them. So one of the other benefits that helps to relax me as a writer working on a series is I have a better understanding of who my audience is, and who my readers are, and who will want this, and who will appreciate it. So I know what worked, I know what resonated with them, and I know I can give them that next thing. I have discovered that writing in a series is a far more relaxed way of understanding your target audience better. Because it's not just a single shot in the dark, it's a consistent on-going stream. Let me reflect on a bit of a caveat, because I'm not suggesting sticking to only a single series or universe. As writers, we have plenty of ideas and inspirations, and it's okay to embrace some of the other ones that come to us. When I think about the Canadian rock trio, Rush, a band that produced 19 studio albums and toured for 40 years, I acknowledge a very consistent band over the decades. And yet, they weren't the same band that they were when they started playing together, even though it was the same three guys since Neil Peart joined Geddy Lee and Alex Lifeson. They changed what they wrote about, what they sang about, themes, styles, approaches to making music, all of this. They adapted and changed their style at least a dozen times over the course of their career. No album was exactly like the previous album, and they experimented, and they tried things. But there was a consistency of the audience that went along with them. And as writers, we can potentially have that same thing where we know there are going to be people who will follow us. Think about Stephen King, a writer who has been writing in many different subjects and genres. And yet there's a core group of people who will enjoy everything he writes, and he has that Constant Reader he always keeps in mind. And so, when we write in a series, we're thinking about that constant reader in a more relaxed way because that constant reader, like our characters, like our worlds, like our universes, is like we're just returning to a comfortable, cozy spot where we're just going to hang out with some good friends for a bit. Or, as the contemplative Rush song Time Stand Still expresses, the simple comfort and desire of spending some quality time having a drink with a friend. Schedule time to fill the creative well and for rest and relaxation Mark: What we do as writers is quite cerebral, so we need to give ourselves mental breaks in the same way we need to sleep regularly. Our bodies require sleep. And it's not just physical rest for our bodies to regenerate, it's for our minds to regenerate. We need that to stay sane, to stay alive, to stay healthy. The reality for us as creatives is that we're writing all the time, whether or not we're in front of a keyboard or have a pen in our hand. We're always writing, continually sucking the marrow from the things that are happening around us, even when we're not consciously aware of it. And sometimes when we are more consciously aware of it, that awareness can feel forced. It can feel stressful. When you give yourself the time to just let go, to just relax, wonderful things can happen. And they can come naturally, never feeling that urgent sense of pressure. Downtime, for me, is making space for those magic moments to happen. I was recently listening to Episode 556 of The Creative Penn podcast where Joanna talked about the serendipity of those moments when you're traveling and you're going to a museum and you see something. And you're not consciously there to research for a book, but you see something that just makes a connection for you. And you would not have had that for your writing had you not given yourself the time to just be doing and enjoying something else. And so, whenever I need to resolve an issue or a problem in a project I'm writing, which can cause stress, I will do other things. I will go for a run or walk the dogs, wash the dishes or clean the house. Or I'll put on some music and sing and dance like nobody is watching or listening—and thank goodness for that, because that might cause them needless anxiety. The key is, I will do something different that allows my mind to just let go. And somewhere in the subconscious, usually the answer comes to me. Those non-cerebral activities can be very restorative. Yesterday, my partner Liz and I met her daughter at the park. And while we quietly waited, the two of us wordlessly enjoyed the sights and sounds of people walking by, the river in the background, the wind blowing through the leaves in the trees above us. That moment wasn't a purposeful, “Hey, we're going to chill and relax.” But we found about five minutes of restorative calm in the day. A brief, but powerful ‘Ah' moment. And when I got back to writing this morning, I drew upon some of the imagery from those few minutes. I didn't realize at the time I was experiencing the moment yesterday that I was going to incorporate some of that imagery in today's writing session. And that's the serendipity that just flows very naturally in those scheduled and even unscheduled moments of relaxation. Joanna: I separate this into two aspects because I'm good at one and terrible at the other! I schedule time to fill the creative well as often as possible. This is something that Julia Cameron advises in The Artist's Way, and I find it an essential part of my creative practice. Essentially, you can't create from an empty mind. You have to actively seek out ways to spark ideas. International travel is a huge part of my fiction inspiration, in particular. This has been impossible during the pandemic and has definitely impacted my writing. I also go to exhibitions and art galleries, as well as read books, watch films and documentaries. If I don't fill my creative well, then I feel empty, like I will never have another idea, that perhaps my writing life is over. Some people call that writer's block but I know that feeling now. It just means I haven't filled my creative well and I need to schedule time to do that so I can create again. Consume and produce. That's the balance you need in order to keep the creative well filled and the words flowing. In terms of scheduling time to relax instead of doing book research, I find this difficult because I love to work. My husband says that I'm like a little sports car that goes really, really fast and doesn't stop until it hits a wall. I operate at a high productivity level and then I crash! But the restrictions of the pandemic have helped me learn more about relaxation, after much initial frustration. I have walked in nature and lain in the garden in the hammock and recently, we went to the seaside for the first time in 18 months. I lay on the stones and watched the waves. I was the most relaxed I've been in a long time. I didn't look at my phone. I wasn't listening to a podcast or an audiobook. We weren't talking. We were just being there in nature and relaxing. Authors are always thinking and feeling because everything feeds our work somehow. But we have to have both aspects — active time to fill the creative well and passive time to rest and relax. “I go for lots of walks and hikes in the woods. These help me work out the kinks in my plots, and also to feel more relaxed! (Exercise is an added benefit!)” –T.W. Piperbrook Improve your writing process — but only if it fits with your lifestyle Joanna: A lot of stress can occur in writing if we try to change or improve our process too far beyond our natural way of doing things. For example, trying to be a detailed plotter with a spreadsheet when you're really a discovery writer, or trying to dictate 5,000 words per hour when you find it easier to hand write slowly into a journal. Productivity tips from other writers can really help you tweak your personal process, but only if they work for you — and I say this as someone who has a book on Productivity for Authors! Of course, it's a good idea to improve things, but once you try something, analyze whether it works for you — either with data or just how you feel. If it works, great. Adopt it into your process. If it doesn't work, then discard it. For example, I wrote my first novel in Microsoft Word. When I discovered Scrivener, I changed my process and never looked back because it made my life so much easier. I don't write in order and Scrivener made it easier to move things around. I also discovered that it was easier for me to get into my first draft writing and creating when I was away from the desk I use for business, podcasting, and marketing tasks. I started to write in a local cafe and later on in a co-working space. During the pandemic lockdown, I used specific playlists to create a form of separation as I couldn't physically go somewhere else. Editing is an important part of the writing process but you have to find what works for you, which will also change over time. Some are authors are more relaxed with a messy first draft, then rounds of rewrites while working with multiple editors. Others do one careful draft and then use a proofreader to check the finished book. There are as many ways to write as there are writers. A relaxed author chooses the process that works in the most effective way for them and makes the book the best it can be. Mark: When it comes to process, there are times when you're doing something that feels natural, versus times when you're learning a new skill. Consciously and purposefully learning new skills can be stressful; particularly because it's something we often put so much emphasis or importance upon. But when you adapt on-going learning as a normal part of your life, a natural part of who and what you are, that stress can flow away. I'm always about learning new skills; but over time I've learned how to absorb learning into my everyday processes. I'm a pantser, or discovery writer, or whatever term we can apply that makes us feel better about it. And every time I've tried to stringently outline a book, it has been a stressful experience and I've not been satisfied with the process or the result. Perhaps I satisfied the part of me that thought I wanted to be more like other writers, but I didn't satisfy the creative person in me. I was denying that flow that has worked for me. I did, of course, naturally introduce a few new learnings into my attempts to outline; so I stuck with those elements that worked, and abandoned the elements that weren't working, or were causing me stress. The thought of self-improvement often comes with images of blood, sweat, and tears. It doesn't have to. You don't have to bleed to do this; it can be something that you do at your own pace. You can do it in a way that you're comfortable with so it's causing you no stress, but allowing you to learn and grow and improve. And if it doesn't work but you force yourself to keep doing it because a famous writer or a six-figure author said, “this is the way to do it,” you create pressure. And when you don't do it that way, you can think of yourself as a failure as opposed to thinking of it as, “No, this is just the way that I do things.” When you accept how you do things, if they result in effectively getting things done and feeling good about it at the same time, you have less resistance, you have less friction, you have less tension. Constantly learning, adapting, and evolving is good. But forcing ourselves to try to be or do something that we are not or that doesn't work for us, that causes needless anxiety. “I think a large part of it comes down to reminding myself WHY I write. This can mean looking back at positive reviews, so I can see how much joy others get from my writing, or even just writing something brand new for the sake of exploring an idea. Writing something just for me, rather than for an audience, reminds me how much I enjoy writing, which helps me to unwind a bit and approach my projects with more playfulness.” – Icy Sedgwick You can find The Relaxed Author: Take the Pressure Off Your Art and Enjoy the Creative Journey on CreativePennBooks.com as well as on your favorite online store or audiobook platform, or order in your library or bookstore. The post The Relaxed Author Writing Tips With Joanna Penn and Mark Leslie Lefebvre first appeared on The Creative Penn.
This week, we look at two massive, international developments that will reshape how we all use the internet, whether you're a heavy user or just checking in now and then.We're asking a vital question: Where Australia goes, so goes the world? The country has just implemented a pioneering, comprehensive ban on social media accounts for anyone under 16, and the fallout is immediate—not just for Big Tech, but for the kids now searching for alternatives. And speaking of big changes, the US is looking to make your digital past a part of your future travel plans, demanding a lengthy history of your social activity just to get an ESTA.In our interview this week, we talk about the journey of AI, from Clippy in Microsoft Word to ChatGPT, with Brian Mac Namee, Associate Professor in the School of Computer Science at UCD. He'll explain how large language models are only the public face of a technology that's been evolving for decades.—-----Listen to Tech Radio now on Apple, Spotify and YouTubehttps://www.podfollow.com/tech
Show Notes In this podcast episode, Ernie Svenson interviews Dorna At Gavel, a former attorney turned tech entrepreneur, about her journey in creating Gavel, a legal technology platform. Dorna shares her experiences in building Gavel Workflows and Gavel Exec, tools designed to automate document creation and enhance legal drafting with AI. The conversation explores the integration of these tools with Microsoft Word, the importance of user experience, and the future of AI in the legal field. Dorna addresses common misconceptions about AI, the concept of 'vibe lawyering,' and how these technologies can empower lawyers to focus on more meaningful work while improving efficiency. Takeaways Dorna transitioned from law to tech to help domestic violence survivors. Gavel Workflows automates document creation for legal professionals. Gavel Exec serves as an AI copilot within Microsoft Word. The platform is designed to enhance collaboration and efficiency. AI tools can help lawyers focus on higher-level tasks. Misconceptions about AI include fears of job loss in the legal field. Vibe lawyering encourages creative legal thinking with AI assistance. Training junior associates can be streamlined using AI playbooks. Gavel Exec integrates with existing workflows to improve productivity. The future of legal practice will likely include AI as a standard tool. Resource Links ChatGPT Lab (a weekly AI workshop for lawyers) Apply to join the ChatGPT Lab The 80/20 Principle (my techlaw newsletter) The Inner Circle (my online community for lawyers) Follow and Review: I'd love for you to follow me if you haven't yet. Click that purple '+' in the top right corner of your Apple Podcasts app. I'd love it even more if you could drop a review or 5-star rating over on Apple Podcasts. Simply select "Ratings and Reviews" and "Write a Review" then a quick line with your favorite part of the episode. It only takes a second and it helps spread the word about the podcast. Thanks to the sponsor: Smith.ai Smith.ai is an amazing virtual receptionist service that specializes in working with solo and small law firms. When you hire Smith.ai, you're hiring well-trained, friendly receptionists who can respond to callers in English or Spanish. And they have a special offer for podcast listeners where you can get an extra $100 discount with promo code ERNIE100. Sign up for a risk-free start with a 14-day money-back guarantee now (and learn more) at smith.ai.
