Podcasts about Nicholl

Will your next car be electric? A survey found 80% in NI want to buy an EV in the next 5 years, but currently only 2% of cars on our roads are electric. Frank spoke to Alliance MLA Kate Nicholl Hosted on Acast. See acast.com/privacy for more information.

'She was the most extraordinary woman - endlessly brave, kind and hard-working' - Alliance MLA Kate Nicholl paid tribute to her close friend and colleague Anna Lo, who died aged 74 Hosted on Acast. See acast.com/privacy for more information.

JOIN TSL WORKSHOPS FOR FREE: https://tslworkshops.circle.so/ Barbara Stepansky's career is the culmination of years of incredibly hard work. In addition to winning the highly competitive Nicholl fellowship, Barbara is a WGA-award winner for a TV movie, the head writer on a German-language Netflix show, and a writer/producer on Starz' Outlander. Today's conversation is all about how Barbara built her uniquely multi-faceted career.

Can politicians do more to prevent unrest? As Stormont is recalled, Frank spoke to MLAs Kate Nicholl of Alliance and the TUV's Timothy Gaston, as well as commentator Lata Sharma Hosted on Acast. See acast.com/privacy for more information.

Defensive stalwart Jimmy Nicholl is the latest UTD Podcast guest, as he tells some riveting stories from his time growing up at United and amassing almost 250 appearances for the Reds, between 1975 and 1981.Jimmy played for both United and Rangers who, coincidentally, take on the Reds in a pre-season friendly at Scottish Gas Murrayfield Stadium on Saturday 20th July. You can get your tickets here.Remarkably, after being born in Canada, his family escaped the Troubles in Northern Ireland thanks to the help of the club, with then-manager Tommy Docherty helping to arrange the move to Manchester. He puts his signing of a professional deal down to a bona-fide United legend and would go on to forge close bonds with the rest of the team.There were real highs for club and country, which he details, such as winning the 1977 FA Cup and beating hosts Spain at the 1982 World Cup with Billy Bingham's Northern Ireland, and the partying that ensued.Jimmy explains why Ron Atkinson's arrival proved to be the beginning of the end for him at United but he discusses his career in coaching after hanging up his boots and his current job as assistant manager to the country he served so well as a player.There is one big regret, though, for the former full-back. Find out what it is, and much more, by listening to our revealing interview.The best place to catch up on the back-catalogue of our interviews is over on the Manchester United App, where you can listen to - and watch - all of our episodes in full, for free. Here you can get early access to new episodes, published 24 hours before everywhere else.If you'd like to write to the only official Manchester United Podcast then e-mail utdpodcast@manutd.co.uk We'd also love it if you could leave us a rating and review wherever you listen to your podcasts. Thank you! Hosted on Acast. See acast.com/privacy for more information.

Dr. William J. Carl is a Greek scholar, screenwriter, playwright, and lyricist. He's also a former professor, seminary president, and pastor, who's been a U.S. Senate Guest Chaplain. He's been a speaker at Oxford, Cambridge, Princeton, Cornell, Boston University, Carnegie Mellon, as well as in Russia, South Africa, India, China, South Korea, Taiwan, Rwanda, and Canada.  Further, he's also the former President of the Pittsburgh Theological Seminary. William has authored eight nonfiction books (including lectures he gave at Princeton, two of which have been translated into Korean) and one novel, Assassin's Manuscript, which is a “Dan Brown meets Daniel Silva”-style thriller. No less than Alex Haley, the author of Roots, encouraged him to write it.  I've read Assassin's Manuscript and can tell you it's an action-packed international page-turner in which politics, religion, and history play essential roles. I highly urge you to check it out.William's screenplay, Maggie's Perfect Match, won the Telluride Indiefest Screenwriting Contest and the Dallas Screenwriting Contest, and it was a Quarter-finalist in the Nicholl and the Austin Screenwriting contests. Not only did William turn Maggie's Perfect Match into a play, but he's also adapted it into a musical. Since 2000, William has also lectured on the brain at medical schools and medical conferences.

Today's guest, Valerie Crozier-Nicholl, who is a beautiful 50 something cancer survivor whose work took over her life.   She says,  "Sometimes we reach a point in our life where we realize that something must change, or something will give, and that is exactly what happened to me."   Shortly after recovering from cancer, she realized that her work had become all consuming. A job she had once loved in the Public Sector overwhelmed her with so much stress that she no longer recognised the person she'd become.    In one very clear moment she realized that she had to make a change. Her breakdown became her breakthrough. Learning about resilience has been the foundation to help her create the life she wanted for herself. With the support of her loving husband and extended family, she took control of her life, knowing that it is never too late to make the right choices to help her achieve her goals.    Valerie is an Accredited NLP, EFT, Law of Attraction coach specialising in Resilience (stress reduction), who helps women transform their mindset so that they go and create success, abundance and freedom and thrive in their lives.   You can connect with Valerie here: Valerie on Facebook Valerie's Website Recommended Book - Answer Cancer   Of course, please feel free to send me YOUR questions anytime, or connect with me for an actual conversation to get them answered.    I definitely look forward to connecting with you anytime! If you'd like to have a FREE life mapping chat with me, you can grab a time right here to do that: 20 Minute FREE Life Mapping Session   You can also find me on the CATCH website. It has a great video and some free recordings right there to explain more. CATCH - Laura Ordile   Please come join me in The Change Gang Group! Change Gang Group   Grab yourself a freebie made just for YOU here: Fun FREEBIES!   And I have a brand new one that's not even on the website yet. If you'd like to boost your happiness and increase your sleep, this one's for you!  Sleep Better and Live Happier!   And I'm also always happy to connect on Instagram: Laura Ordile   Thank you so much for joining me in the fun. I'd be very grateful if you would be willing to take a moment and rate and review the show for me. And I hope you have a great week!   Happy day to you,   Laura 

We start the show off today talking about Alvin Kamara and his contract dispute with the Saints. We do some LSU baseball talk as a pitcher from Nicholl's hits the transfer portal. LSU basketball hoped to gain Coleman Hawkins in the offseason, he ends up going to KSU. We go around the SEC and wrap up the show talking about the error on the Chiefs Super Bowl ring. 

Sam Boyer is an Indonesian-American writer who won the Nicholl Fellowship in 2022, was featured on the 2023 Black List, was a 2020 CAPE New Writers Fellow, and has twice been featured on the Black List's CAPE List. He earned his MFA from UT Austin's Michener Center for Writers and his BA from USC's film school. In this episode, Sam dives into his process in landing a spot in each of these programs, how to face and overcome rejection, tips for making time and space to write, and why his hypothetical presidential platform would include free chips & salsa at every restaurant.  BREAKDOWN: 3:35 - Getting on the Black List 7:24 - Black List 2023 script - “Foragers” 14:00 - Getting the NIcholl Fellowship 25:25 - CAPE Writers Program 31:17 - Getting into Michener  at UT Austin 36:09 - Becoming an Academy Gold member 40:05 - Balancing work when you start out with a day job, making time to write, getting past writers' block 50:57 - Tips for general meetings 55:43 - Getting initially rejected from SCA 1:00:26 - Rejection is normal 1:09:55 - Personal connection to stories 1:12:33 - Navigating management / reps 1:19:25 - Advice for people starting out / pivoting 1:26:39 - How he persevered through hard times 1:32:27 - The myth of the Overnight Success 1:34:19 - TIME CAPSULE CONNECT WITH SAM:  IG @samboyer  CONNECT WITH THE SHOW:  All platforms @NoSetPathShow  bio.site/nosetpath www.nosetpathshow.com --- Support this podcast: https://podcasters.spotify.com/pod/show/rebecca-doyle3/support

Host: Geoffrey D. Calhoun, Host and BEst Selling Author of The Guide For Every ScreenwriterGuest: Victoria Male, Nichols Finalist for her script 'Showstopper'SummaryIn this podcast episode, Geoffrey D. Calhoun interviews Victoria Male, a Nichols finalist for her script Showstopper. Victoria shares her origin story, starting with her passion for theater and acting, and how she eventually fell in love with screenwriting. She discusses the process of writing Showstopper and the unexpected attention it received, including becoming a Nichols finalist. Victoria also mentions her recent success with another script called Sculpted. Throughout the conversation, she emphasizes the importance of authenticity, relationship building, and staying true to one's vision.TakeawaysVictoria Male's journey as a screenwriter began with a background in theater and acting, which eventually led her to discover her love for screenwriting.She wrote Showstopper, a script inspired by the idea of making Singin' in the Rain during the Red Scare, and it gained attention, including becoming a Nichols finalist.Victoria's experience working in the film industry, including interning for Tobey Maguire and working for Ivan Reitman, provided valuable insights into the development and storytelling process.She also discussed her recent success with another script called Sculpted, which explores the gender-flipped adaptation of the Greek myth of Pygmalion.Chapters00:00 Introduction and Origin Story06:15 Transition to Screenwriting14:08 The Journey of ShowstopperFolllow us at:Victoria Male Instagram: @victoriamale1Geoffrey's Instagram: @screenwriterpodSubscribe to our podcast for more insider insights.