In this week's episode, we take a look at six software tools for indie authors to help them write and improve their workflow. This coupon code will get you 50% off the audiobook of Cloak of Blades, Book #4 in the Cloak Mage series, (as excellently narrated by Hollis McCarthy) at my Payhip store: BLADES2025 The coupon code is valid through December 15, 2025. So if you need a new audiobook this winter, we've got you covered! TRANSCRIPT [This episode's content is not sponsored. Jonathan has not received any compensation for these reviews and has not received any free products or services from the companies mentioned in this episode. He does not currently use affiliate links for the products mentioned.] 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 280 of The Pulp Writer Show. My name is Jonathan Moeller. Today is a very snowy December 5th, 2025, and today I'm discussing six software tools that are useful for indie authors. Before we get into that, we will have Coupon of the Week and then an update on my current writing, publishing, and audiobook projects. So first up, Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Cloak of Blades, Book #4 in the Cloak Mage series (as excellently narrated by Hollis McCarthy), at my Payhip store. And that is BLADES2025. And as always, the coupon code and the link to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through December the 15th, 2025. So if you need a new audiobook for this winter or for your Christmas travels, we have got you covered. And now for an update on my current writing and publishing projects. As I mentioned last week, Blade of Shadows is out and it's available at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip store, and it's been doing quite well and gotten a good response from everyone. So thank you for that and I am looking forward to continuing that series. Now that Blade of Shadows is done, my main project is the fifth book in the Half-Elven Thief series, which is Wizard-Assassin. I had originally planned to name it Elven-Assassin, but decided Wizard-Assassin sounded a bit punchier, so I went with that instead. I am 46,000 words into it, which puts me on chapter 10 of 16. The final draft will have more chapters because one of the chapters is 11,000 words. I'm going to have to cut it up. I've also noticed that readers in general these days seem to prefer shorter chapters, so I've been trying to lean more into doing that and having books with shorter chapters. I think the rough draft is going to be about 70 to 75,000 words, give or take. So I'm hoping I can finish that next week, and I am cautiously optimistic I can have the book published before Christmas. If I can't get it published before Christmas, it is going to slip to my first book of 2026. But at the moment, and of course, barring our old unwelcome friend unexpected developments, I am cautiously optimistic I can have it out by Christmas 2025. So watch my website and listen to this space for additional news. My secondary project is Blade of Storms, which will be the third book in the Blades of Ruin series and the direct sequel to Blade of Shadows. I am about 6,000 words into that, and once Wizard-Assassin is done, that will be my main project. I'm hoping to have that out at the end of January, but if Wizard-Assassin slips to January, then Blade of Storms will [of necessity] slip to February. In audiobook news, Blade of Flames, the audiobook of the first book in the Blades of Ruin series, is now out and you can get that at Audible, Amazon, Apple, Kobo, Google Play, my own Payhip store, Spotify, and all the other usual audiobook stores. So if you're looking for something else to listen to during your Christmas travels this year, I suggest checking out Blade of Flames (as excellently narrated by Brad Wills). Cloak of the Embers, the 10th book in the Cloak Mage series (as excellently narrated by Hollis McCarthy)…the recording of that is done and it is being proofed right now, so I am hopeful we can hopefully have that out before Christmas (if all goes well). In fact, after I record this podcast episode, I'm going to have to convert the ebook cover of Cloak of Embers into an audiobook cover for Cloak of Embers. So that is where I'm at with my current writing and publishing projects. There is definitely a lot going on. 00:03:40 Main Topic: 6 Helpful Writing Tools for Indie Authors in 2025 [All Prices referenced are USD.] Now we're going to move on to our main topic this week, which is six helpful writing tools for indie authors in 2025. Last year in 2024, I did a roundup of popular software tools for writers and I thought I would give a quick update for it. Some of these tools like Calibre and LibreOffice I use, while others like Scrivener and Notion just aren't great fit for my workflow, I still want to talk about them anyways since just because I don't use them doesn't mean that they're not good and a lot of writers do in fact use them. Many writers also have complex systems for organizing their files and would benefit from tools like that. Without further ado, here are six pieces of software used for writing and writing adjacent tasks. I should mention before we get going as well that none of these tools are explicitly generative AI tools because as you know, if you've listened to the podcast over the years is my opinion of generative AI remains mostly negative. I have and continue to do some marketing experiments with generative AI elements, but I remain overall unimpressed by the technology. So with that in mind, none of these software tools I'm going to mention are explicitly AI tools. Some of them do have AI elements that you can plug in and use if you want to, but they aren't part of the core functionality of the application unless you specifically seek it out. With that in mind, let's get to it. #1: The first one we will talk about is Scrivener. Scrivener is of course essentially a word processor and project management system specifically designed for creative or nonfiction writing, unlike a traditional word processor like Microsoft Word, LibreOffice Writer, or Apple Pages. It features tools for outlining, for breaking documents into chapters, tracking word count goals and et cetera. One of the major benefits of it is a one-time cost instead of as a subscription because it seems like everything is a subscription nowadays, but Scrivener is still $60 a pop. They also offer a free trial and student discount and occasionally [it will] go on sale during peak times like the holidays. The downside of this is that Scrivener has a sharp learning curve. For myself when I write, I write either in Microsoft Word or Libre Office and I just sit down and write. When I write an outline, it's one Word document and the rough draft is another document that I write until I'm done. Scrivener is definitely a more complex software application, which I have to admit is funny to say because Microsoft Word is ridiculously complicated and has, in my opinion, far more functionality stuffed into it than it really needs. But Scrivener is a different kind of functionality and therefore the learning curve could be quite high for that. Additionally, this may not be the right software tool to work with your style of writing or how you organize your files. A couple extra thoughts with that is it's important to know yourself. Will you actually use the extra features included with Scrivener or do they just look cool and shiny? Scrivener probably is best for those who take extensive notes on their work, especially if trying to organize research based on chapters where it's needed. So if you're a nonfiction writer or if you're a historical fiction writer or a thriller writer who is very concerned about accuracy in your books, this may be useful for you so you can put in notes about the proper way to address a duke in 19th century England or what caliber of ammunition your thriller hero's preferred firearm takes. It's maybe the best for the kind of people who enjoy curating their Notion and Trello accounts and are able to think about their book in a very visual way without letting that process be an excuse to keep them from writing. I'd also say it's good for people who extensively revise blocks of text within a chapter and move chapters around a lot. #2: Canva. Canva has been around for a long time and it is a platform that makes it easy to create visual content using a drag and drop interface that provides a variety of templates, fonts, and designs to use for things like social media posts. They currently have two tiers for individuals, a limited free option, and Canva Pro, which is $12.99 a month. Some of the pros for Canva are it is well-suited for using templates for writers to create images for social media posts and book marketing material. The learning curve is not very steep, especially compared with something like Photoshop. If you've used PowerPoint before, you can definitely handle Canva. The cons: although some people use it to create book covers, many books have been flagged by Kindle Direct Publishing (KDP) and some of the other publishing platforms for doing so. I would advise you to avoid Canva for creating book covers because of the potential for issues that could keep your book out of ebook stores. At the very least, read Canva's terms of use and the rules of KDP and the other ebook publishers very, very carefully before you would even begin to consider using Canva for this purpose. Many of the free features have been folded into the pro version such as sharing template links. The editing and design features are basic compared to something like Photoshop, though that may change as we're going to discuss a little bit here. Because Canva is so popular, there's a certain amount of snobbery out there about using its designs without significant modification. You may have encountered on social media or the Internet people who react very negatively to the presence of AI generated images and this exists to a lesser extent with Canva templates. "Looks like it was made in Canva" is sometimes used as an insult. If you want a unique style and look for your images, you'll have to work a little more to achieve that using Canva. Canva is quick for great one-time things like Facebook or BookBub ads, but I wouldn't recommend using it for book creation or book covers at this time because of the potential problems that can arise from that. For myself, I don't usually use Canva. I've had enough practice with Photoshop that I'm pretty confident in making whatever I want in terms of ad images or book covers in Photoshop, and I use Photoshop for that. However, since I organized the notes for this episode, there is a major caveat to that. Recently, Canva acquired a program called Affinity Photo Editor, which is essentially a much lower cost alternative to Photoshop. When this happened, there was a great deal of negativity around it because people thought Canva was going to jack up the price or make it into an overpriced subscription. But what Canva did surprised a great many people in that they made Affinity totally free and essentially are using a freemium model with it where you can use Affinity Photo Editor for free. It used to be, I believe like $79, possibly $69, and then any of the other features like downloading additional content from Canva would cost part of your Canva subscription. So I have to admit, I'm sufficiently curious about this, that when I write the tie in short story for Wizard-Assassin, I may use Affinity Photo Editor to assemble the cover for it just to see if it would work for that or not, because as I've said, I use Photoshop, but Photoshop is very expensive, Adobe frequently does business practices that are a bit shifty, and the idea of a freemium alternative to Photoshop is not necessarily a bad idea. So when I write a tie in short story for Wizard-Assassin later this month, I think I will attempt to make the cover in Affinity Photo Editor and see if that is something that would be good for my workflow or not, and I will report on that later. #3: Number three is Notion, which can be used to organize information, links, calendars, and reminders into one central dashboard. They have two plans for individuals, a free plan and a Plus plan, which is currently $10 to $12 per month (depending on whether you want a monthly or an annual plan). The Plus version offers unlimited file uploads, greater customizations, and integrations with Slack and Google Drive. The pros for using Notion is that it is popular with writers and content creators for being able to have project planning tools, notes, lists, links, trackers, and reminders all in one dashboard. If you enjoy customization and getting something set up exactly the way you want, you might enjoy setting up your lists, calendars, trackers, and notes through Notion. You can add images and adjust the layout and colors for a more "aesthetic" experience. It is easy to find customized templates [online], especially for writers and for things like storyboarding, word counts, and keeping tracks of sources for nonfiction writing. These Notion templates are shared by individuals, not the company and can be free or paid. Now, some of the cons with Notion. It didn't used to use very much AI, but the company is leaning increasingly heavy into AI, both as a company and in its features on the boards, if that is a concern. The amount of customization options and detail can be absolutely overwhelming. Someone who gets decision fatigue easily or doesn't want to customize a lot and might not enjoy using it. Some people are increasingly complaining that the software is getting too overloaded with features and is slow. For people who value being organized and love having complex and highly visual systems, Notion might be helpful. The downside is that maintaining your Notion boards can easily turn into what I call a "writing-adjacent activity" that gives you the illusion of productivity because of the time you spend managing and updating it aside from the business of getting actual writing done. So once again, this is a good example of "know thyself." If this is something that would be helpful for you, go ahead and pursue it. But if it's something that could turn into a tool for procrastination, it's probably better to avoid it. For myself, I am old enough that when I need to make lists and keep track of things, I have a yellow legal pad on my desk that I write things down on. #4: The next piece of software we're going to look at is LibreOffice. It is an open source piece of software that closely matches Microsoft Office, including Microsoft Word. Pros: It's free and open source. There's a minimal learning curve for those already familiar with Microsoft Word. The interface is a little different, but it's pretty easy to figure things out if you're familiar with Word or Excel. Some swear that that LibreOffice is faster than Word. It depends on the kind of document you're working on and the kind of computer you're using. So that's an area where your mileage may vary. It is also the best word processing option for privacy advocates, especially for those who are concerned about Microsoft and Google storing their work and possibly harvesting it for AI because by default, LibreOffice doesn't work with any AI elements. If you want it to work with any AI elements, plugins are available but they are not included. It's great for the writer who doesn't want to support Microsoft for any reason but still wants to be able to easily save documents in Microsoft file formats like .docx. It works. I've written entire books using it. I wrote all of Soul of Serpents and Soul of Dragons in it, and that was 13 years ago now, and the software has only improved since then. I wrote Silent Order: Eclipse Hand [using it] in 2017 and was very happy with the results, and I still use it for various projects every week, and I found a couple times if something was screwed up in the formatting of Microsoft Word, if I opened it up in LibreOffice, I could fix it pretty easily and much easier than I could in Word. It does have a few cons. The user interface compared to Word or something like Apple Pages does look a bit dated, but it's still navigable. It doesn't have any cloud storage functionality. You would need to piece it together with another storage option if you want to be able to backup stuff to the cloud. But overall, if you can't afford the Microsoft Office Suite, don't want to support Microsoft, and value your privacy, this is your best bet for word processing. Some people may not like its interface, but it's still an extremely solid piece of free software. #5: And now let's move on to our fifth software tool, which is Calibre. Calibre is a tool for ebook management. It can be used for file formatting, changing your books' metadata, or changing file formats. Many use it to create a custom ebook library. Pros include: the product is free and open source. It is easy to generate different file formats for book publication. Do you want to categorize and organize your books in a very specific way? Calibre works for that. The cons: some people find the interface a little clunky and it comes with a bit of a learning curve. To be honest, the interface does look like it came from Windows 2000 and some of the features rely on knowledge of HTML and CSS. Editing and formatting of the book itself is better done using other software. Final thoughts on that? The software is trustworthy, reliable, and has been maintained over the years. It does exactly what it says it does, without any real style but plenty of substance. And I've been a regular Calibre user for like 15 years now, and whenever I get a new computer Calibre is usually one of the very first things I install on it. #6: And now for our sixth and final tool, Inkarnate. Inkarnate is a very useful piece of software that is designed for creating maps. I believe it was originally intended to create maps for role-playing games like Dungeons and Dragons and Pathfinder and so forth. But it's also very useful for creating maps for fantasy novels. As I may have mentioned on the podcast a few times before, I really don't like making maps. I find it constraining and it makes the writing feel a bit crabbed at times. That said, I write primarily in the fantasy genre and people in the fantasy genre love maps, so I'm kind of on the hook for making maps. I used to draw the maps by hand and then import it into Photoshop and add all the locations and add colors and so forth. But that is a lot of work, I have to admit. Inkarnate makes it a lot easier, and I've used it for the last couple of maps I've made. The map of the city of Tar-Carmatheion in the Half-Elven Thief books came from Inkarnate. The map of Owyllain for Blades of Ruin came from Inkarnate, and the map of New Kyre and adjoining regions for Ghost Armor also came from Inkarnate. It's very affordable too. The subscription, I believe, is only $30 a year, and I've been using for a few years now and have never regretted it. So I'd say all the pros are all the ones I've already listed. The cons are that the learning curve is a little bit sharp, but there are excellent YouTube videos and tutorials for that. So, final thoughts. If you find yourself needing to make maps and don't enjoy the process of making maps, then Inkarnate is the software product for you. So those are six tools, software tools for indie authors that I hope will make you more productive and make your work easier. So that is it for this week. Thank you for listening to the Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the backup episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCX
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCX
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCX
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCX
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCX
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCX
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCX
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCX
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCX
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
In the United States District Court for the Southern District of New York, a class action lawsuit titled Jane Doe 1, individually and on behalf of all others similarly situated v. JP Morgan Chase & Co. was filed. The complaint represented not only Jane Doe 1, but a broader group of alleged victims who claimed they suffered harm tied to the actions—and alleged inaction—of JP Morgan Chase & Co. The filing formally demanded a jury trial, signaling the plaintiffs' intention to take the allegations into open court rather than resolve them quietly behind closed doors.The case was framed as both an individual and a class action complaint, raising the stakes considerably for the financial giant. By categorizing it this way, the plaintiffs positioned their claims as part of a larger systemic issue involving an entire group of alleged victims. The filing marked the beginning of what later became one of the most scrutinized legal battles connected to the Jeffrey Epstein network, setting the stage for intense public inquiry into the bank's role and potential liability.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 00513854.DOCXBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
It's been too long. The twins decided to change that by showing up for episode 93 and diving into a conversation about one long summer on Tigertail Court in Coconut Grove before the third grade when they moved back to Miami from Crestline, California. They discovered boxes of old castoff records in their room and started playing them on the big Zenith console they rememered from the time they were toddlers. Also - a recent series of gigs at House of Blues Myrtle Beach, chatter about audio interfaces, remote recording, the difference in the vibe when they shut off the video in Zoom and didn't have to stare at each other. SHOW NOTES: 0:00 - Interlude by Chris - sounds like a drug commercial. 1:15 - Greetings - Been a while / Our recent shows at House of Blues Myrtle Beach / Electro-Voice EVOLVE 30M (P.A.) 2:31 - Chris' upcoming trip to Walt Disney World - "I go where I'm told." / Universal Orlando / The Wizarding World of Harry Potter / The Tree of Life - Disney World 3:54 - More EVOLVE 30M / Powered monitor vs. power amp for existing passive monitor 5:26 - Discovering cast-off records as children in Miami / Ancient Zenith console / "Higher and Higher," Jackie Wilson / "Wipe Out," Surfaris / "Leader of the Laundromat," The Detergents / "Daydream Believer," Monkees / "They're Coming to Take Me Away, Ha-Haaa!," Napoleon XIV, "Green Tambourine," Lemon Pipers / "Monster Mash," Bobby "Boris" Pickett & The Crypt Kickers / "Next Door to an Angel," Neil Sedaka / "Funny Face," Frankie Valli / Beach Boys Concert LP / "Papa Was a Rollin' Stone," The Temptations / Florida Room / "For Once in My Life," Stevie Wonder / Longines Symphonette Society / K-Tel / Buddha Records / No rock in there / Them - Van Morrison / "Summer in the City," The Lovin' Spoonful / "Groovin," The Rascals 10:38 - Trying to remember Glendale 12:04 - More about the summer before third grade / Weird organ instrumental song we can't place / More about the Zenith 13:24 - Interfaces: Apogee Duet / PreSonus Quantum ES2 / ZOOM Livetrak L-8 / Behringer U-PHORIA UM2 / Podcast recording setups 15:06 - Roger using the L-8 for newspaper interviews / Microsoft Word transcription function / physical transcription vs. software 16:51 - About recording our sessions from Zoom calls / Jeffrey Toobin 19:07 - Chris' DAW work / Thoughts on DAW 21:05 - "My Life as a Rolling Stone" 21:57 - Chris riffing on his recent medical checkup 23:45 - Parting shots - Big Sur / Recording fears / Organizing audio files
How can you write science-based fiction without info-dumping your research? How can you use AI tools in a creative way, while still focusing on a human-first approach? Why is adapting to the fast pace of change so difficult and how can we make the most of this time? Jamie Metzl talks about Superconvergence and more. In the intro, How to avoid author scams [Written Word Media]; Spotify vs Audible audiobook strategy [The New Publishing Standard]; Thoughts on Author Nation and why constraints are important in your author life [Self-Publishing with ALLi]; Alchemical History And Beautiful Architecture: Prague with Lisa M Lilly on my Books and Travel Podcast. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jamie Metzl is a technology futurist, professional speaker, entrepreneur, and the author of sci-fi thrillers and futurist nonfiction books, including the revised and updated edition of Superconvergence: How the Genetics, Biotech, and AI Revolutions Will Transform Our Lives, Work, and World. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How personal history shaped Jamie's fiction writing Writing science-based fiction without info-dumping The super convergence of three revolutions (genetics, biotech, AI) and why we need to understand them holistically Using fiction to explore the human side of genetic engineering, life extension, and robotics Collaborating with GPT-5 as a named co-author How to be a first-rate human rather than a second-rate machine You can find Jamie at JamieMetzl.com. Transcript of interview with Jamie Metzl Jo: Jamie Metzl is a technology futurist, professional speaker, entrepreneur, and the author of sci-fi thrillers and futurist nonfiction books, including the revised and updated edition of Superconvergence: How the Genetics, Biotech, and AI Revolutions Will Transform Our Lives, Work, and World. So welcome, Jamie. Jamie: Thank you so much, Jo. Very happy to be here with you. Jo: There is so much we could talk about, but let's start with you telling us a bit more about you and how you got into writing. From History PhD to First Novel Jamie: Well, I think like a lot of writers, I didn't know I was a writer. I was just a kid who loved writing. Actually, just last week I was going through a bunch of boxes from my parents' house and I found my autobiography, which I wrote when I was nine years old. So I've been writing my whole life and loving it. It was always something that was very important to me. When I finished my DPhil, my PhD at Oxford, and my dissertation came out, it just got scooped up by Macmillan in like two minutes. And I thought, “God, that was easy.” That got me started thinking about writing books. I wanted to write a novel based on the same historical period – my PhD was in Southeast Asian history – and I wanted to write a historical novel set in the same period as my dissertation, because I felt like the dissertation had missed the human element of the story I was telling, which was related to the Cambodian genocide and its aftermath. So I wrote what became my first novel, and I thought, “Wow, now I'm a writer.” I thought, “All right, I've already published one book. I'm gonna get this other book out into the world.” And then I ran into the brick wall of: it's really hard to be a writer. It's almost easier to write something than to get it published. I had to learn a ton, and it took nine years from when I started writing that first novel, The Depths of the Sea, to when it finally came out. But it was such a positive experience, especially to have something so personal to me as that story. I'd lived in Cambodia for two years, I'd worked on the Thai-Cambodian border, and I'm the child of a Holocaust survivor. So there was a whole lot that was very emotional for me. That set a pattern for the rest of my life as a writer, at least where, in my nonfiction books, I'm thinking about whatever the issues are that are most important to me. Whether it was that historical book, which was my first book, or Hacking Darwin on the future of human genetic engineering, which was my last book, or Superconvergence, which, as you mentioned in the intro, is my current book. But in every one of those stories, the human element is so deep and so profound. You can get at some of that in nonfiction, but I've also loved exploring those issues in deeper ways in my fiction. So in my more recent novels, Genesis Code and Eternal Sonata, I've looked at the human side of the story of genetic engineering and human life extension. And now my agent has just submitted my new novel, Virtuoso, about the intersection of AI, robotics, and classical music. With all of this, who knows what's the real difference between fiction and nonfiction? We're all humans trying to figure things out on many different levels. Shifting from History to Future Tech Jo: I knew that you were a polymath, someone who's interested in so many things, but the music angle with robotics and AI is fascinating. I do just want to ask you, because I was also at Oxford – what college were you at? Jamie: I was in St. Antony's. Jo: I was at Mansfield, so we were in that slightly smaller, less famous college group, if people don't know. Jamie: You know, but we're small but proud. Jo: Exactly. That's fantastic. You mentioned that you were on the historical side of things at the beginning and now you've moved into technology and also science, because this book Superconvergence has a lot of science. So how did you go from history and the past into science and the future? Biology and Seeing the Future Coming Jamie: It's a great question. I'll start at the end and then back up. A few years ago I was speaking at Lawrence Livermore National Laboratory, which is one of the big scientific labs here in the United States. I was a guest of the director and I was speaking to their 300 top scientists. I said to them, “I'm here to speak with you about the future of biology at the invitation of your director, and I'm really excited. But if you hear something wrong, please raise your hand and let me know, because I'm entirely self-taught. The last biology course I took was in 11th grade of high school in Kansas City.” Of course I wouldn't say that if I didn't have a lot of confidence in my process. But in many ways I'm self-taught in the sciences. As you know, Jo, and as all of your listeners know, the foundation of everything is curiosity and then a disciplined process for learning. Even our greatest super-specialists in the world now – whatever their background – the world is changing so fast that if anyone says, “Oh, I have a PhD in physics/chemistry/biology from 30 years ago,” the exact topic they learned 30 years ago is less significant than their process for continuous learning. More specifically, in the 1990s I was working on the National Security Council