About the episode: How can businesses share data to enable them to collaborate effectively whilst still retaining control of their data? Ali Nicholl at IOTICS thinks his company has the answer. Guest Name: Ali Nicholl Ali Nicholl is part of IOTICS' founding team and IOTICS' Head of Engagement, working across transport, logistics, utilities, the built environment, and defence, focusing on interoperability of IT & OT and digital cooperation across enterprise boundaries. Deploying decentralised, federated approaches that leverage semantics, selective sharing of data and connected digital twins. Ali is actively working on projects supporting the co-creation of transformative services and solutions at the intersection of market sectors and industries – with an interest in ESG, sustainability, and essential sharing networks. Ali also represents IOTICS within industry and academic initiatives such as TechUK's Digital Twin Working Group, Cranfield University's Industry Advisory Board and, as Co-Chair, on the DT Hub Community Council. Ali is passionate about enabling and empowering individuals and organisations to use trusted interoperability to unlock the value of their data assets to meet today's business challenges, with the future flexibility to be ready for as-yet-undefined technology and needs. The opportunities presented by enabling programmatic discovery, data sharing and interaction must be married with a holistic understanding to unify technical and business benefits. Ali's skills lie in taking a view across technical and sector landscapes to give confidence to those taking their first steps and to reflect impacts for the greater good. Links: LinkedIn: Ali Nicholl IOTICS.com I hope you enjoy the show and if you have any comments or suggestions please write to me at: tc@wickedproblems.fm. Enjoy, Toby Corballis

Dr. Alan Kurschner explicated here in Part 2 the lines of evidence that Colin R. Nicholl adduces that supports the "Restrainer" being Michael the archangel. 1. Contemporary Jewish literature viewed the characteristics of Michael having eschatological pre-eminence as the chief opponent of Satan and Restrainer of God's people. 2. Michael is viewed as a celestial restrainer of God's people in Daniel 10–12, the passage serving as the source for Paul's exposition in 2 Thessalonians 2:3–8. 3. Daniel's use of the Hebrew term ʿmd comports with the activity of the restrainer in 2 Thessalonians 2:6–7. 4. The Greek term parerchomai in Daniel 12:1 of the Septuagint (LXX) means, “to pass by,” which corresponds with the ceasing of restraint in 2 Thessalonians 2:6–7. 5. Early Rabbinic interpretation of Daniel 12:1 perceived Michael as “passing aside” or “withdrawing” just after Antichrist's establishment near or at the temple mount (Dan 11:45), just before the eschatological unequaled tribulation against God's people (Dan 12:1). 6. Revelation 12:7–17 supports viewing Michael as the Restrainer because it links the cessation of Michael's war against the dragon with the unprecedented persecution of God's people, which is consistent with 2 Thessalonians 2:6–7 and Daniel 11:45–12:1. Given this evidence, the only candidate who can explain the Restrainer being removed is Michael. Other proposals for the Restrainer are hard-pressed to comport with those roles. Thus, this is a strong case that the apostle Paul in 2 Thessalonians 2:6–7 refers to Michael the archangel as the Restrainer, whose ministry ceases and causes the eschatological temple to be desolated by Antichrist, ensued by his great tribulation against God's people. At the conclusion of the program, Dr. Kurschner explained Colin Nicholl's understanding of the masculine and the neuter in reference to Michael, where in verse 6, it is in the neuter gender to katechon (“what holds him back”), and in verse 7, it is in the masculine gender ho katechōn (“the one who holds him back”). Nicholl believes the best explanation is recognizing the Greek can use the neuter gender to refer to a person while the emphasis is on an exceptional quality of the individual (e.g., 1 Cor 11:5; 1 Cor 1:27–28; Gal 3:22; John 3:6; 17:24; 1 John 5:1–4; Matt 12:6). Thus, the neuter in verse 6 refers to Michael with a focus on his restraining ministry, while the masculine in verse 7 refers to Michael himself. Bibliography: In the April 2000 volume of The Journal of Theological Studies, Colin R. Nicholl published the seminal article, “Michael, The Restrainer Removed (2 Thess. 2:6-7),” arguing strongly that Michael is the Restrainer. After his journal article was published Nicholl published it as an appendix in his important monograph (which was his dissertation) From Hope to Despair in Thessalonica: Situating 1 and 2 Thessalonians, Cambridge University Press, 2004.        

Dr. Alan Kurschner explained the context of the Restrainer question. Who is the "Restrainer"? This question stems from Paul's text in 2 Thessalonians 2:6–7.  "And so you know what holds him back, so that he will be revealed in his own time.  For the hidden power of lawlessness is already at work. However, the one who holds him back will do so until he is taken out of the way." Dr. Kurschner is from the persuasion that the identity of the Restrainer in 2 Thessalonians 2:6–7 is the Archangel Michael. There are several compelling lines of evidence to conclude this, and the value of this conclusion is its consistency to the overall prewrath position, even though it is not an essential tenet to the prewrath view. From a negative point of view, it undermines the pretribulational interpretation that the Restrainer is the Holy Spirit. The Michael interpretation is not new since there have been about a dozen theologians and scholars over the last hundred years who have taken this position. Even Robert Van Kampen, a pioneer of the pewrath position, held to this view. But it was not until the year 2000 that a young Thessalonian scholar by the name of Colin R. Nicholl came along that would, for many scholars, put the nail in the coffin of the Restrainer debate. In the April 2000 volume of The Journal of Theological Studies, Colin R. Nicholl published the seminal article, “Michael, The Restrainer Removed (2 Thess. 2:6-7),” arguing strongly that Michael is the Restrainer. After his journal article was published, Nicholl published it as an appendix in his important monograph (which was his dissertation) From Hope to Despair in Thessalonica: Situating 1 and 2 Thessalonians, Cambridge University Press, 2004. Dr. Kurschner gave some context to Paul's restrainer text that helps situate this question for next week's episode. Paul reminds the Thessalonians that they know about the restraining ministry of Antichrist's revelation: “And so you know what holds him back.” The Thessalonians are under the false impression that the day of the Lord is occurring. To correct their error, Paul teaches that before the Lord's revelation happens, the Antichrist's revelation will occur first. But even before the Antichrist's revelation occurs, Paul explains that the individual who restrains Antichrist's revelation must be first taken away. Traditionally, the enigmatic person who restrains has been properly designated “the Restrainer.” Once the Restrainer is removed, this causes Antichrist's revelation, resulting in Antichrist taking his seat in the temple and proclaiming himself as God (2 Thess 2:4). When this happens at the midpoint of the seven-year period it will cause the abomination of desolation and the unabated great tribulation will commence. It was also noted that the issue of the identity of the Restrainer is not essential to the prewrath position, namely because it does not sway the fact that Paul teaches two events must occur before Christ's return: the apostasy and the revelation of the man of lawlessness. So one can be prewrath and disagree that it is Michael because it simply is not inherent to the prewrath position. Conversely, pretribs can hold the Michael view. Similarly, the issues of identifying the religion or ethnicity of the Antichrist, the False Prophet, the Great City of Babylon, or the Two Witnesses are not exclusive to a particular a rapture view. That being said, it is believed that identifying the restrainer as Michael is the most consistent interpretation and that it fits well with the prewrath position. In part 2 next week, Dr. Kurschner will distill Colin Nicholl's argumentation and provide specific lines of evidence.    

Writer Jimmy Miller reflects on a script that changed as he changed, ultimately leading to his current Nicholl Fellowship win.

Many in the North American church "get it." They have context for support-based work and see their part in it... but many don't.Today's episode is actually in response to a question from a listener. "What do you do when your family isn't supportive, when they tell you that you should get a 'real' job?"Spencer and Annette Nicholl have been support-based workers for over thirty years, but the early days of their journey were not smooth.  They humbly share their experiences in navigating an unsupportive family and community while maintaining a resolved trust in God's goodness.Spencer and Annette now live and work in Colorado with Big Horn Ministries - a ministry they founded to provide care for ministry workers.

 Weiko is a screenwriter, producer and director who has worked in Hollywood and around the world. He's been a Nicholl's Fellowship Finalist, he's won the Samuel Goldwyn Writing Award. He served as the co-chair for the Writer's Guild Asian American Writer's Committee.  He is the author of “Crazy Screenwriting Secrets: How to Capture a Global Audience” and the Graduate Director of Screenwriting at Loyola Marymount University  in Los Angeles. 

Denise Cruz-Castino is a Latina screenwriter whose first produced movie, 5 Weddings premiered at Cannes in 2018. It starred Rajkummar Rao of the Oscar nominated film The White Tiger, with co-stars Bo Derek and Candy Clark, and played in 52 countries. Her latest animated children's horror shorts that she sold to DreamworksTV are on Peacock's streaming series Spine Chilling Stories. She sold a live action short, The Fountain, to Disney, her horror short, Imaginary Friends, was produced by Raving Eejit Entertainment, and did the festival circuits. Her comedy short, Things Look Grim was produced by Sasha Goldberg. She and her writing partner Johnny Harrington have a sitcom about Denise's crazy family that's Mexican on one side and Jewish on the other that's currently in development. She's getting ready to go into production to direct her first short in 2023 for a strong female lead dramedy. Her scripts have placed in Final Draft Big Break, Fade-In Screenwriting and Nicholl's Fellowship contests. 5 Weddings follows an American journalist, who travels to India to cover Bollywood weddings. Interwoven with the joy and fun of these traditional ceremonies, the film goes beyond the fluff -- to explore the human component of Hijras: a sect of transgender dancers who have been an integral part of Indian weddings for centuries.

Alex Forsyth presents political discussion from Share Discovery Village near Lisnaskea

https://www.davidscotthay.com He is an award-winning playwright, screenwriter, and novelist; hailed by the Chicago Sun-Times as a new generation Albee-Mamet-Shepard. (“hailed” is a strong word, but it was a very nice review of one of my plays).DSH's screenplay adaptation of his play HARD SCRAMBLED* won Creative Screenwriting Magazine's New Visions Filmmaking Fellowship enabling him to direct the indie feature film starring Kurtwood Smith (That 70s Show, RoboCop). The film held its premiere at the Cinequest San Jose Film Festival (2006) and went on to win Best Dramatic Feature at the Garden State Film Festival. (great night. previous night was even better, rockabilly at Asbury Lanes)He has been a finalist to quarterfinalist in the Nicholl, Scriptapalooza, and Final Draft Big Break screenwriting competitions with his screenplays, AWOL Blues, Snow Dragon, and Straight Razor Jazz. He is the recipient of an Illinois Arts Council Finalist Award and Special Screenwriting Grant. (where I adapted, produced and directed a horrible short film)As a playwright, DSH wrote the critically acclaimed plays HARD SCRAMBLED, CELESTE, [THE] VIOLENT SEX, and KILLING LUCIFER amongst dozens of assorted productions and staged readings. He is also the co-writer of the Civil Rights play THE MARKER with David Barr III and Glenn Jeffers. And the co-writer on THE FACE OF EMMETT TILL also with David Barr III. #DavidScottHay #NSFW VOX VOMITUS: Sometimes, it's not what goes right in the writing process, it's what goes horribly wrong. And VOX VOMITUS has been going “horribly wrong” in the best way possible for the past TWO YEARS! Host Jennifer Anne Gordon, award-winning gothic horror novelist and Co-Host Allison Martine, award-winning contemporary romance novelist have taken on the top and emerging new authors of the day, including Josh Malerman (BIRDBOX, PEARL), Paul Tremblay (THE PALLBEARERS CLUB, SURVIVOR SONG), May Cobb (MY SUMMER DARLINGS, THE HUNTING WIVES), Amanda Jayatissa (MY SWEET GIRL), Carol Goodman (THE STRANGER BEHIND YOU), Meghan Collins (THE FAMILY PLOT), and dozens more in the last year alone. Pantsers, plotters, and those in between have talked everything from the “vomit draft” to the publishing process, dream-cast movies that are already getting made, and celebrated wins as the author-guests continue to shine all over the globe. www.jenniferannegordon.com www.afictionalhubbard.com https://www.facebook.com/VoxVomituspodcast https://twitter.com/VoxVomitus#voxvomitus #voxvomituspodcast #authorswhopodcast #authors #authorlife #authorsoninstagram #authorsinterviewingauthors #livevideopodcast #livepodcast #bookstagram #Jenniferannegordon #allisonmartinehubbard #allisonmartine #allisonhubbard #liveauthorinterview #livepodcast #books #voxvomituslivevideopodcast #Jennifergordon --- Support this podcast: https://podcasters.spotify.com/pod/show/voxvomitus/support