for President Clinton, which is the president's foreign policy staff. My then boss and now close friend, Richard Clarke – who became famous as the guy who had tragically predicted 9/11 – used to say that the key to efficacy in Washington and in life is to try to solve problems that other people can't see. For me, almost 30 years ago, I felt to my bones that this intersection of what we now call AI and the nascent genetics revolution and the nascent biotechnology revolution was going to have profound implications for humanity. So I just started obsessively educating myself. When I was ready, I started writing obscure national security articles. Those got a decent amount of attention, so I was invited to testify before the United States Congress. I was speaking out a lot, saying, “Hey, this is a really important story. A lot of people are missing it. Here are the things we should be thinking about for the future.” I wasn't getting the kind of traction that I wanted. I mentioned before that my first book had been this dry Oxford PhD dissertation, and that had led to my first novel. So I thought, why don't I try the same approach again – writing novels to tell this story about the genetics, biotech, and what later became known popularly as the AI revolution? That led to my two near-term sci-fi novels, Genesis Code and Eternal Sonata. On my book tours for those novels, when I explained the underlying science to people in my way, as someone who taught myself, I could see in their eyes that they were recognizing not just that something big was happening, but that they could understand it and feel like they were part of that story. That's what led me to write Hacking Darwin, as I mentioned. That book really unlocked a lot of things. I had essentially predicted the CRISPR babies that were born in China before it happened – down to the specific gene I thought would be targeted, which in fact was the case. After that book was published, Dr. Tedros, the Director-General of the World Health Organization, invited me to join the WHO Expert Advisory Committee on Human Genome Editing, which I did. It was a really great experience and got me thinking a lot about the upside of this revolution and the downside. The Birth of Superconvergence Jamie: I get a lot of wonderful invitations to speak, and I have two basic rules for speaking: Never use notes. Never ever. Never stand behind a podium. Never ever. Because of that, when I speak, my talks tend to migrate. I'd be speaking with people about the genetics revolution as it applied to humans, and I'd say, “Well, this is just a little piece of a much bigger story.” The bigger story is that after nearly four billion years of life on Earth, our one species has the increasing ability to engineer novel intelligence and re-engineer life. The big question for us, and frankly for the world, is whether we're going to be able to use that almost godlike superpower wisely. As that idea got bigger and bigger, it became this inevitable force. You write so many books, Jo, that I think it's second nature for you. Every time I finish a book, I think, “Wow, that was really hard. I'm never doing that again.” And then the books creep up on you. They call to you. At some point you say, “All right, now I'm going to do it.” So that was my current book, Superconvergence. Like everything, every journey you take a step, and that step inspires another step and another. That's why writing and living creatively is such a wonderfully exciting thing – there's always more to learn and always great opportunities to push ourselves in new ways. Balancing Deep Research with Good Storytelling Jo: Yeah, absolutely. I love that you've followed your curiosity and then done this disciplined process for learning. I completely understand that. But one of the big issues with people like us who love the research – and having read your Superconvergence, I know how deeply you go into this and how deeply you care that it's correct – is that with fiction, one of the big problems with too much research is the danger of brain-dumping. Readers go to fiction for escapism. They want the interesting side of it, but they want a story first. What are your tips for authors who might feel like, “Where's the line between putting in my research so that it's interesting for readers, but not going too far and turning it into a textbook?” How do you find that balance? Jamie: It's such a great question. I live in New York now, but I used to live in Washington when I was working for the U.S. government, and there were a number of people I served with who later wrote novels. Some of those novels felt like policy memos with a few sex scenes – and that's not what to do. To write something that's informed by science or really by anything, everything needs to be subservient to the story and the characters. The question is: what is the essential piece of information that can convey something that's both important to your story and your character development, and is also an accurate representation of the world as you want it to be? I certainly write novels that are set in the future – although some of them were a future that's now already happened because I wrote them a long time ago. You can make stuff up, but as an author you have to decide what your connection to existing science and existing technology and the existing world is going to be. I come at it from two angles. One: I read a huge number of scientific papers and think, “What does this mean for now, and if you extrapolate into the future, where might that go?” Two: I think about how to condense things. We've all read books where you're humming along because people read fiction for story and emotional connection, and then you hit a bit like: “I sat down in front of the president, and the president said, ‘Tell me what I need to know about the nuclear threat.'” And then it's like: insert memo. That's a deal-killer. It's like all things – how do you have a meaningful relationship with another person? It's not by just telling them your story. Even when you're telling them something about you, you need to be imagining yourself sitting in their shoes, hearing you. These are very different disciplines, fiction and nonfiction. But for the speculative nonfiction I write – “here's where things are now, and here's where the world is heading” – there's a lot of imagination that goes into that too. It feels in many ways like we're living in a sci-fi world because the rate of technological change has been accelerating continuously, certainly for the last 12,000 years since the dawn of agriculture. It's a balance. For me, I feel like I'm a better fiction writer because I write nonfiction, and I'm a better nonfiction writer because I write fiction. When I'm writing nonfiction, I don't want it to be boring either – I want people to feel like there's a story and characters and that they can feel themselves inside that story. Jo: Yeah, definitely. I think having some distance helps as well. If you're really deep into your topics, as you are, you have to leave that manuscript a little bit so you can go back with the eyes of the reader as opposed to your eyes as the expert. Then you can get their experience, which is great. Looking Beyond Author-Focused AI Fears Jo: I want to come to your technical knowledge, because AI is a big thing in the author and creative community, like everywhere else. One of the issues is that creators are focusing on just this tiny part of the impact of AI, and there's a much bigger picture. For example, in 2024, Demis Hassabis from Google DeepMind and his collaborative partner John Jumper won the Nobel Prize for Chemistry with AlphaFold. It feels to me like there's this massive world of what's happening with AI in health, climate, and other areas, and yet we are so focused on a lot of the negative stuff. Maybe you could give us a couple of things about what there is to be excited and optimistic about in terms of AI-powered science? Jamie: Sure. I'm so excited about all of the new opportunities that AI creates. But I also think there's a reason why evolution has preserved this very human feeling of anxiety: because there are real dangers. Anybody who's Pollyanna-ish and says, “Oh, the AI story is inevitably positive,” I'd be distrustful. And anyone who says, “We're absolutely doomed, this is the end of humanity,” I'd also be distrustful. So let me tell you the positives and the negatives, and maybe some thoughts about how we navigate toward the former and away from the latter. AI as the New Electricity Jamie: When people think of AI right now, they're thinking very narrowly about these AI tools and ChatGPT. But we don't think of electricity that way. Nobody says, “I know electricity – electricity is what happens at the power station.” We've internalised the idea that electricity is woven into not just our communication systems or our houses, but into our clothes, our glasses – it's woven into everything and has super-empowered almost everything in our modern lives. That's what AI is. In Superconvergence, the majority of the book is about positive opportunities: In healthcare, moving from generalised healthcare based on population averages to personalised or precision healthcare based on a molecular understanding of each person's individual biology. As we build these massive datasets like the UK Biobank, we can take a next jump toward predictive and preventive healthcare, where we're able to address health issues far earlier in the process, when interventions can be far more benign. I'm really excited about that, not to mention the incredible new kinds of treatments – gene therapies, or pharmaceuticals based on genetics and systems-biology analyses of patients. Then there's agriculture. Over the last hundred years, because of the technologies of the Green Revolution and synthetic fertilisers, we've had an incredible increase in agricultural productivity. That's what's allowed us to quadruple the global population. But if we just continue agriculture as it is, as we get towards ten billion wealthier, more empowered people wanting to eat like we eat, we're going to have to wipe out all the wild spaces on Earth to feed them. These technologies help provide different paths toward increasing agricultural productivity with fewer inputs of land, water, fertiliser, insecticides, and pesticides. That's really positive. I could go on and on about these positives – and I do – but there are very real negatives. I was a member of the WHO Expert Advisory Committee on Human Genome Editing after the first CRISPR babies were very unethically created in China. I'm extremely aware that these same capabilities have potentially incredible upsides and very real downsides. That's the same as every technology in the past, but this is happening so quickly that it's triggering a lot of anxieties. Governance, Responsibility, and Why Everyone Has a Role Jamie: The question now is: how do we optimise the benefits and minimise the harms? The short, unsexy word for that is governance. Governance is not just what governments do; it's what all of us do. That's why I try to write books, both fiction and nonfiction, to bring people into this story. If people “other” this story – if they say, “There's a technology revolution, it has nothing to do with me, I'm going to keep my head down” – I think that's dangerous. The way we're going to handle this as responsibly as possible is if everybody says, “I have some role. Maybe it's small, maybe it's big. The first step is I need to educate myself. Then I need to have conversations with people around me. I need to express my desires, wishes, and thoughts – with political leaders, organisations I'm part of, businesses.” That has to happen at every level. You're in the UK – you know the anti-slavery movement started with a handful of people in Cambridge and grew into a global movement. I really believe in the power of ideas, but ideas don't spread on their own. These are very human networks, and that's why writing, speaking, communicating – probably for every single person listening to this podcast – is so important. Jo: Mm, yeah. Fiction Like AI 2041 and Thinking Through the Issues Jo: Have you read AI 2041 by Kai-Fu Lee and Chen Qiufan? Jamie: No. I heard a bunch of their interviews when the book came out, but I haven't read it. Jo: I think that's another good one because it's fiction – a whole load of short stories. It came out a few years ago now, but the issues they cover in the stories, about different people in different countries – I remember one about deepfakes – make you think more about the topics and help you figure out where you stand. I think that's the issue right now: it's so complex, there are so many things. I'm generally positive about AI, but of course I don't want autonomous drone weapons, you know? The Messy Reality of “Bad” Technologies Jamie: Can I ask you about that? Because this is why it's so complicated. Like you, I think nobody wants autonomous killer drones anywhere in the world. But if you right now were the defence minister of Ukraine, and your children are being kidnapped, your country is being destroyed, you're fighting for your survival, you're getting attacked every night – and you're getting attacked by the Russians, who are investing more and more in autonomous killer robots – you kind of have two choices. You can say, “I'm going to surrender,” or, “I'm going to use what technology I have available to defend myself, and hopefully fight to either victory or some kind of stand-off.” That's what our societies did with nuclear weapons. Maybe not every American recognises that Churchill gave Britain's nuclear secrets to America as a way of greasing the wheels of the Anglo-American alliance during the Second World War – but that was our programme: we couldn't afford to lose that war, and we couldn't afford to let the Nazis get nuclear weapons before we did. So there's the abstract feeling of, “I'm against all war in the abstract. I'm against autonomous killer robots in the abstract.” But if I were the defence minister of Ukraine, I would say, “What will it take for us to build the weapons we can use to defend ourselves?” That's why all this stuff gets so complicated. And frankly, it's why the relationship between fiction and nonfiction is so important. If every novel had a situation where every character said, “Oh, I know exactly the right answer,” and then they just did the right answer and it was obviously right, it wouldn't make for great fiction. We're dealing with really complex humans. We have conflicting impulses. We're not perfect. Maybe there are no perfect answers – but how do we strive toward better rather than worse? That's the question. Jo: Absolutely. I don't want to get too political on things. How AI Is Changing the Writing Life Jo: Let's come back to authors. In terms of the creative process, the writing process, the research process, and the business of being an author – what are some of the ways that you already use AI tools, and some of the ways, given your futurist brain, that you think things are going to change for us? Jamie: Great question. I'll start with a little middle piece. I found you, Jo, through GPT-5. I asked ChatGPT, “I'm coming out with this book and I want to connect with podcasters who are