The guys to get together this week to break down the TCU Nicholls game. They give their thoughts on if the offense is really struggling, did the defense improve, and they preview the upcoming Houston game.

This podcast will give you the tools and techniques to foster a learning culture in your organization. Whether you work at a junior level or are an executive, Sarah's guidelines can equip you to utilize leadership, AI, context and habit formation to incorporate learning into your routine. Learning is like exercise. Once you develop a healthy habit, you need to keep going! But how do you foster a learning culture in your organization? In this interview, Sarah joins Kurt Nelson and Tim Houlihan to talk about her book "Learning Habits Drive a Learning Culture to Improve Employee and Business Performance". Sarah discusses how organizations can establish a learning culture by focusing on learning habits.  Based around the famous habit cycle of cue, routine and reward, Sarah adds in the important 4th element of context. Leaning on the excellent work of Wendy Wood, Sarah emphasizes the importance of creating an environment in which your desired habits are supported as a much more effective tool than relying on willpower alone. Learning in an organization is driven by leadership. By modeling learning behaviors and setting the expectations for a learning culture, leaders can elevate the productivity of their team. She discusses how team meetings, one-on-one conversations and social media can all be leveraged to encourage learning habits. But one thing particularly stands out about Sarah's work is that she incorporates concepts from behavioral science like social proof, cues and rewards that can help make learning automatic and habitual.  If you want to keep learning from people like Sarah Nicholl on Behavioral Grooves Podcast, please support our work by contributing on Patreon. Thank you to all our listeners who already do.   Topics  (2:48) Welcome and speed round questions. (6:16) Learning habits that contribute most to healthy organizations. (9:03) Using learning to change behavior. (11:19) How to incorporate learning into the team meeting. (13:24) Context matters! (15:16) How do you create a learning culture? (19:01) What is the LEARN model? (22:42) The impact of generative AI on learning. (27:42) The value of social proof for learning. (31:07) How behavioral science plays a part in learning. (33:24) What Sarah learnt herself from writing the book. (34:21) What music would Sarah take to a desert island? (36:16) Grooving Session on learning.   © 2023 Behavioral Grooves Links  Sarah Nicholl's book, "Learning Habits: Drive a Learning Culture to Improve Employee and Business Performance": https://amzn.to/3E8oyQX Meryl Streep: https://en.wikipedia.org/wiki/Meryl_Streep The Laundromat: https://en.wikipedia.org/wiki/The_Laundromat_(2019_film) BJ Fogg, "Tiny Habits: The Small Changes That Change Everything": https://amzn.to/3D4hiFi  Wendy Wood, "Good Habits, Bad Habits: The Science of Making Positive Changes That Stick": https://amzn.to/3NHv31p   Episode 31, Leaving the Matrix: Annie Duke and Insights into how you can improve your thinking!: https://behavioralgrooves.com/episode/leaving-the-matrix-annie-duke-and-insights-into-how-you-can-improve-your-thinking/  MINDSPACE Framework: https://thedecisionlab.com/reference-guide/neuroscience/mindspace-framework#:~:text=MINDSPACE%3A%20A%20mnemonic%20for%20the,affect%2C%20commitments%2C%20and%20ego.  Episode 41, From MINDSPACE to EAST with Michael Hallsworth: https://behavioralgrooves.com/episode/michael-hallsworth-from-mindspace-to-east/ Daniel Kahneman “Thinking Fast and Slow”: https://amzn.to/3NDph0V  James Clear, "Atomic Habits: An Easy & Proven Way to Build Good Habits & Break Bad Ones": https://amzn.to/3O2HAhd  Behavioral Grooves Patreon: https://www.patreon.com/behavioralgrooves    Musical Links  Shania Twain “That Don't Impress Me Much”: https://www.youtube.com/watch?v=mqFLXayD6e8  James Taylor “You've Got A Friend”: https://www.youtube.com/watch?v=9jgh6h6eYLk 

ATA CEO Andrew Nicholl joins The Verdict team to discuss the latest news regarding the Brunton Racing Stable.

Australian Trainers Association Andrew Nicholl joins Racing Pulse regarding new Workcover concerns, his view on whip-free racing and the Big Bash Racing model 

In this episode of The Cloud Unplugged Podcast, Nicholas Chang, and Steve Nicholl, from Kainos, join Jon to share insights on the challenges of navigating cloud adoption framework, platform engineering, and the significance of collaboration in the industry. They cover keeping up with the rapidly evolving cloud technologies through social networking, choosing the right platform and service for creating applications, and giving autonomy to developers while implementing the necessary guardrails to prevent damage. Nicholas Linkedin: https://www.linkedin.com/in/nicholas-chang-41b83052/ Steve Linkedin: https://www.linkedin.com/in/steve-n/

ATA boss Andrew Nicholl joins us to chat about the possibility of later start times for training horses off the back of comments made yesterday by Ben Gleeson

CEO of the ATA Andrew Nicholl joins us off the back of the announcements made by RV last week regarding prize money and programming

Hey there, everybody! Today on the show, I'm talking to screenwriter and director, Avishai Weinberger! His short film, THIRD DATE, currently has more than 1.4 million views on the popular YouTube Horror channel, Alter. In addition, his feature script, PRECIPICE, reached the Top 50 in the Nicholl and is currently in development. We get into all that and more! Give this episode a listen, like, follow, subscribe, say something nice on Twitter/Instagram and remember to tag us, @SocialWriterPod! If you'd like to support us with a donation, you can now do so by going to our Linktree in the bio of our Twitter or Instagram and click the Donate button. Anything helps! Thanks so much for the support, y'all. -Andy

The Making of a Royal Romance by Katie Nicholl ch2https://bit.ly/3Li28zOWilliam and Harry was an overnight sensation when it was published a week before Prince William and Kate Middleton's engagement announcement in November 2010. Now the author, a royal insider and the royal correspondent for the Daily Mail, has updated and added crucial material that completes the story of this fairytale romance. In addition to providing fascinating insight into the lives and loves of two young men who are very much in the public spotlight worldwide, this updated version now becomes the definitive book that brings their story - and that of Kate Middleton, the future Queen Catherine - up to date.The author now fully reveals the secret marriage pact that William and Kate have had for several years, dispelling the notion that Kate Middleton has been "Waity Katie". It paints a portrait of Kate by looking back at her family and childhood, her close friends and former boyfriends, and her ever-present devotion to the love of her life, Prince William. It reveals the domestic life that the two have been living in Wales and provides a look at what the future holds for their new commitment. The epilogue focuses on the wedding preparations.https://bit.ly/3Li28zOhttps://bookcastmedia.com

The Making of a Royal Romance by Katie Nicholl ch1https://bit.ly/3Li28zOWilliam and Harry was an overnight sensation when it was published a week before Prince William and Kate Middleton's engagement announcement in November 2010. Now the author, a royal insider and the royal correspondent for the Daily Mail, has updated and added crucial material that completes the story of this fairytale romance. In addition to providing fascinating insight into the lives and loves of two young men who are very much in the public spotlight worldwide, this updated version now becomes the definitive book that brings their story - and that of Kate Middleton, the future Queen Catherine - up to date.The author now fully reveals the secret marriage pact that William and Kate have had for several years, dispelling the notion that Kate Middleton has been "Waity Katie". It paints a portrait of Kate by looking back at her family and childhood, her close friends and former boyfriends, and her ever-present devotion to the love of her life, Prince William. It reveals the domestic life that the two have been living in Wales and provides a look at what the future holds for their new commitment. The epilogue focuses on the wedding preparations.https://bit.ly/3Li28zOhttps://bookcastmedia.com

We hear an interview with the late Jimmy Nicholl, who died trying to save a drowning man. Liam is a clamper and he's fed up with all the abuse he gets.

In the recap of episode 3 with Dr. Shadrach, we are joined by Andrew Nicholl - a self professed product of "good donor relations". In this conversation, we unpack foundational principles of partnership and fundraising alongside Andrew's own experiences of growing up on support and raising personal support himself. 

Seth M. Sherwood is a Los Angeles based screenwriter, director, designer, and producer. He is a credited writer on Leatherface, and Hellfest and is serving as Co-Executive Producer on season 2 of Light As A Feather for Awesomeness TV & Hulu. He has feature and television projects in development across town. Sherwood's tale of the son of serial killer hot on the trail of a copycat killer, Interstate 5, appeared on the list, bringing him to the attention of industry execs looking for the next hot genre writer. Seth has penned a prequel to the original 1974 classic horror film, The Texas Chainsaw Massacre, a highly anticipated origin tale entitled Leatherface from Millennium Films. Sherwood has lived in Los Angeles for the past 16 years. He grew up in the Pacific North West, and started writing short stories as an undergraduate majoring in photography and design. He then attended graduate school at Cal Arts, focusing exclusively on prose writing. The move to Los Angeles convinced him he should try his hand at screenplays. In grad school he wrote two or three screenplays. “They were those two or three you just have to write to get it out of your system. They're never going to be any good, but you have to write them to get them out of the way, so you can start to know your craft better.” After graduating Sherwood worked as an in-house graphic designer for various companies. He continued to write, but rarely circulated his work. “I was very shy and I wasn't necessarily a great networker. I was writing but I wasn't putting it out there.” After six years he finally wrote a script he was confident enough to go out with, and even then his engagement with the industry was sporadic. Sherwood had some success with the Nicholl prize as a quarter-finalist which spurred him to continue writing. He wrote Interstate 5 which appeared on the Black List, and was introduced by a mutual friend to independent manager/producer Kailey Marsh. When Millennium was looking for a new writer to pen Leatherface, they approached Sherwood, who ultimately landed the gig. To Sherwood, the key to success as a screenwriter is to be prolific. “It's a number game. You have to have lots of scripts. I can't even imagine going out there to the industry without at least two or three finished scripts, maybe even four. Nine times out of 10 they read your script, they love it, but they're still not going to make it. They're going to either want you to pitch on their idea or they're gonna ask you what else you have or what else you're working on, and if you only have one idea, that's going to be a really short meeting.” Sherwood's advice to new writers? Focus on the writing, and success will follow. “If I could have all the time back that I spent worrying about finding an agent, I'd be very fortunate. It should not be a goal for new screenwriters. I was one of those people who had one script and spent a year wishing I had an agent for that one script, when really I should have been spending that time writing more scripts. Before Leatherface happened I had three or four agents interested in me, but they basically didn't want to do anything with me until I had a deal, then once Leatherface happened, all of a sudden I had my pick.” Sherwood now has his pick of projects too, and we look forward to seeing Leatherface tear up the screen in Sherwood's new vision. https://twitter.com/SethMSherwood https://sethmsherwood.substack.com/ Thank you for tuning in to this episode of Entertainment Business Wisdom. We invite you to subscribe, like, review, and share it with your friends and colleagues. Connect with your host Kaia Alexander: https://entertainmentbusinessleague.com/ https://twitter.com/thisiskaia  Produced by Stuart W. Volkow P.G.A. Get career training and a free ebook “How to Pitch Anything in 1Min.” at www.EntertainmentBusinessLeague.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey there, everybody! Today on the show, I'm talking to twin screenwriting duo, Gina and Lisa Gomez! With one of the craziest screenwriting origin stories I've ever heard, this is an episode you won't want to miss! Give this episode a listen, like, follow, subscribe, say something nice on Twitter/Instagram and remember to tag us, @SocialWriterPod! If you'd like to support us with a donation, you can now do so by going to our Linktree in the bio of our Twitter or Instagram and click the Donate button. Anything helps! Thanks so much for the support, y'all. -Andy

Listen in to this episode as Dr Nicholl-Pierson and Dr Baldwin share their experiences of working as junior doctors in Scotland. Enjoy and stay tuned for further episodes about the foundation programme!

This week on the Creative Writing Life podcast, Chip Street joins Justin and Paul to discuss #screenplay #options! Watch the YouTube video here - https://youtu.be/QS4lfrK48G4 21 Things You Need To Know About Screenplay Options: The Indie Screenwriter's Guide To Protecting Yourself And Getting The Best Deal Kindle Edition by Chip Street GET THE BOOK Chip Street on Optioning Your Screenplay 21 Things You Need To Know About Screenplay Options: The Indie Screenwriter's Guide To Protecting Yourself And Getting The Best Deal Are you an indie screenwriter looking to protect yourself and secure the best deal in a screenplay option? Look no further than Chip Street's 21 Things You Need To Know About Screenplay Options: The Indie Screenwriter's Guide. Based on his own experiences and negotiations, Chip offers valuable insight and tips on navigating the option process. He even enlisted the help of a top lawyer to mark up contracts and go over potential points of concern or negotiation. With Chip's guidance, you'll feel more informed and confident in your own negotiations. And, with Chip's own successful track record as a professional screenwriter in various genres, you can trust that his advice is well-informed and effective. Don't miss out on Chip Street's expert advice in 21 Things You Need To Know About Screenplay Options: The Indie Screenwriter's Guide. Protect yourself and secure the best deal for your screenplay today. About the Author Chip Street is a professional screenwriter in a variety of genres. His feature screenplay "Rocket Summer" has sold and is looking for funding and distribution. He also has multiple options on other properties, and dozens of shorts and industrials produced. IMDB credits include screenwriter (additional writer), story consultant, short screenwriter, art director, and director. He's also been a screenplay contest judge and a juror for film festivals. Placements include: Semi-finalist Slamdance (co-writer). Top 20% Austin FF (co-writer). Top 15% Nicholl. Finalist Shriekfest Screenplay Competition. Chip's articles on writing and storytelling have been cited, referenced, or quoted by SimplyScripts, Script Magazine, the BlueCat Newsletter, IndieWire, JohnAugust.com, Bleeding Cool, ScriptTips, Scriptchat, MovieOutline.com, No Film School, and Wikipedia.

Australian Trainers Association CEO Andrew Nicholl joined racing Pulse to discuss the situation between Kylie Vella and Colac Racing Club that saw the trainer evicted from the course Learn more about your ad choices. Visit megaphone.fm/adchoices

Liz Nicholl: The ‘Most Powerful Woman in British Sport' by CSM

Introduction: Minutes 0 to 6:00 My dog did not do well at doggy day care. I've been watching 9-1-1. Chandra is watching Archer and Abbott Elementary. I watched a few House of the Dragon episodes but I didn't care about anyone. Chandra is reading the book Blackout by Erin Flanagan but she hates it. Royals: Minutes 6:00 to 22:15 Of the three royal biographies we talked about last week, Valentine Low's Courtiers: The Hidden Power Behind the Throne has the most tea. Low wrote about how Meghan was smeared back in March of 2021, right before the Oprah interview aired, for wearing earrings which were a wedding gift from Saudi Prince Mohammed bin Salman, who ordered the murder of Jamal Khashoggi. It's unclear what Meghan was told about the provenance of the jewelry. These earrings were part of the royal collection and had to be lent to Meghan to wear. Katie Nicholl wrote in The New Royals about how mad the royal rota was at Harry and Meghan for keeping the news of Archie's birth a secret at first and for staging the photos at Windsor castle. Meghan said in her Oprah interview that she was scared Archie wasn't going to be kept safe because he wasn't being given a title or security, and that she also wasn't asked to pose for photos outside the hospital. Nicholl said in an interview that staffers were mad that Meghan expected them to do work, essentially. She also wrote that Charles was jealous of Diana, that he was jealous of Kate and that Kate and William were jealous of Meghan. We got a new official photo of Charles, Camilla, William and Kate that was taken on September 18th at a diplomatic reception the day before Queen Elizabeth's funeral. The tone is off as they're all smiling. We talk about how Kate raided the Queen's jewelry right after the Queen died.  We also got two new photo portraits of Meghan and Harry, taken at the One Young World Summit before the Queen passed. Charles wants to stop Harry's memoir. The Telegraph reported that Charles is considering getting his lawyers to explore options. They're also upset about Harry and Meghan's upcoming Netflix documentary. Last week we talked about how Queen Margrethe of Denmark was taking away the HRH and Prince and Princess titles from her four grandchildren from her younger son, Prince Joaquim. Joaquim and his second wife, Mary, gave an interview admitting that they were hurt by this decision and that their relationship with the family was complicated. After that Margrethe apologized and said she hopes that they can all make peace, but that she stands by her decision. Joaquim's oldest son, former Prince Nikolai, 23, said he's in shock and sad about the decision. Joaquim and Mary have been living in France for years. I play a segment from Zoom where we talk about the royals. Brad Pitt and Angelina Jolie: Minutes 22:15 to 28:30 We last talked about Brad Pitt and Angelina Jolie in episode 132, when the heavily redacted FBI report came out. We didn't hear until now that Brad choked one of their children, that he poured beer and wine on the children, and that he hit one of the children in the face. Those details were included in Jolie's cross complaint to his objection to her selling her portion of Chateau Miraval, their wine company. It took her years of legal harassment from Brad to come out with this information. She gave him so many chances to buy out her portion of the company. Stoli, which bought Angelina's portion of the business, is now suing Brad. I play a segment from Zoom where we talked about Brad and Angelina. Gisele Bundchen and Tom Brady: Minutes 28:30 to 31:45 Gisele Bundchen is divorcing Tom Brady. This divorce has been exceptional in that she's been clear about the reasons she's doing it, because he went back to playing football after announcing his retirement. She's been caring for their children for years and he's promised her that she could return to her career when he retired but he reneged on that. They're being admirably open about their problems. Gisele's Elle interview was so breezy and forward-focused. There was a story about how Tom was attentive to their children “in the off season.” Comments of the Week: 31:45 to end Chandra's comment of the week is from Emmi on the post about who should be the next Bond. My comment of the week is from girl ninja on the post about Naomi Watts talking about menopause. Thanks for listening bitches!