a little different from the ones I've done in the past. I've been a guest on Joe Rogan twice and some of the bigger podcasts. Make me a list of really interesting people I can have great conversations with.” That's how I found you. So this is one reward of that process. Let me say that in the last year I've worked on three books, and I'll explain how my relationship with AI has changed over those books. Cleaning Up Citations (and Getting Burned) Jamie: First is the highly revised paperback edition of Superconvergence. When the hardback came out, I had – I don't normally work with research assistants because I like to dig into everything myself – but the one thing I do use a research assistant for is that I can't be bothered, when I'm writing something, to do the full Chicago-style footnote if I'm already referencing an academic paper. So I'd just put the URL as the footnote and then hire a research assistant and say, “Go to this URL and change it into a Chicago-style citation. That's it.” Unfortunately, my research assistant on the hardback used early-days ChatGPT for that work. He did the whole thing, came back, everything looked perfect. I said, “Wow, amazing job.” It was only later, as I was going through them, that I realised something like 50% of them were invented footnotes. It was very painful to go back and fix, and it took ten times more time. With the paperback edition, I didn't use AI that much, but I did say things like, “Here's all the information – generate a Chicago-style citation.” That was better. I noticed there were a few things where I stopped using the thesaurus function on Microsoft Word because I'd just put the whole paragraph into the AI and say, “Give me ten other options for this one word,” and it would be like a contextual thesaurus. That was pretty good. Talking to a Robot Pianist Character Jamie: Then, for my new novel Virtuoso, I was writing a character who is a futurist robot that plays the piano very beautifully – not just humanly, but almost finding new things in the music we've written and composing music that resonates with us. I described the actions of that robot in the novel, but I didn't describe the inner workings of the robot's mind. In thinking about that character, I realised I was the first science-fiction writer in history who could interrogate a machine about what it was “thinking” in a particular context. I had the most beautiful conversations with ChatGPT, where I would give scenarios and ask, “What are you thinking? What are you feeling in this context?” It was all background for that character, but it was truly profound. Co-Authoring The AI Ten Commandments with GPT-5 Jamie: Third, I have another book coming out in May in the United States. I gave a talk this summer at the Chautauqua Institution in upstate New York about AI and spirituality. I talked about the history of our human relationship with our technology, about how all our religious and spiritual traditions have deep technological underpinnings – certainly our Abrahamic religions are deeply connected to farming, and Protestantism to the printing press. Then I had a section about the role of AI in generating moral codes that would resonate with humans. Everybody went nuts for this talk, and I thought, “I think I'm going to write a book.” I decided to write it differently, with GPT-5 as my named co-author. The first thing I did was outline the entire book based on the talk, which I'd already spent a huge amount of time thinking about and organising. Then I did a full outline of the arguments and structures. Then I trained GPT-5 on my writing style. The way I did it – which I fully describe in the introduction to the book – was that I'd handle all the framing: the full introduction, the argument, the structure. But if there was a section where, for a few paragraphs, I was summarising a huge field of data, even something I knew well, I'd give GPT-5 the intro sentence and say, “In my writing style, prepare four paragraphs on this.” For example, I might write: “AI has the potential to see us humans like we humans see ant colonies.” Then I'd say, “Give me four paragraphs on the relationship between the individual and the collective in ant colonies.” I could have written those four paragraphs myself, but it would've taken a month to read the life's work of E.O. Wilson and then write them. GPT-5 wrote them in seconds or minutes, in its thinking mode. I'd then say, “It's not quite right – change this, change that,” and we'd go back and forth three or four times. Then I'd edit the whole thing and put it into the text. So this book that I could have written on my own in a year, I wrote a first draft of with GPT-5 as my named co-author in two days. The whole project will take about six months from start to finish, and I'm having massive human editing – multiple edits from me, plus a professional editor. It's not a magic AI button. But I feel strongly about listing GPT-5 as a co-author because I've written it differently than previous books. I'm a huge believer in the old-fashioned lone author struggling and suffering – that's in my novels, and in Virtuoso I explore that. But other forms are going to emerge, just like video games are a creative, artistic form deeply connected to technology. The novel hasn't been around forever – the current format is only a few centuries old – and forms are always changing. There are real opportunities for authors, and there will be so much crap flooding the market because everybody can write something and put it up on Amazon. But I think there will be a very special place for thoughtful human authors who have an idea of what humans do at our best, and who translate that into content other humans can enjoy. Traditional vs Indie: Why This Book Will Be Self-Published Jo: I'm interested – you mentioned that it's your named co-author. Is this book going through a traditional publisher, and what do they think about that? Or are you going to publish it yourself? Jamie: It's such a smart question. What I found quickly is that when you get to be an author later in your career, you have all the infrastructure – a track record, a fantastic agent, all of that. But there were two things that were really important to me here: I wanted to get this book out really fast – six months instead of a year and a half. It was essential to me to have GPT-5 listed as my co-author, because if it were just my name, I feel like it would be dishonest. Readers who are used to reading my books – I didn't want to present something different than what it was. I spoke with my agent, who I absolutely love, and she said that for this particular project it was going to be really hard in traditional publishing. So I did a huge amount of research, because I'd never done anything in the self-publishing world before. I looked at different models. There was one hybrid model that's basically the same as traditional, but you pay for the things the publisher would normally pay for. I ended up not doing that. Instead, I decided on a self-publishing route where I disaggregated the publishing process. I found three teams: one for producing the book, one for getting the book out into the world, and a smaller one for the audiobook. I still believe in traditional publishing – there's a lot of wonderful human value-add. But some works just don't lend themselves to traditional publishing. For this book, which is called The AI Ten Commandments, that's the path I've chosen. Jo: And when's that out? I think people will be interested. Jamie: April 26th. Those of us used to traditional publishing think, “I've finished the book, sold the proposal, it'll be out any day now,” and then it can be a year and a half. It's frustrating. With this, the process can be much faster because it's possible to control more of the variables. But the key – as I was saying – is to make sure it's as good a book as everything else you've written. It's great to speed up, but you don't want to compromise on quality. The Coming Flood of Excellent AI-Generated Work Jo: Yeah, absolutely. We're almost out of time, but I want to come back to your “flood of crap” and the “AI slop” idea that's going around. Because you are working with GPT-5 – and I do as well, and I work with Claude and Gemini – and right now there are still issues. Like you said about referencing, there are still hallucinations, though fewer. But fast-forward two, five years: it's not a flood of crap. It's a flood of excellent. It's a flood of stuff that's better than us. Jamie: We're humans. It's better than us in certain ways. If you have farm machinery, it's better than us at certain aspects of farming. I'm a true humanist. I think there will be lots of things machines do better than us, but there will be tons of things we do better than them. There's a reason humans still care about chess, even though machines can beat humans at chess. Some people are saying things I fully disagree with, like this concept of AGI – artificial general intelligence – where machines do everything better than humans. I've summarised my position in seven letters: “AGI is BS.” The only way you can believe in AGI in that sense is if your concept of what a human is and what a human mind is is so narrow that you think it's just a narrow range of analytical skills. We are so much more than that. Humans represent almost four billion years of embodied evolution. There's so much about ourselves that we don't know. As incredible as these machines are and will become, there will always be wonderful things humans can do that are different from machines. What I always tell people is: whatever you're doing, don't be a second-rate machine. Be a first-rate human. If you're doing something and a machine is doing that thing much better than you, then shift to something where your unique capacities as a human give you the opportunity to do something better. So yes, I totally agree that the quality of AI-generated stuff will get better. But I think the most creative and successful humans will be the ones who say, “I recognise that this is creating new opportunities, and I'm going to insert my core humanity to do something magical and new.” People are “othering” these technologies, but the technologies themselves are magnificent human-generated artefacts. They're not alien UFOs that landed here. It's a scary moment for creatives, no doubt, because there are things all of us did in the past that machines can now do really well. But this is the moment where the most creative people ask themselves, “What does it mean for me to be a great human?” The pat answers won't apply. In my Virtuoso novel I explore that a lot. The idea that “machines don't do creativity” – they will do incredible creativity; it just won't be exactly human creativity. We will be potentially huge beneficiaries of these capabilities, but we really have to believe in and invest in the magic of our core humanity. Where to Find Jamie and His Books Jo: Brilliant. So where can people find you and your books online? Jamie: Thank you so much for asking. My website is jamiemetzl.com – and my books are available everywhere. Jo: Fantastic. Thanks so much for your time, Jamie. That was great. Jamie: Thank you, Joanna.The post Writing The Future, And Being More Human In An Age of AI With Jamie Metzl first appeared on The Creative Penn.
ServiceNow, the AI platform for business transformation, has announced a set of new and forthcoming integrations with Microsoft, including an integration with Microsoft Agent 365, that deliver seamless agentic AI orchestration and governance capabilities for joint customers. By uniting workflow intelligence, trusted cloud, and AI governance, the companies will connect copilots, agents, and data seamlessly across Microsoft 365 and the ServiceNow AI Platform, to enable comprehensive visibility, compliance, and control over AI agents, setting a new standard for enterprise AI. The new capabilities meet users where they work across the Microsoft 365 environment, turning insight into action instantly. From conversations in Microsoft Teams, to meetings scheduled in Microsoft Outlook, to documents created in Microsoft Word, ServiceNow is uniting agentic AI capabilities across systems - with trust, control, and measurable business outcomes built in.?The combined capabilities of ServiceNow and Microsoft allow businesses to effectively manage teams of AI agents that work together to accomplish tasks autonomously and deliver real business outcomes. "ServiceNow is enabling a new era of autonomous workflows where the power of AI is multiplied using deterministic workflows - putting AI to work for people in the most demanding global enterprises," said Jon Sigler, executive vice president and general manager, AI Platform at ServiceNow. "By seamlessly connecting agentic orchestration and governance across ServiceNow and Microsoft, we're giving organisations the power to manage and monitor intelligent agents that deliver real work and real impact - safely and at scale. This is how we move from isolated AI experiences to enterprise-wide automation, delivering trust, control, and ROI" "Agent 365 gives organisations a simple, secure way to bring agents under control, extending the same infrastructure, apps, and protections they already trust for users," said Nirav Shah, corporate vice president, Microsoft Agent 365 at Microsoft. "Through this integration with ServiceNow, customers can accelerate and scale their AI transformation while staying safe, with built-in security and governance capabilities that support confident innovation." Deliver visibility, compliance, and trust at enterprise scale The ServiceNow AI Control Tower will integrate with Microsoft Foundry and Copilot Studio to provide full oversight for agents deployed on Microsoft platforms. This integration lets organisations apply consistent policies and controls across platforms, ensuring secure and accountable innovation. Enterprises can automatically discover and manage Microsoft Foundry and Copilot Studio agents within the ServiceNow AI Platform. ServiceNow's Configuration Management Database (CMDB) underpins AI Control Tower, unifying information from both internal and external sources to provide AI Control Tower with continuous, context-rich visibility across systems, ensuring agents operate with the most current, cross-platform data within clearly defined governance parameters. Additionally, the AI Control Tower Value Dashboard monitors AI adoption, performance, and ROI - helping quantify business impact. Real-time monitoring provides visibility into security, governance, and risk, boosting confidence, ensuring compliance, and enabling organisations to scale AI investments responsibly. Unlock AI for developers ServiceNow Build Agent and GitHub now work together to securely share context and capabilities. With GitHub's Model Context Protocol (MCP) Server, ServiceNow Build Agent can securely access GitHub issues, pull requests and discussions, and automate repetitive tasks while keeping developers in control. The result is a frictionless, AI-assisted development experience where business and code workflows converge, eliminating context switching and boosting focus. This ability to use GitHub's MCP server with ServiceNow Build Agent marks a major step toward agentic systems that ...
Law Enforcement Life Coach / Sometimes Heroes Need Help Podcast
This week I had the pleasure of sitting down with retired Leo, author, and Boulder Crest Struggle Well guide, JP McMichael. JP and I discuss his passion for helping those that have experienced trauma find a way forward. We discussed his line of children books as well as his role as a Struggle Well Guide for the Boulder Crest Foundation. Sit back and give this episode a listen and If you or somebody you love is struggling with trauma, contact JP and the Boulder Crest Foundation to find out more about post traumatic growth. Jmcmichael0621@outlook.comhttps://bouldercrest.org/research-resources/what-is-posttraumatic-growth-ptg/https://www.linkedin.com/in/j-p-mcmichael-ma-ba-cpt-44b62344/http://www.catalystofchangeassociates.com/https://www.amazon.com/Why-Wont-You-Play-Responders/dp/1792922981/ref=sr_1_8?dib=eyJ2IjoiMSJ9.f7Y7i2xyvpkwxpyM2bCv26wyVrqAppqh22Hj5mdLhfD-t_4QdLjJd8XPX-vF4Rn7U9HczexGarYZSRvgMmSIcKsvjRN5A6I1nKVJp8F9_u7OGQ5tBh12M9u6vYpAW_S9.C__SPT5AjpbelcxxeGpamxD7cPiIQOFTNNhR8deqhfk&dib_tag=se&qid=1762023234&refinements=p_27%3AJ.P.+McMichael&s=books&sr=1-8Public Speaker. Experienced Incident Coordinator with a demonstrated history of working in the government administration industry. Skilled in Crisis Management, Criminal Intelligence, Nonprofit Organizations, Intelligence Analysis, and Microsoft Word. Strong support professional with a Master's degree focused in Counseling Psychology from Liberty University.Thank you for taking the time to give this podcast a listen. If you would like more information on other Law enforcement Life Coach initiatives, our "Sometimes Heroes Need Help" wellness seminar or our One-On-One life coaching please visit :www.lawenforcementlifecoach.comJohn@lawenforcementlifecoach.comAnd if you would like to watch the interview you can view it in it's entirety on the Law Enforcement Life Coach YouTube Channel : https://studio.youtube.com/channel/UCib6HRqAFO08gAkZQ-B9Ajw/videos/upload?filter=%5B%5D&sort=%7B%22columnType%22%3A%22date%22%2C%22sortOrder%22%3A%22DESCENDING%22%7D
Welcome to the episode that gave Microsoft Word's spellchecker a stroke. Hey gang, for our last episode of October, we're going to have a little group therapy with Phobia Trivia. All sorts of fears are going to be popping up today. Connect with the show: DorkyGeekyNerdy.com Patreon BlueSky Facebook Spotify Discord Reddit
Welcome to the episode that gave Microsoft Word's spellchecker a stroke. Hey gang, for our last episode of October, we're going to have a little group therapy with Phobia Trivia. All sorts of fears are going to be popping up today. Connect with the show: DorkyGeekyNerdy.com Patreon BlueSky Facebook Spotify Discord Reddit
Background of the LawsuitDefendants:Darren Indyke and Richard Kahn: Both are lawyers who were appointed as co-executors of Jeffrey Epstein's estate following his death in August 2019. They have been responsible for managing the estate's affairs, including financial assets and legal claims against Epstein.Plaintiffs:Danielle Benskey: An alleged victim of Jeffrey Epstein who, along with other plaintiffs, has brought forward claims against the estate.Jane Doe 3: Another individual who has accused Epstein of abuse and is seeking justice through the legal system.Allegations and ClaimsMismanagement and Negligence:Estate Administration: The plaintiffs allege that Indyke and Kahn have mishandled the administration of Epstein's estate. This includes accusations of mismanagement of financial assets, failure to properly address claims from victims, and overall negligence in managing the estate's affairs.Financial Irregularities: There are claims that the executors may have engaged in or failed to address financial irregularities that negatively impacted the estate's value and its ability to settle claims.Failure to Address Victims' Claims:Inadequate Settlements: The lawsuit argues that Indyke and Kahn did not adequately handle or settle claims made by Epstein's victims. This includes allegations that they were unresponsive or failed to provide fair compensation to survivors like Benskey and Jane Doe 3.Lack of Transparency: The plaintiffs accuse the executors of being opaque about the handling of the estate's assets and the status of the victims' claims.Legal ProceedingsFiling and Court Actions:Lawsuit Details: The lawsuit has been filed in a civil court, where the plaintiffs seek financial damages and other remedies for the alleged mismanagement and failures in addressing their claims.Court Hearings: There have been ongoing court hearings and legal maneuvers as the case progresses, including motions, evidence submissions, and testimonies.Recent Developments:Settlement Talks: There have been discussions and negotiations regarding potential settlements, though the specifics of these talks are not always publicly disclosed.Court Orders: The court has issued various orders related to the case, including directives on evidence disclosure and procedural matters.Broader ContextEpstein's Estate:Complexity: Jeffrey Epstein's estate is highly complex, involving significant financial assets, multiple claims from survivors, and legal disputes. The estate's management has been under scrutiny, given Epstein's criminal activities and the large number of victims involved.Public Scrutiny: The handling of Epstein's estate, including the actions of Indyke and Kahn, has attracted considerable public and media attention, adding to the pressure on the executors to address the allegations and claims appropriately.Victims' Advocacy:Support for Survivors: The lawsuit is part of broader efforts by victims and their advocates to seek justice and accountability for the abuse they endured. It reflects ongoing challenges in achieving fair compensation and redress for survivors of Epstein's abuse.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 2024.02.16 Kahn Indyke Complaint (FINAL) (wallstreetonparade.com)
InDesign 2026 is here—and so are David and Anne-Marie! In this episode of The CreativePro Podcast, David Blatner and Anne-Marie Concepción bring back InDesign Secrets and dig into the newest release of Adobe InDesign (v21). They explore what's fresh, and what's just plain weird. From the new Flex Layout feature to live text editing in the browser, they unpack the good, the bad, and the future potential of InDesign's next chapter. Along the way, they share favorite finds, event updates, and a few classic "InDesign Secrets" throwbacks—complete with the return of the Obscure InDesign Feature of the Week (-eek!). Highlights: Who are David and Anne-Marie? Anne-Marie's LinkedIn Learning courses David's LinkedIn Learning courses InDesign User Group: 20th Anniversary Adobe MAX Obscure Feature of the Week: Emit CSS InDesign 2026: Flex Layout makes its debut (similar to CSS Flex Layout) David explains how Flex Containers let designers control spacing, alignment, and relationships among multiple objects. InDesign's "InCopy on the Web" (beta) Despite the confusing name, this new feature introduces true browser-based text editing for clients and collaborators. Cloud collaboration Cloud Documents Cloud documents now autosave, sync live edits, and support share-for-text-editing links. Math Expressions evolve Math Expressions MathML integration improves with a dedicated panel and the long-awaited ability to copy equations directly from Microsoft Word into InDesign. Jean-Claude's script to convert math expressions to RGB to CMYK Context Bar gets smarter (and slightly more confusing) The floating context menu now includes quick access to paragraph and character styles. Adobe Express template integration The new "Templates" option on InDesign's Home screen opens the Express web app, not native templates—an unexpected (and debatable) choice. Links & Resources Free Webinar: Bullets and Numbering in InDesign – Now available on demand Design + AI Summit – November 13–14, 2025 CreativePro Week – Coming to Nashville, June 29–July 3, home of Hatch Show Print Listeners can save $100 on any CreativePro event with the discount code: PODCAST CreativePro Membership – Unlock the magazine, downloads, and exclusive resources
Background of the LawsuitDefendants:Darren Indyke and Richard Kahn: Both are lawyers who were appointed as co-executors of Jeffrey Epstein's estate following his death in August 2019. They have been responsible for managing the estate's affairs, including financial assets and legal claims against Epstein.Plaintiffs:Danielle Benskey: An alleged victim of Jeffrey Epstein who, along with other plaintiffs, has brought forward claims against the estate.Jane Doe 3: Another individual who has accused Epstein of abuse and is seeking justice through the legal system.Allegations and ClaimsMismanagement and Negligence:Estate Administration: The plaintiffs allege that Indyke and Kahn have mishandled the administration of Epstein's estate. This includes accusations of mismanagement of financial assets, failure to properly address claims from victims, and overall negligence in managing the estate's affairs.Financial Irregularities: There are claims that the executors may have engaged in or failed to address financial irregularities that negatively impacted the estate's value and its ability to settle claims.Failure to Address Victims' Claims:Inadequate Settlements: The lawsuit argues that Indyke and Kahn did not adequately handle or settle claims made by Epstein's victims. This includes allegations that they were unresponsive or failed to provide fair compensation to survivors like Benskey and Jane Doe 3.Lack of Transparency: The plaintiffs accuse the executors of being opaque about the handling of the estate's assets and the status of the victims' claims.Legal ProceedingsFiling and Court Actions:Lawsuit Details: The lawsuit has been filed in a civil court, where the plaintiffs seek financial damages and other remedies for the alleged mismanagement and failures in addressing their claims.Court Hearings: There have been ongoing court hearings and legal maneuvers as the case progresses, including motions, evidence submissions, and testimonies.Recent Developments:Settlement Talks: There have been discussions and negotiations regarding potential settlements, though the specifics of these talks are not always publicly disclosed.Court Orders: The court has issued various orders related to the case, including directives on evidence disclosure and procedural matters.Broader ContextEpstein's Estate:Complexity: Jeffrey Epstein's estate is highly complex, involving significant financial assets, multiple claims from survivors, and legal disputes. The estate's management has been under scrutiny, given Epstein's criminal activities and the large number of victims involved.Public Scrutiny: The handling of Epstein's estate, including the actions of Indyke and Kahn, has attracted considerable public and media attention, adding to the pressure on the executors to address the allegations and claims appropriately.Victims' Advocacy:Support for Survivors: The lawsuit is part of broader efforts by victims and their advocates to seek justice and accountability for the abuse they endured. It reflects ongoing challenges in achieving fair compensation and redress for survivors of Epstein's abuse.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 2024.02.16 Kahn Indyke Complaint (FINAL) (wallstreetonparade.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.