How did one writers group produce 3 Nicholl winners in 6 years? Hard work, dedication, and a highly conscientious and regimented approach to getting shit done. Today, Nicholl winners Alisha Brophy and Scott Miles get into ALL of the details of their notoriously successful writers group, and how you can succeed to.  --- Support this podcast: https://anchor.fm/thescreenwritinglife/support

Introduction: Minutes 0 to 7 My new puppy is doing great but I don't let him sleep in my room. Chandra started watching Blonde and it's not as bad as she expected. (Update: She finished and it's bad.) Roger Federer retired after playing his final match with Rafa Nadal and it was sadder than Chandra expected.  Royals: Minutes 7:00 to 30:00 Last week we had the Queen's funeral on Monday. We were surprised how long the public portion was and didn't expect the Windsor portion to be aired. Both Harry and Meghan were impeccable and regal at the many ceremonies despite everything that's been thrown at them. Harry stood out and the cameras kept finding him and Meghan. I play a segment from Zoom where we talked about the Queen. Kate and William seemed especially happy after the Queen died and Kate sure helped herself to the Queen's jewelry. When I die I want a quick funeral so people can go about their day. There are three new royal books out now. Valentine Low's book is Courtiers: The Hidden Power Behind the Throne, that seems to have the most tea, Katie Nicholl has The New Royals and Angela Levin has Camilla From Outcast to Queen Consort. Valentine Low seems to know that his sources are racist.  In Valentine Low's book Meghan is blamed for the way she was treated by the palace staff. These talking points were pushed by the palace earlier to Robert Lacey for Battle of the Brothers. It goes far beyond victim blaming and proves that Meghan was downplaying the abuse she endured. Low gives a bunch of examples of the royal staff being incompetent and rude to Meghan while her reactions seem perfectly reasonable. At one point Meghan disagreed with the plans a female staff member had made and told her to change them. When the woman said it would be too hard, Meghan responded “Don't worry, If there was literally anyone else I could ask to do this, I would be asking them instead of you.” Meanwhile Charles sounds like an awful boss. He's gone through five secretaries in seven years and he calls his staff at all hours of the day, including on Christmas. His office is described as toxic and the staff are backstabbing. Nicholl's book has the detail that we've heard before that William can't forgive Harry and that William “always expected Harry would be his wingman.” She also writes that Charles is holding Archie and Lilibet's titles over the Sussexes' heads depending on what Harry reveals in his memoir. We got so many stories about how and why Meghan wasn't invited to Balmoral when the Queen took a turn for the worse. It was telling that instead of focusing on the Queen after her death the press was about the Sussexes and everything they were supposedly doing wrong. We heard that Meghan wasn't invited because Kate didn't come for whatever reason. We wish Meghan would come out and say how despicable the royal family is, but they've been showing that with their actions. Meanwhile there are all these stories about whether Harry and his family can make up. Charles is said to have hope that they can but Gayle King reported that there was no peace deal at the funeral. Harry's kids don't have titles and Harry and Meghan have been demoted on the Royal.uk website to the bottom. We don't think Harry will dish the dirt in his first memoir but hopefully he will in his future books. I play a segment from Zoom where we talk about Charles. We talk about how Queen Margrethe of Denmark removed the royal stylings and titles from her grandchildren without telling them first. The Cambridges are sort-of stepping into their roles as Prince and Princess of Wales. They went to Wales, where William tried out his rudimentary Welsh. It was supposed to be a low key visit. It doesn't seem like they knew they were getting the Wales titles right away. Comments of the Week: Minutes 30:00 to end Chandra's comment of the week is from Light Purple on the story where Khloe Kardashian claimed she was engaged to Tristan Thompson last year. My comment of the week is from Lunchcoma on the post where Brad Pitt said that Emily Ratajkowski is hot. Thanks for listening and subscribing bitches!

Hello Family,Welcome back! This is day 21 of our 54-Day Rosary Novena.Family, I invite you to visit our website 54daysofroses.com.  on our website; you can subscribe to our email list. You can download a copy of the prayers, and you can purchase the book The Miraculous 54-Day Rosary Novena to our Lady by Christopher Hallenbeck.If you have any book recommendations, please email me at prayers@54daysofroses.com.  I would like to add these book recommendations to our website.Day 21;  Glorious Mysteries in PetitionToday, day 21, we're praying the Glorious Mysteries in the petition.  Mother, Queen of the Most Holy Rosary, we ask that you intercede for our petitions and bring us closer to the Sacred Heart of Jesus.We pray for all expectant mothers who are placing their children for adoption; Give these mothers strength, courage, and peace.We pay for all children in foster care and children in the process of adoption; May these children find loving parents and a stable home rooted in faith.We pray for foster families and families who have or are in the process of adoption. Give these families a generous heart.And we pray for our Family's intentions here on the podcast.For all intentions received by email, Instagram, and YouTube.And we pray for the intentions of: Emily, Maria Claudia, Karen, Lisette, Kevin, Aurora, Erica, Rachel, Angeleen, Gerardo, Amanda, Erin, Linda, Anne, JRod, Judy, Danny, Ana, L.E.A.,  Nicholl, Duane, Mikaella, Kathy, Jayne, Krystal, Katie, Agnes, Alejandra, Emily, Johny, Holy, Rosie, Catholic Campus Ministry, Shyriel, Little Flower of Mercy, Jeoel, Alex, Judy, Isabel, Marcia, Dom Carlos, Angelina, Megan, Jen, Sonia, Lorih, Paulo, Lisa, and Sara.With love, Maritza MendezLinktr.eehttps://linktr.ee/54daysofrosesWebsite:https://www.54daysofroses.com/Live Rosary Prayerhttps://calendly.com/54daysofroses/liverosary_8?month=2022-09Book a Rosary prayer with Maritzahttps://calendly.com/54daysofroses/rosaryprayerVenmohttps://account.venmo.com/u/Novena54DaysofRosesSupport our Ministryhttps://www.54daysofroses.com/supportContent Creator & Web designhttps://lillywriteshere.com/Audio Engineerhttps://luisaperez238.wixsite.com/portafolioSupport the show

Hola familia,¡Bienvenidos de nuevo! Este es el día 21 de nuestra Novena de 54 días.Familia, los invito a visitar nuestra página web 54daysofroses.com. En ella se pueden suscribir a nuestra lista de correo electrónico, descargar una copia de las oraciones, y pueden comprar el libro "La milagrosa novena del rosario de 54 días a la Virgen", de Christopher Hallenbeck.Por favor, si tienes alguna recomendación de libros, envíame un correo electrónico a oremos@54daysofroses.com.  Me gustaría añadirlas a nuestra página web.Día 21; Misterios Gloriosos en PeticiónHoy, día 21,  rezaremos los Misterios Gloriosos en petición.Madre, Reina del Santísimo Rosario, te pedimos que intercedas por nuestras peticiones y nos acerques al Sagrado Corazón de Jesús.Te pedimos por todas las futuras madres que dan a sus hijos en adopción; dales fuerza, valor y paz.Pedimos por todos los niños en orfanatos y en proceso de adopción; Que encuentren unos padres cariñosos, un hogar estable, y que esté basado en la fe.Pedimos también por las  familias que tienen o están en proceso de adopción; Da a estas familias un corazón generoso.Rezamos por las intenciones de nuestra familia aquí en el podcast, Por todas las intenciones recibidas por correo electrónico, Instagram y YouTube.Y rezamos por las intenciones de: Emily, Maria Claudia, Karen, Lisette, Kevin, Aurora, Erica, Rachel, Angeleen, Gerardo, Amanda, Erin, Linda, Anne, JRod, Judy, Danny, Ana, L.E.A.,  Nicholl, Duane, Mikaella, Kathy, Jayne, Krystal, Katie, Agnes, Alejandra, Emily, Johny, Holy, Rosie, Catholic Campus Ministry, Shyriel, Little Flower of Mercy, Jeoel, Alex, Judy, Isabel, Marcia, Dom Carlos, Angelina, Megan, Jen, Sonia, Lorih, Paulo, Lisa, y Sara.Con amor,Maritza Mendez.Linktr.eehttps://linktr.ee/54daysofrosesPágina webhttps://www.54daysofroses.com/Oración del Rosario, en vivo.https://calendly.com/54daysofroses/liverosary_8Oración del Rosario, con Maritzahttps://calendly.com/54daysofroses/rosaryprayerVenmohttps://account.venmo.com/u/Novena54DaysofRosesCreación de Contenido y Diseño Webhttps://lillywriteshere.com/Audiohttps://luisaperez238.wixsite.com/portafolioApoya el Podcasthttps://www.54daysofroses.com/supportSupport the show

The Australian Trainers Association CEO Andrew Nicholl joins us in the studio to discuss a range of issues facing the training landscape at the moment and what is being done to ensure it remains as fair for all moving forward

Are you interested in creating mutiple streams of income but you don't know where to start? In this episode Nicole shares so much good information on multiple streams of income and where to start! Find Nicole on Instagram- https://instagram.com/nicolemnicholl?igshid=YmMyMTA2M2Y= https://instagram.com/becomingwealthyher?igshid=YmMyMTA2M2Y= --- Send in a voice message: https://anchor.fm/creativegrace/message

Andrew Nicholl Trainer's Association Response to the proposed changes to Caulfield

Listen in as I share my journey so far as a Registered Dietitian. What I've learned is that your path as a Dietitian may not be clear or linear. For me, there were many ups and downs and lots of walking through open doors, not knowing what was waiting for me on the other side. If you're not sure what you want to do as a dietitian, you're definitely not gonna want to miss this episode. One thing I know for sure, you have a gift and strengths that will guide you through your journey. @JanaNichollRD

With special guest Heidi Hornbacher, Anna and Derek chat about the joyful nostalgia of packed movie theaters, the perfect casting of Sean Connery and Harrison Ford as father and son and so much more during their discussion of Steven Spielberg's Indiana Jones and the Last Crusade (1989).  Connect with '80s Movie Montage on Facebook, Twitter or Instagram! It's the same handle for all three... @80smontagepod.Facebook: https://www.facebook.com/80sMontagePodTwitter: https://twitter.com/80sMontagePodInstagram: https://www.instagram.com/80smontagepod/Anna Keizer and Derek Dehanke are the co-hosts of ‘80s Movie Montage. The idea for the podcast came when they realized just how much they talk – a lot – when watching films from their favorite cinematic era. Their wedding theme was “a light nod to the ‘80s,” so there's that, too. Both hail from the Midwest but have called Los Angeles home for several years now. Anna is a writer who received her B.A. in Film/Video from Columbia College Chicago and M.A. in Film Studies from Chapman University. Her dark comedy short She Had It Coming was an Official Selection of 25 film festivals with several awards won for it among them. Derek is an attorney who also likes movies. It is a point of pride that most of their podcast episodes are longer than the movies they cover.  Heidi Hornbacher is an award-winning director who has written numerous features, treatments, and TV pilots for various independent producers. She co-founded the Slamdance Script Clinic and she's the lead screenwriting instructor and story coach for PageCraftWriting. Her clients include Emmy winners, Nicholl winners, TV legends, and regular people with something to say. Her short film, Washed Away, is streaming on Amazon Prime and her most recent script, Gristle, won Austin's Table Read My Screenplay Action/Adventure Genre among many other semi-finalist honors. 