Background of the LawsuitDefendants:Darren Indyke and Richard Kahn: Both are lawyers who were appointed as co-executors of Jeffrey Epstein's estate following his death in August 2019. They have been responsible for managing the estate's affairs, including financial assets and legal claims against Epstein.Plaintiffs:Danielle Benskey: An alleged victim of Jeffrey Epstein who, along with other plaintiffs, has brought forward claims against the estate.Jane Doe 3: Another individual who has accused Epstein of abuse and is seeking justice through the legal system.Allegations and ClaimsMismanagement and Negligence:Estate Administration: The plaintiffs allege that Indyke and Kahn have mishandled the administration of Epstein's estate. This includes accusations of mismanagement of financial assets, failure to properly address claims from victims, and overall negligence in managing the estate's affairs.Financial Irregularities: There are claims that the executors may have engaged in or failed to address financial irregularities that negatively impacted the estate's value and its ability to settle claims.Failure to Address Victims' Claims:Inadequate Settlements: The lawsuit argues that Indyke and Kahn did not adequately handle or settle claims made by Epstein's victims. This includes allegations that they were unresponsive or failed to provide fair compensation to survivors like Benskey and Jane Doe 3.Lack of Transparency: The plaintiffs accuse the executors of being opaque about the handling of the estate's assets and the status of the victims' claims.Legal ProceedingsFiling and Court Actions:Lawsuit Details: The lawsuit has been filed in a civil court, where the plaintiffs seek financial damages and other remedies for the alleged mismanagement and failures in addressing their claims.Court Hearings: There have been ongoing court hearings and legal maneuvers as the case progresses, including motions, evidence submissions, and testimonies.Recent Developments:Settlement Talks: There have been discussions and negotiations regarding potential settlements, though the specifics of these talks are not always publicly disclosed.Court Orders: The court has issued various orders related to the case, including directives on evidence disclosure and procedural matters.Broader ContextEpstein's Estate:Complexity: Jeffrey Epstein's estate is highly complex, involving significant financial assets, multiple claims from survivors, and legal disputes. The estate's management has been under scrutiny, given Epstein's criminal activities and the large number of victims involved.Public Scrutiny: The handling of Epstein's estate, including the actions of Indyke and Kahn, has attracted considerable public and media attention, adding to the pressure on the executors to address the allegations and claims appropriately.Victims' Advocacy:Support for Survivors: The lawsuit is part of broader efforts by victims and their advocates to seek justice and accountability for the abuse they endured. It reflects ongoing challenges in achieving fair compensation and redress for survivors of Epstein's abuse.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 2024.02.16 Kahn Indyke Complaint (FINAL) (wallstreetonparade.com)
Background of the LawsuitDefendants:Darren Indyke and Richard Kahn: Both are lawyers who were appointed as co-executors of Jeffrey Epstein's estate following his death in August 2019. They have been responsible for managing the estate's affairs, including financial assets and legal claims against Epstein.Plaintiffs:Danielle Benskey: An alleged victim of Jeffrey Epstein who, along with other plaintiffs, has brought forward claims against the estate.Jane Doe 3: Another individual who has accused Epstein of abuse and is seeking justice through the legal system.Allegations and ClaimsMismanagement and Negligence:Estate Administration: The plaintiffs allege that Indyke and Kahn have mishandled the administration of Epstein's estate. This includes accusations of mismanagement of financial assets, failure to properly address claims from victims, and overall negligence in managing the estate's affairs.Financial Irregularities: There are claims that the executors may have engaged in or failed to address financial irregularities that negatively impacted the estate's value and its ability to settle claims.Failure to Address Victims' Claims:Inadequate Settlements: The lawsuit argues that Indyke and Kahn did not adequately handle or settle claims made by Epstein's victims. This includes allegations that they were unresponsive or failed to provide fair compensation to survivors like Benskey and Jane Doe 3.Lack of Transparency: The plaintiffs accuse the executors of being opaque about the handling of the estate's assets and the status of the victims' claims.Legal ProceedingsFiling and Court Actions:Lawsuit Details: The lawsuit has been filed in a civil court, where the plaintiffs seek financial damages and other remedies for the alleged mismanagement and failures in addressing their claims.Court Hearings: There have been ongoing court hearings and legal maneuvers as the case progresses, including motions, evidence submissions, and testimonies.Recent Developments:Settlement Talks: There have been discussions and negotiations regarding potential settlements, though the specifics of these talks are not always publicly disclosed.Court Orders: The court has issued various orders related to the case, including directives on evidence disclosure and procedural matters.Broader ContextEpstein's Estate:Complexity: Jeffrey Epstein's estate is highly complex, involving significant financial assets, multiple claims from survivors, and legal disputes. The estate's management has been under scrutiny, given Epstein's criminal activities and the large number of victims involved.Public Scrutiny: The handling of Epstein's estate, including the actions of Indyke and Kahn, has attracted considerable public and media attention, adding to the pressure on the executors to address the allegations and claims appropriately.Victims' Advocacy:Support for Survivors: The lawsuit is part of broader efforts by victims and their advocates to seek justice and accountability for the abuse they endured. It reflects ongoing challenges in achieving fair compensation and redress for survivors of Epstein's abuse.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 2024.02.16 Kahn Indyke Complaint (FINAL) (wallstreetonparade.com)
Background of the LawsuitDefendants:Darren Indyke and Richard Kahn: Both are lawyers who were appointed as co-executors of Jeffrey Epstein's estate following his death in August 2019. They have been responsible for managing the estate's affairs, including financial assets and legal claims against Epstein.Plaintiffs:Danielle Benskey: An alleged victim of Jeffrey Epstein who, along with other plaintiffs, has brought forward claims against the estate.Jane Doe 3: Another individual who has accused Epstein of abuse and is seeking justice through the legal system.Allegations and ClaimsMismanagement and Negligence:Estate Administration: The plaintiffs allege that Indyke and Kahn have mishandled the administration of Epstein's estate. This includes accusations of mismanagement of financial assets, failure to properly address claims from victims, and overall negligence in managing the estate's affairs.Financial Irregularities: There are claims that the executors may have engaged in or failed to address financial irregularities that negatively impacted the estate's value and its ability to settle claims.Failure to Address Victims' Claims:Inadequate Settlements: The lawsuit argues that Indyke and Kahn did not adequately handle or settle claims made by Epstein's victims. This includes allegations that they were unresponsive or failed to provide fair compensation to survivors like Benskey and Jane Doe 3.Lack of Transparency: The plaintiffs accuse the executors of being opaque about the handling of the estate's assets and the status of the victims' claims.Legal ProceedingsFiling and Court Actions:Lawsuit Details: The lawsuit has been filed in a civil court, where the plaintiffs seek financial damages and other remedies for the alleged mismanagement and failures in addressing their claims.Court Hearings: There have been ongoing court hearings and legal maneuvers as the case progresses, including motions, evidence submissions, and testimonies.Recent Developments:Settlement Talks: There have been discussions and negotiations regarding potential settlements, though the specifics of these talks are not always publicly disclosed.Court Orders: The court has issued various orders related to the case, including directives on evidence disclosure and procedural matters.Broader ContextEpstein's Estate:Complexity: Jeffrey Epstein's estate is highly complex, involving significant financial assets, multiple claims from survivors, and legal disputes. The estate's management has been under scrutiny, given Epstein's criminal activities and the large number of victims involved.Public Scrutiny: The handling of Epstein's estate, including the actions of Indyke and Kahn, has attracted considerable public and media attention, adding to the pressure on the executors to address the allegations and claims appropriately.Victims' Advocacy:Support for Survivors: The lawsuit is part of broader efforts by victims and their advocates to seek justice and accountability for the abuse they endured. It reflects ongoing challenges in achieving fair compensation and redress for survivors of Epstein's abuse.to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 2024.02.16 Kahn Indyke Complaint (FINAL) (wallstreetonparade.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.
Background of the LawsuitDefendants:Darren Indyke and Richard Kahn: Both are lawyers who were appointed as co-executors of Jeffrey Epstein's estate following his death in August 2019. They have been responsible for managing the estate's affairs, including financial assets and legal claims against Epstein.Plaintiffs:Danielle Benskey: An alleged victim of Jeffrey Epstein who, along with other plaintiffs, has brought forward claims against the estate.Jane Doe 3: Another individual who has accused Epstein of abuse and is seeking justice through the legal system.Allegations and ClaimsMismanagement and Negligence:Estate Administration: The plaintiffs allege that Indyke and Kahn have mishandled the administration of Epstein's estate. This includes accusations of mismanagement of financial assets, failure to properly address claims from victims, and overall negligence in managing the estate's affairs.Financial Irregularities: There are claims that the executors may have engaged in or failed to address financial irregularities that negatively impacted the estate's value and its ability to settle claims.Failure to Address Victims' Claims:Inadequate Settlements: The lawsuit argues that Indyke and Kahn did not adequately handle or settle claims made by Epstein's victims. This includes allegations that they were unresponsive or failed to provide fair compensation to survivors like Benskey and Jane Doe 3.Lack of Transparency: The plaintiffs accuse the executors of being opaque about the handling of the estate's assets and the status of the victims' claims.Legal ProceedingsFiling and Court Actions:Lawsuit Details: The lawsuit has been filed in a civil court, where the plaintiffs seek financial damages and other remedies for the alleged mismanagement and failures in addressing their claims.Court Hearings: There have been ongoing court hearings and legal maneuvers as the case progresses, including motions, evidence submissions, and testimonies.Recent Developments:Settlement Talks: There have been discussions and negotiations regarding potential settlements, though the specifics of these talks are not always publicly disclosed.Court Orders: The court has issued various orders related to the case, including directives on evidence disclosure and procedural matters.Broader ContextEpstein's Estate:Complexity: Jeffrey Epstein's estate is highly complex, involving significant financial assets, multiple claims from survivors, and legal disputes. The estate's management has been under scrutiny, given Epstein's criminal activities and the large number of victims involved.Public Scrutiny: The handling of Epstein's estate, including the actions of Indyke and Kahn, has attracted considerable public and media attention, adding to the pressure on the executors to address the allegations and claims appropriately.Victims' Advocacy:Support for Survivors: The lawsuit is part of broader efforts by victims and their advocates to seek justice and accountability for the abuse they endured. It reflects ongoing challenges in achieving fair compensation and redress for survivors of Epstein's abuse.(commercial at 8:16)to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 2024.02.16 Kahn Indyke Complaint (FINAL) (wallstreetonparade.com)