Michael & Phil tackle the subject of agents and managers and what new screenwriters need to do to attract representation. They also discuss pitch fests and screenplay contests.Show NotesMichael's Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/free@DavidHSteinberg will read your script - https://twitter.com/davidhsteinberg/status/1430195753373167623Sarah Cooper is a comedian who grew famous for valuable content she put out on her own. - https://sarahcpr.com/A behind the scenes look at pitch fests - https://twitter.com/ChrisAmick/status/1420501613572022275?s=20Results of screenplay contests - https://twitter.com/EricHaywood/status/1422615678436003842?s=20Screenwriting contest from a Pro's perspective - https://twitter.com/matthewfederman/status/1422615672215900164?s=20Film Festival and Screenplay Contest submission software - https://filmfreeway.com/The Nicholl's Fellowship - https://www.oscars.org/nichollThe Sundance Labs - https://www.sundance.org/applyThe Black List main website - https://blcklst.com/The Black List evaluations and script hosting - https://blcklst.com/register/writer/Writer's Guild of America Dispute with Agencies Explained - https://www.vulture.com/article/wga-hollywood-agents-packaging-explained.htmlTranscriptMichael: (00:00)Whenever I hear a writer, saying they're typing, they're working at Starbucks. I always laugh, come on, man. It's so cliche. I don't do that. It's very rare. Most people who work in Starbucks who are tapping on their computers, please in LA, right? They want you to think that they're a writer. "Look at me. I'm a writer." But if you are real writer, in my experience, it's like, you're not working in a coffee shop. You're working on a show. Michael: (00:28)Hey, welcome back everybody. Today. We're going to be talking about agents and managers. Oh, that's a good one. Phil. Don't you think? Phil: (00:35)I think it's probably the most vital thing for anybody to know about how to become a screenwriter. Michael: (00:39)All right. Um, what are we going to do? Well, I guess everyone wants to know how to find an agent or a manager. What would the reason why you kind of need one is so first of all, you can't submit. I people often say to me, what can I give you? My screenplay? It's just, just so I get some notes or just so you can, you know, whatever, keep me in mind for something in the future. And the answer is absolutely not because I have to me and every other working writer in the industry, we have to protect ourselves. Like, let's say you, you have a talking dog cartoon and you say, Hey, I want you to read my talking dog cartoon. And I, and I get it or whatever. I open it up. I opened up the file like, oh, because now I haven't talking dog cartoon. Michael: (01:17)We all have talking dog cartoons. It's not an original idea, but because I looked at yours now, now if I get mine on the ear, you're going to sue me because we both have terrible clammy ideas. And so naturally I stole yours and that's not the case. It's just like, these are ideas out there. And the same thing with like a joke or an area. So most TV writers will protect themselves. We will not read unsolicited scripts. We just will not do it. Even if you sign a waiver or not gonna do it. Like I, you know, it's just too risky. Phil: (01:45)It's really interesting. So I just saw two cases of this. There's a showrunner who just on Twitter for his birthday announced, "Hey, I will read your script." You have to, he's a lawyer, by the way, you have to understand his, his career was "lawyer". And now he is a writer. Also he has a waiver, you have to sign and you have to agree to, and he gave very specific parameters to get your script to him. And then I, I just retweeted another showrunner today. And she's like, as a reminder, I will not read any unsolicited scripts because I have to legally can't cause I have to protect myself. Yeah. Right. So I'm funny. So, so the case where you're seeing it, you have to keep in mind, like, I mean, they are attorneys or in the case of other people who do you know, the return page counts of your scripts, they have attorneys who have drafted documents to protect them. Michael: (02:31)Yeah, yeah. Right. I don't, I'm not an attorney. I'm not going to do it. Um, but so that's why it has to come through an agent for some reason, when it comes through an agent, you have a layer of protection, but a little bit of the, uh, you know, and that's what the Ford you. So, and I will only read a script by the way, through an agent when it's, when there's something in it for me. And by that, it means like if I'm staffing for a TV show, I need to hire people and then I'll read the script, but I'm not going to read it as a, as a personal, you know, my pastime, you know/. Phil: (03:00)Well, right. And so obviously my, my response to you was a little facetious here. I was, I don't actually think that getting an agent or a manager is the most vital thing to your career. I think that anyone who's listened to any of the podcasts episodes so far understand the Michael Jamin answer to this is be a better be a good writer. Yeah. Right. Whatever. Yeah. Not even a good writer to be a great writer, be so good. I can't ignore you. Michael: (03:22)Yeah. Right. Yeah. That's, that's another episode. We will talk about the future. I want to go into that in great depth, but, but right. And so often when you get made, if you have an agent that means you've, you've surpassed, you've gotten over the first hump, which is like an agent feels like you're good enough. Um, and then, then I'll read a ton of scripts. All the scripts that I read from new writers are they've already cleared that first hurdle. They're good enough to get an agent, but that doesn't mean they're good enough to get a job. Right. And so, you know, you have to be a, you have to have a great script. And if it's like, well, I don't have a great script. Well, I'll find somebody else who does, there's somebody out there who has a great script. Phil: (04:00)Right. Right. So this is an interesting thing, because I think I put an overwhelming amount of emphasis on this question when I was first learning how to be a writer because you on forums and in screenwriting books and on websites, people say, well, you got to get an agent to sell something. And I think, well, I have an idea and I want to sell it. Thus, I need an agent. And the truth is, um, you have to be so good that the agent thinks he can sell you. Right? Yeah. It goes back to our conversation on our last episode about sales it's they are selling something and they were getting a commission for that. And they are not going to waste their time or energy on something, unless they think they can sell what you have, because you are a commodity. Michael: (04:43)Yeah. And if you had, I guess, say an agent, it's someone, there's a couple of things I want to explore. One is if you're up for it, you want to get a staff writing job. You're not competing against other people on the outside who've never written before. You're also competing since staff writers who have already worked, who are willing to do another, do another year as a staff writer. So now you're competing against people who've never done it and people who have done it well, or, and then maybe you're competing as story editors, which is the next level up from staff writer who are willing to take a bump down in salary because they want to work. So now you're competing against people who have one year of experience and two years of experience. So you must be great. You have to be great. And then the agent who's going to sign you. Michael: (05:22)They have a handful of clients and they're have, they have to service all those clients. They're already trying to get those clients work. So if they're going to bring on somebody new that person, you want to make it as easy as possible for them to sell you because they're don't, they already, you know, they got plenty on their plate. And so one way to make it easy is to have a fantastic script, not just a good enough script. And in other way is, uh, if you have a built-in, uh, Beltman, uh, marketing market arm, like you're already very sellable. For example, there was a woman named Sarah Cooper and she blew up during the pandemic because she used to make a viral videos of, of Trump, where she put Trump's speeches. And then she would kinda, uh, lip sync to them. But she wasn't just lip sinking. Michael: (06:04)She would also add little comic touches to them and she'd edit it really clever. I, she put a lot of work into one and they were really quite, they were next level. It was next level stuff. And it blew up on Twitter or one of the social media platforms. And, um, it became so big that she became known... she was an unknown before this. She was, uh, an aspiring actor, comedic actors. She couldn't get, she couldn't get arrested. And because she did all this work on her own and she blew up on her own suddenly it was like, well, it was a no brainer for every agent to sign her. She's already got a built-in platform. She already has a built-in marketing engine. And so she had made it very attractive.Phil: (06:45)This is, So this is an interesting thing where I think, you know, again, my perspective on this stuff kind of comes from a capitalistic perspective because my business and marketing background, but we're talking about audience here and we're talking about, you know, attention. It's really what we are, what we're offering people is something to gather their attention and they have to be willing to trade their time and energy and focus for that type of thing. So when you're writing a script, you're basically have to write something so good that someone is willing to sit through commercials or pay a monthly subscription to be entertained. Right. And that's what they're looking for. And so what this girl has done is she has brought some value to the table because she already has interest. She's provided free entertainment to people. And so those people want to see more of what she does. She has that audience. So I think it kind of speaks to what we're seeing now, which you've experienced recently with your book that you want to do. These people care a lot about, do you have an audience because you're bringing interested people with you. Yeah. Michael: (07:50)Right. And she also did... Sarah Cooper along with others who did the same thing. She did all this for free. She wasn't putting up her content and saying, Hey, someone paying you for my Trump impersonations. Right. You know, this was, she put a lot of work in it for free and expected, nothing in return and got something in return for it. You know? So she was smart. And by the way, she was just as talented before she started doing these videos as she was afterwards. So it's the same person. So talent isn't quite enough. You know, Phil: (08:18)That's an interesting note, right? Like, yeah. Like, and I'm trying to think of the exact saying on this, but talent. There are lots of talented people who go nowhere because they don't have the work ethic behind it. Michael: (08:30)Yeah. Yeah. And they don't have right. They don't, they're not, they're not then actually not seeing the problem from the end of the, the, the perspective of the buyer. What is the buyer one? And let's say the agent is your buyer. The agent is the person who want you, you know, you want them to buy you. Well, what's in it for them. They don't want to work that hard. They want to find a new client who is, requires the least amount of work on their part because they have, you know, they got plenty to do. And if they find with a, with a built-in marketing engine and is super talented and you don't have to convince someone to buy, you don't have to beg and plead and cold calling favors. You know, they don't have to hustle. No one wants to know Adrian wants to hustle for you. They want someone who's like a slam dunk. They want that person to hustle for them. Phil: (09:10)Yeah. Yeah. That's an interesting take. So, well, let's just assume then that I have the talent and I've got the goods. Like I've got the energy and maybe I haven't, for whatever reason hit it. I haven't gone viral. I don't have the following yet. And I want to get an agent. So I'm just going to run a couple of situations by, and you tell me if you think these are good places to get an agent and you may not, you may not be able to answer these, but I think you were so, yeah. So, uh, number one, pitch fests. Michael: (09:38)Yeah. So I didn't, that wasn't even a thing when I was coming up. And then when I found out the pitch fast, I was like, what is that about? That doesn't make any sense to me. I I'm gonna have to say no. I actually, I ran on Twitter, someone Tweeted out, well, I let my agent or whatever. I sold the project to a Pitch Fest. But for, I, for every one person who says that like 10 others say what a waste of time. They don't even send people. It's just like our, I think it's just a racket, honestly. You know? Cause why would, if you were a producer and you wanted to get in touch with, um, a talented writer for a project you're working on, like, why in the hell would you go to a pitch that you go to an agency you've called talent agencies say, Hey, I got an idea for a project. Uh, I need writers. And they, within 10 minutes, there'd be a dozen writers outside the door saying, yes, let's do this. Like, you wouldn't go to some unknown. You wouldn't say, give me someone who's never done it before at a pitch fast. And maybe you'll say, okay, well maybe they don't have much money. Well, if they don't have much money, how are they going to raise money for this movie? Or this TV show? Like, what's that about? You know, it seems, it just seems shady, shady, AAF. Phil: (10:44)Didn't I send you a tweet by someone who basically was like, yeah, my first day or my first week on the job, I was sent to represent the company in a pitch Fest. And I wore a suit and tie to try to make myself look older. Cause I was like 21 and fresh out of college. Michael: (10:58)Yeah. And so all these people were paying money to pitch this guy. It was his first week on the job. And he was like right out of college. How do you think that's going to go? Phil: (11:07)Okay. All right. So that's a really so similar screenplay contests.Michael: (11:12)There. And I didn't even know that was a thing until you told me about it. And I was like, oh, that's a thing. Um, Phil: (11:17)Well, we see a lot of members of your course submitting to screenplay contests and pitch fests and interesting. It's interesting. Michael: (11:24)And some like, from what you've told me, there are two big ones, right? There's the Nichols, which I was like, but now I am aware of.Phil: (11:29)That's through the academy. The academy does that. And they pick like 10 or 12 different screenplays specifically features that they think have what it takes and they give them a grant to just be writers to finish that script. Right. So it's a big deal.Michael: (11:42)And then, and then it's on it's Phil: (11:45)Right. So Sundance has a script and that's a little bit different because you're submitting information to join the, the, to become a fellow, a Sundance fellow. So you're joining either the director's lab, the writer's lab, the editorial lab, the documentary labs. And that's changed recently. And I've had, you know, fortuitously I've been able to attend to those. I've been a Spanish English translator for three years at the, at the screenwriting labs and one year at the director's labs. So yeah, definitely worth it. And that's an interesting thing too, for anyone sitting there, you know, they told me they're not just looking for a good script. They're looking for someone with a body of work. They're looking for a creative, with a specific vision or a specific story to tell and famous people like Tika Waititi who's blowing up right now. Uh, Ryan Coogler, they're all Sundance Fellow. So it's a legitimate, um, no, that's not even a competition now. It's, you're applying to be a fellow. Right. Michael: (12:43)The other Phil: (12:43)Ones that there are a couple of like, there's big, Big Break and like Final Draft and stuff like that. They, they have their own competitions. And I think there's some value in those because they do have actual industry professionals showing up to judge those and be involved. Does that make sense? Okay. Okay. But, but I definitely, you know, from my background in the independent world, I have seen the other side of this, where you go on different, um, screenwriting contest or film festivals, and you submit to win awards at these competitions. And it's basically like one or two guys, maybe a group of five to 10 people. And they're doing it as a way of bringing culture to their town or their small town. And a lot of time, what I've seen is that it's a money grab. It's a way to. You're making money and I'm making a living because every single person who submits on Film Freeway, and there's a couple others they're paying like 40 bucks a submission for these. Michael: (13:40)Maybe we shouldn't mention any names.Phil: (13:41)Yeah. Well, film the Film Freeway is the software where you say, okay, it's not an actual film festival. Okay, good. Right. So I, I, you know, I've been to some great film festivals and I think it's a lot of the networking that I have has come from attending film festivals because there are a hungry filmmakers who attend those things.Michael: (13:59)But, but not as like a contest, not yet.Phil: (14:03)Exactly. But they do have a screenwriting contest portion where you can submit your screenplay and you just pay a nominal 20 to 40 bucks for us to review your screenplay and enter the competition. Right. Michael: (14:15)But it's not like, you know, I think the best case scenario you can hope for any of these is like maybe an agent will find you. Right. I mean, it's not like you're going to the network is, would say let's put it on the air. Phil: (14:26)Hopefully someone there. And what I've seen is typically the experts who are sitting on the panels and attending and watching films or judging those things, they tend to be some of the better contacts you get out of those events. Okay. But from your perspective, like, it doesn't really seem like you find much value in a screenplay contest. Michael: (14:43)I didn't even know they were a thing and I've been doing this for 26 years. So, but maybe that's just my ignorance. Um, you know, so it's not like the winner's live land on my lap when I'm hiring, they don't land on my lap. Maybe they land, maybe if the big contest lands on an agent's lap and the agent will submit... submit it to me, that might, that might work, you know, but it's not, it's not a direct pipeline to success and I'm the guy doing the hiring. Phil: (15:05)Right. Right. So that's interesting. Okay. Lastly, um, and I, you know, we've never really had a conversation about this, but um, how familiar are you with The Blacklist? Michael: (15:16)Um, I remember helping my partner. I sold a screenplay a couple screenplays years ago. It was, we were hoping, cause it never got, we didn't get me, but most screenplays for theatricals don't they do not get made. And so we were praying that it would get on The Black List just because it would be an honor. And it would be that kind of, it helps to market yourself, Hey, look, I'm on the black list and it's hard to get off of The Black List to get produced, but occasionally it does happen. Um, but I, you know, it didn't happen. We didn't, we didn't make The Black List for, I don't know. Yeah. I don't, I think it's like a bunch of industry. People have to read it and they have to unanimously think that, Hey, this is really good. I don't think it made it. It was ours was even that widely circulated. So I don't think it was even an option. Phil: (15:56)There's two sides to it. So yeah, you can be put on The Black List and this is, again, this could be wrong. So if you have more information for watching this on YouTube comment below or let us know, and we'll address this in a future podcast, but my understanding is it is, um, industry professionals basically submit you and vote and say, these are the best screenplays that were unproduced this year and films like Arrival who come off The Black List and been made. Right. Um, yeah, but then there's the other side of it where you can submit your screenplay and get feedback from industry insiders. Michael: (16:28)Right. And now, you know, I'm not even, I'm not on the feature end, I'm in the TV. So I don't The Black List. They don't really take pilots. Do they... It's more Theatrical? Phil: (16:37)Uh, I don't know. I think they take pilots. I think you can submit to television as well, but it definitely definitely theatrical focused. So yeah. That's another thing. We'll look at it too, but if anyone knows just comment and let us know. Michael: (16:48)Yes. It's an honor to get on it and I know it's hard to get off of it, you know, to get produced, but uh, yeah. I don't know much about it. Okay. How much in the honor game, I just want to get money. Right. Phil: (16:58)Okay. All right. So, so what do you think it is then? How aside from the Michael Jamin answer of be a great writer... how do you get an agent? Michael: (17:07)Well, it's really, it's really what, what do you bring to the table? And it's not your willingness to work as a, as a writer, as a screenwriter. That's not anything, you know, like I said, if you bring to the table, your connections, if you are already on a show as, as, as a PA or the staff or a writer's assistant, and you're this close to popping and breaking in, and the showrunners was like, you, they want to hire you that you're bringing a lot to the table. You're already getting that first job basically. Or if you have a, like Sarah Cooper, if you already have a built-in marketing platform with a billion followers on Facebook, whatever the hell is on, you know, you, that you have that audience. So it's much easier. And it's, it's, it's sad, but that's just how it goes these days. It's not so much about talent. It's also about what do you bring to the table? Michael: (17:53)Hi guys, it's Michael Jamin. I wanted to take a break from talking and talk just a little bit more. I think a lot of you, people are getting bad advice on the internet. Many of you want to break into the industry as writers or directors or actors, and some of you are paying for this advice on the internet. It's just bad. And as a working TV writer and showrunner, this burns my butt. So my goal is to flush a lot of this bad stuff out of your head and replace it with stuff that's actually going to help you. So I post daily tips on social media, go follow me @MichaelJaminWriter. You can find me on Instagram and Facebook and TikTok. And let's be honest, if you don't have time, like just two minutes a day towards improving your craft, it's not going to happen. So go make it happen for me at @MichaelJaminWriter. Okay. Now back to my previous rant. Phil: (18:39)I guess here's the next question. What's the difference between an agent and a manager? Michael: (18:43)Let me know. And I have both, um...Phil: (18:46)I, I have an external perspective of what I've learned from trying to get these over years, but...Michael: (18:52)What are they telling you? Phil: (18:53)Yeah, so, so the agent's job is legally to sell the script. Like they, they're the only one qualified to sell a script. They cannot, managers cannot make deals, but managers bring people on and basically work through and support the project, give notes, provide feedback, and build relationships for that writer. Michael: (19:13)Yeah, they do that in the beginning. You know, I was kind of being a little glib, but our agent, you know, our agent was the one who got us, our first job. And so yes, agents submit and they get you that job. And then as we rose up through the ranks eventually become high. So high that it's actually kind of hard to get a job on a staff. The next step is basically have your own show. And so you're either going to be a showrunner or maybe the second in command. And so to be a showrunner, or to get your, to sell your show, you often need to sell your project with talent. And so a manager can usually hook you up with talent. There are other clients, and that's how it's worked in the past. We've done, um, we've sold shows with, uh, like comedians, like mostly big name comedians that they pair us up with their other clients. And so that's what a manager can do is cause more of a long-term thing, but they don't. Yeah, you're right. They can't make deals. They can't really submit you stuff like that. And, and they also, a manager can own, not that this is a plus, but they could own a percentage of your project. They can, they can help you produce it. Whereas a manager or agents can't do