Background of the LawsuitDefendants:Darren Indyke and Richard Kahn: Both are lawyers who were appointed as co-executors of Jeffrey Epstein's estate following his death in August 2019. They have been responsible for managing the estate's affairs, including financial assets and legal claims against Epstein.Plaintiffs:Danielle Benskey: An alleged victim of Jeffrey Epstein who, along with other plaintiffs, has brought forward claims against the estate.Jane Doe 3: Another individual who has accused Epstein of abuse and is seeking justice through the legal system.Allegations and ClaimsMismanagement and Negligence:Estate Administration: The plaintiffs allege that Indyke and Kahn have mishandled the administration of Epstein's estate. This includes accusations of mismanagement of financial assets, failure to properly address claims from victims, and overall negligence in managing the estate's affairs.Financial Irregularities: There are claims that the executors may have engaged in or failed to address financial irregularities that negatively impacted the estate's value and its ability to settle claims.Failure to Address Victims' Claims:Inadequate Settlements: The lawsuit argues that Indyke and Kahn did not adequately handle or settle claims made by Epstein's victims. This includes allegations that they were unresponsive or failed to provide fair compensation to survivors like Benskey and Jane Doe 3.Lack of Transparency: The plaintiffs accuse the executors of being opaque about the handling of the estate's assets and the status of the victims' claims.Legal ProceedingsFiling and Court Actions:Lawsuit Details: The lawsuit has been filed in a civil court, where the plaintiffs seek financial damages and other remedies for the alleged mismanagement and failures in addressing their claims.Court Hearings: There have been ongoing court hearings and legal maneuvers as the case progresses, including motions, evidence submissions, and testimonies.Recent Developments:Settlement Talks: There have been discussions and negotiations regarding potential settlements, though the specifics of these talks are not always publicly disclosed.Court Orders: The court has issued various orders related to the case, including directives on evidence disclosure and procedural matters.Broader ContextEpstein's Estate:Complexity: Jeffrey Epstein's estate is highly complex, involving significant financial assets, multiple claims from survivors, and legal disputes. The estate's management has been under scrutiny, given Epstein's criminal activities and the large number of victims involved.Public Scrutiny: The handling of Epstein's estate, including the actions of Indyke and Kahn, has attracted considerable public and media attention, adding to the pressure on the executors to address the allegations and claims appropriately.Victims' Advocacy:Support for Survivors: The lawsuit is part of broader efforts by victims and their advocates to seek justice and accountability for the abuse they endured. It reflects ongoing challenges in achieving fair compensation and redress for survivors of Epstein's abuse.(commercial at 8:16)to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 2024.02.16 Kahn Indyke Complaint (FINAL) (wallstreetonparade.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
Background of the LawsuitDefendants:Darren Indyke and Richard Kahn: Both are lawyers who were appointed as co-executors of Jeffrey Epstein's estate following his death in August 2019. They have been responsible for managing the estate's affairs, including financial assets and legal claims against Epstein.Plaintiffs:Danielle Benskey: An alleged victim of Jeffrey Epstein who, along with other plaintiffs, has brought forward claims against the estate.Jane Doe 3: Another individual who has accused Epstein of abuse and is seeking justice through the legal system.Allegations and ClaimsMismanagement and Negligence:Estate Administration: The plaintiffs allege that Indyke and Kahn have mishandled the administration of Epstein's estate. This includes accusations of mismanagement of financial assets, failure to properly address claims from victims, and overall negligence in managing the estate's affairs.Financial Irregularities: There are claims that the executors may have engaged in or failed to address financial irregularities that negatively impacted the estate's value and its ability to settle claims.Failure to Address Victims' Claims:Inadequate Settlements: The lawsuit argues that Indyke and Kahn did not adequately handle or settle claims made by Epstein's victims. This includes allegations that they were unresponsive or failed to provide fair compensation to survivors like Benskey and Jane Doe 3.Lack of Transparency: The plaintiffs accuse the executors of being opaque about the handling of the estate's assets and the status of the victims' claims.Legal ProceedingsFiling and Court Actions:Lawsuit Details: The lawsuit has been filed in a civil court, where the plaintiffs seek financial damages and other remedies for the alleged mismanagement and failures in addressing their claims.Court Hearings: There have been ongoing court hearings and legal maneuvers as the case progresses, including motions, evidence submissions, and testimonies.Recent Developments:Settlement Talks: There have been discussions and negotiations regarding potential settlements, though the specifics of these talks are not always publicly disclosed.Court Orders: The court has issued various orders related to the case, including directives on evidence disclosure and procedural matters.Broader ContextEpstein's Estate:Complexity: Jeffrey Epstein's estate is highly complex, involving significant financial assets, multiple claims from survivors, and legal disputes. The estate's management has been under scrutiny, given Epstein's criminal activities and the large number of victims involved.Public Scrutiny: The handling of Epstein's estate, including the actions of Indyke and Kahn, has attracted considerable public and media attention, adding to the pressure on the executors to address the allegations and claims appropriately.Victims' Advocacy:Support for Survivors: The lawsuit is part of broader efforts by victims and their advocates to seek justice and accountability for the abuse they endured. It reflects ongoing challenges in achieving fair compensation and redress for survivors of Epstein's abuse.(commercial at 8:16)to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 2024.02.16 Kahn Indyke Complaint (FINAL) (wallstreetonparade.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
Background of the LawsuitDefendants:Darren Indyke and Richard Kahn: Both are lawyers who were appointed as co-executors of Jeffrey Epstein's estate following his death in August 2019. They have been responsible for managing the estate's affairs, including financial assets and legal claims against Epstein.Plaintiffs:Danielle Benskey: An alleged victim of Jeffrey Epstein who, along with other plaintiffs, has brought forward claims against the estate.Jane Doe 3: Another individual who has accused Epstein of abuse and is seeking justice through the legal system.Allegations and ClaimsMismanagement and Negligence:Estate Administration: The plaintiffs allege that Indyke and Kahn have mishandled the administration of Epstein's estate. This includes accusations of mismanagement of financial assets, failure to properly address claims from victims, and overall negligence in managing the estate's affairs.Financial Irregularities: There are claims that the executors may have engaged in or failed to address financial irregularities that negatively impacted the estate's value and its ability to settle claims.Failure to Address Victims' Claims:Inadequate Settlements: The lawsuit argues that Indyke and Kahn did not adequately handle or settle claims made by Epstein's victims. This includes allegations that they were unresponsive or failed to provide fair compensation to survivors like Benskey and Jane Doe 3.Lack of Transparency: The plaintiffs accuse the executors of being opaque about the handling of the estate's assets and the status of the victims' claims.Legal ProceedingsFiling and Court Actions:Lawsuit Details: The lawsuit has been filed in a civil court, where the plaintiffs seek financial damages and other remedies for the alleged mismanagement and failures in addressing their claims.Court Hearings: There have been ongoing court hearings and legal maneuvers as the case progresses, including motions, evidence submissions, and testimonies.Recent Developments:Settlement Talks: There have been discussions and negotiations regarding potential settlements, though the specifics of these talks are not always publicly disclosed.Court Orders: The court has issued various orders related to the case, including directives on evidence disclosure and procedural matters.Broader ContextEpstein's Estate:Complexity: Jeffrey Epstein's estate is highly complex, involving significant financial assets, multiple claims from survivors, and legal disputes. The estate's management has been under scrutiny, given Epstein's criminal activities and the large number of victims involved.Public Scrutiny: The handling of Epstein's estate, including the actions of Indyke and Kahn, has attracted considerable public and media attention, adding to the pressure on the executors to address the allegations and claims appropriately.Victims' Advocacy:Support for Survivors: The lawsuit is part of broader efforts by victims and their advocates to seek justice and accountability for the abuse they endured. It reflects ongoing challenges in achieving fair compensation and redress for survivors of Epstein's abuse.(commercial at 8:16)to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 2024.02.16 Kahn Indyke Complaint (FINAL) (wallstreetonparade.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
Background of the LawsuitDefendants:Darren Indyke and Richard Kahn: Both are lawyers who were appointed as co-executors of Jeffrey Epstein's estate following his death in August 2019. They have been responsible for managing the estate's affairs, including financial assets and legal claims against Epstein.Plaintiffs:Danielle Benskey: An alleged victim of Jeffrey Epstein who, along with other plaintiffs, has brought forward claims against the estate.Jane Doe 3: Another individual who has accused Epstein of abuse and is seeking justice through the legal system.Allegations and ClaimsMismanagement and Negligence:Estate Administration: The plaintiffs allege that Indyke and Kahn have mishandled the administration of Epstein's estate. This includes accusations of mismanagement of financial assets, failure to properly address claims from victims, and overall negligence in managing the estate's affairs.Financial Irregularities: There are claims that the executors may have engaged in or failed to address financial irregularities that negatively impacted the estate's value and its ability to settle claims.Failure to Address Victims' Claims:Inadequate Settlements: The lawsuit argues that Indyke and Kahn did not adequately handle or settle claims made by Epstein's victims. This includes allegations that they were unresponsive or failed to provide fair compensation to survivors like Benskey and Jane Doe 3.Lack of Transparency: The plaintiffs accuse the executors of being opaque about the handling of the estate's assets and the status of the victims' claims.Legal ProceedingsFiling and Court Actions:Lawsuit Details: The lawsuit has been filed in a civil court, where the plaintiffs seek financial damages and other remedies for the alleged mismanagement and failures in addressing their claims.Court Hearings: There have been ongoing court hearings and legal maneuvers as the case progresses, including motions, evidence submissions, and testimonies.Recent Developments:Settlement Talks: There have been discussions and negotiations regarding potential settlements, though the specifics of these talks are not always publicly disclosed.Court Orders: The court has issued various orders related to the case, including directives on evidence disclosure and procedural matters.Broader ContextEpstein's Estate:Complexity: Jeffrey Epstein's estate is highly complex, involving significant financial assets, multiple claims from survivors, and legal disputes. The estate's management has been under scrutiny, given Epstein's criminal activities and the large number of victims involved.Public Scrutiny: The handling of Epstein's estate, including the actions of Indyke and Kahn, has attracted considerable public and media attention, adding to the pressure on the executors to address the allegations and claims appropriately.Victims' Advocacy:Support for Survivors: The lawsuit is part of broader efforts by victims and their advocates to seek justice and accountability for the abuse they endured. It reflects ongoing challenges in achieving fair compensation and redress for survivors of Epstein's abuse.(commercial at 8:16)to contact me:bobbycapucci@protonmail.comsource:Microsoft Word - 2024.02.16 Kahn Indyke Complaint (FINAL) (wallstreetonparade.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.
In this episode, Liz and Rachel walk you through how to proofread documents more efficiently in Microsoft Word using the Microsoft Editor alongside JAWS. Learn how to access the Editor with keyboard commands, check spelling and grammar, and put clarity and conciseness tools to work. They also cover how to: Navigate spelling and grammar suggestions using JAWS-specific keystrokes Understand and improve your Editor Score and readability statistics Select writing style settings like Casual, Professional, or Formal Add words to custom dictionaries and manage dictionary settings Re-run Editor after ignoring suggestions or completing a review Use quick navigation keys to jump to spelling and grammar errors directly in your document Whether you're writing professionally, drafting emails, or creating documents for personal use, this episode is packed with practical tips to make your writing clearer, more accurate, and easier to manage with screen reader tools.
What did you think of this episode?Submitting work to agents and editors can be financially rewarding. Do you know that a submission can be rejected without even being read? Learn more in this episode.Welcome to Your Best Writing Life, an extension of the Blue Ridge Mountains Christian Writers Conference held in the beautiful Blue Ridge Mountains of NC. I'm your host, Linda Goldfarb. Each week, I bring tips and strategies from writing and publishing industry experts to help you excel in your craft. I'm so glad you're listening in. During this encore episode, you'll learn guidelines to help your manuscripts avoid rejection.Rhonda is a multimedia creative who treasures her fairy tale life in Central Kentucky, insisting her home is her castle, even if her prince refuses to dig a moat. She has published works in several anthologies and periodicals, winning numerous awards for her historical romance books. LINKSRhonda Dragomir Proposal Template DownloadFree Writing Resource ClassesDetails for checking the reading grade level of your WORD document Hint for Mac users - To check Readability, (you do not have "Options" - instead, click Word, then Preferences, then Grammar & Spelling. From there, turn on "Show readability stats" - hitting OK is not required).To view the readability level, click the Editor icon, then select Document Stats under Insights. Tada! Grammarly AI-Powered writing enhancement toolChristian Writers Market GuideVisit Your Best Writing Life website.Join our Facebook group, Your Best Writing LifeYour host - Linda Goldfarb#1 Podcast in the "Top 50+ Must-Have Tools and Resources for Christian Writers in 2024". Awarded the Spark Media 2022 Most Binge-Worthy PodcastAwarded the Spark Media 2023 Fan Favorites Best Solo Podcast
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