that. Right. Phil: (20:16)But, but, and so this is an interesting thing. So, um, do you know what the current, what the rate is for a manager versus an agent? Michael: (20:24)Uh, well, our agent takes 10% and so does our manager. Phil: (20:27)Yeah. And I have heard of instances where managers isn't taken up to 15%. Michael: (20:31)Yeah. Yeah. And then there's nothing left for the writer. Phil: (20:35)And then you have your attorney fees. Right. Which is like 5 cents.Michael: (20:37)That's 5%. Yeah.Phil: (20:38)So right out of the gate, you're between 25 to 30% of your income. Yeah. Plus taxes after that. Right. Yeah. But, but this is an interesting point. I've again, I come from a sales and capitalistic background of I have goods and I'm trying to sell goods. And so are there a lot of people who don't have that background who say, well, why would I want to give away 10% of my project and my responses will, 10% of zero is still zero that's. Right. Right. So if your manager can make the introduction and provide the asset to get the job done, right. Making connection with that actor who will go in and you can pitch that project with them and the agent does the job of closing that deal and getting you the best deal they can then that's money well paid because you're now getting 70% of whatever you sold instead of 100% of nothing.Michael: (21:28)Yeah. And there was only recently, like about a year ago, it'd be writers, Guild, uh, severed ties with all, all agents. So you had to drop your agent because, uh, the deal was, you know, there was, there was some shenanigans going on. So, uh, the writers had to kind of sever tires. And so we had to rely on our manager for work during then. And then of course it's been, it's been settled, but yeah, now we have an agent and a manager and a lawyer.Phil: (21:54)Awesome. Okay. All right. So what do, what, so we've talked about like we understand what to expect from them. Um, what else do you think, what else do you think is important to know about an agent and a manager? Michael: (22:04)Well, an agent, this is kind of important, but agents, you know, I think that most people think, well, my agent would go and get me a job. They'll they'll hustle like the agent. That's not really the accurate, the agent's job is more like to field offers. So when the phone rings, "Hey, we need a writer," or, "Hey, we want to hire Michael Jamin and Sivert Glarum, his partner." And they, then the agent was stepping. They feel the offers. They're not going to hustle and fight too much because they have other clients, they have to maintain relationships. And if a deal goes south, like if, like, let's say, uh, you know, I, we have a pilot and it goes south, how hard is my agent gonna fight for me? I don't know. I, I suspect not too hard because he wants to make, he still wants to keep his relationship with the network or the studio, a good one because he has other clients to serve. Michael: (22:50)So if you become too much of a squeaky wheel, if you become with your, when you have your agent and you start crying all the time, like in the movies, you'll see, oh, this happens all the time. Like, uh, you'll see a STR, a writer calling his agent what's going on. And I, and the agency I agents handholding. And then don't worry about me. I'm promising, I'm working hard for you like that. Does that call doesn't exist? I don't bother my agent with that kind of nonsense because you know, he's not a babysitter. And if I make myself too much of a nuisance, uh, he's not going to work for me. He's going to find somebody else to work for. Phil: (23:22)Right. Makes sense. Makes sense. Okay. Yeah. Michael: (23:27)All right. I wish I was a big, if I was a real big shot, then I could do that. But, um, you know, Phil: (23:32)Okay, well, which, so which one do you think is easier? Like if I, if I'm a new writer, which one do you think is the easiest to get and where should I put my time and energy? Michael: (23:39)I think it's probably easier to get a manager. I think there are, uh, yeah, I think in the beginning, and by the way, there, there are four big, as you mentioned, there are four big talent agencies in Hollywood. There's ICM, CAA, William Morris Endeavor, and UTA, United talent agency, and then are much smaller there are next tier, you know, Paradigm and APA there... and then there's some small boutique agencies coming out of the gate. You are not going to, no new writer is going to land it at UTA. Michael: (24:07)Yeah. Unless you're in a situation right. Where you're an overnight success like this girl right who. Right. It's like, is that it's like CAA is like, okay, you, we have a rare opportunity here to capitalize on an audience, so we should take her on.Michael: (24:21)And, and so you, you most likely to start at a small agency and that's so fine, your agent will give you attention. That's good. But there's an advantage to being a big one, which is, for example, when more staffing on a show, the first call I make is to my agent. And I say, Hey, um, I need, we need writers. Submit me your writers. I need young baby writers. And so that's how it works. They like the first call is my agency to send me his, his writers. And those are the first ones I'll read. And if there's a good one, I'll hire that one. Why? Because I'm trying to make good with my agent. I'm trying to keep him happy. So, you know, but if there's no one that's right for the show, then I go to the next agency, you know? Um, that's how that works.Phil: (25:04)Got it. Got it. But a manager would be the easiest way to approach this. Michael: (25:08)The manager will help... a good manager will help you land an agent too. Phil: (25:12)Because they may have connections, right? Yeah. Right. They are a matchmaker. All right. That makes a lot of sense. So, but this all being said, you know, I shouldn't even bother writing until I have one or the other. Right. Because ultimately I need these things to sell myself. Michael: (25:26)Yeah. No, you got to start. You have to always write. You have to always, right. I, um, you know, uh, the, there are, I can't remember what the numbers are. I ran the numbers, but there are slightly more active players in the NFL, including the practice squad. Yeah. There's slightly more working TV writers than there are at players in the NFL. Just a little bit more. I think it's like 2200 versus 2,800. It's not a lot of people. So if you were going to be in the NFL, do you know if your goal is to be in the NFL? Do you work out once a week or do you work out every single day? You know, Phil: (26:02)Uh, I was, uh, I was just listening to a Joe Rogan podcast this morning. And he's talking about this UFC fighter, Conor McGregor, which I don't know if you know who he is. He's kind of Conor McGregor recently was in a fight with a guy named Dustin Porier and it was round three was their third fight. And Connor broke his shin in the middle of the fight. Yeah. Shattered it. And people were like, oh, he's old. And, and he should give up. And ultimately Joe Rogan made this point. He's like, that dude is a Savage because it was a known injury. It had it scanned. He already had a broken leg when he went in and he still went in, he still fought. And he was still kicking with that, leg, right. And he went in balls to the walls at the beginning, swinging as hard as he could try and to knock Dustin Poirer you out because that's who he is. Phil: (26:45)And you have to keep in mind, this man has half a million, half a billion dollars in the bank. Oh wow. Because of other fights he's won sort of fight with that intensity to be that dedicated to your career, proves the level of integrity of energy and effort you need to be in. And they made this point. They said, you know, if I'm a professional athlete, you can be a good boxer and learn, takedown defense. You can stop someone with jujitsu or wrestling and you can get pretty far, but to be an elite level champion, you have to know jujitsu and you have to be really good at it. You have to know boxing, you have to know wrestling. You have to go to the cardio gym and you have to be working on all these facets of your craft to be a world champion. And, and it's, it's something most people are not willing to, to do. Michael: (27:31)No, they just say, I have a script. Can't you get me work. Yeah. You know? Phil: (27:35)Yeah. What can you do for me is I think the attitude I see a lot. Michael: (27:39)Yeah. Yeah. Um, it's the other way around. It's what, you know. Yeah. Phil: (27:45)The point, like, if you're playing, like if you consider that NFL analogy, it's it's you are playing at the elite level. Like how many high school athletes don't make it to division one football. Yeah. How many division one football players don't make it to the NFL combine, let alone get drafted, let alone play. Michael: (28:06)And you're coming after my job. You think I'm going to let you have my job. Yeah. Right. Yeah. So, and I've been doing this for, for 26 years. I'm the NFL player who you, you haven't heard of, but man, that guy's still kicking around? Yeah. He's still on the team. Wow. Good for him. Yeah. That's why. Yeah. Phil: (28:22)Yeah, because you put in the work, right. It's you know, and not, they're not people who work at coffee shops. Right. Or right at coffee shops, but something you told me when I first moved to LA is, you know, real writers are too busy to spend time at coffee shops. Michael: (28:34)It's every time I, whenever I hear a writer friend saying they're typing, they're working at Starbucks. I always laugh. Like, come on, man. Right. It's so cliche. Don't do that. It's very rare. Most of the people who are working in Starbucks who are tapping on their computers, at least in LA, right? Yeah. They want you to think that they're a right. Look at me, I'm a writer. But if you are a real writer in my experience, it's like, you're not working in a coffee shop. You're working. Phil: (28:54)And I'm sure that that's what we call "seamers" where I come from. They seem like they're doing the job, right? Yeah. Michael: (29:01)Yeah. They want you to think that they're doing work. Like I caught me, I got a terrible, my opinion is a terrible place to work. It's not comfortable. The seats are hard. Phil: (29:10)There's no whiteboard. Michael: (29:12)Yeah. In a whiteboard. Like why would you work at a coffee shop of all places? Phil: (29:15)Yeah. All right. So ultimately it comes back to the same thing we've been saying the whole time is ultimately you have to be good at your craft and not just good. You have to be great. I think that was one of the most helpful notes that you gave me. Uh, we talked about the spec script that I wrote or was, uh, a spec Mr. Robot for my TV writing class and... And you read it and he gave me a great note. You said is obvious. You're a competent writer and this is really good. The bad news is it's not great. Yeah. And that has stuck with me for two years. It's like, it has to be great to stand out. Michael: (29:48)Where you're constantly working on it. So, you know, you have an advantage over people. You already have a huge advantage over everybody else. And that you are now an industry insider because you are working on the TV show. And because of that, you are around scripts and you're reading scripts and you're, you're around other writers and you're learning, you know, that's a huge advantage that you will, but that was because you made a sacrifice. You moved here. Phil: (30:09)Yeah. Well, and it's, it is expensive and it is hard. And I could be living a very, completely, a completely different lifestyle if I lived anywhere else but California or in LA. Um, I think I read recently that the, the ave... The average income in America, is like is $36,000, but LA county considers the average cost of living your $53k.Michael: (30:29)A year. And that sounds low. Phil: (30:31)Yeah. Like, like it's, it's a crazy expensive town, but you know, I will say that one of the benefits of busting my butt as a writer's PA and doing my best to provide as much value as I could in that position is they brought me back on to be a, an office PA, which was a position I'd already had. And then I also got brought in to be the post PA. And I've been working on the same show for two full seasons now nonstop because they like you. Yeah. But the cool thing is I get to see how you guys break the story. I get to read every draft. You can see how it changes. I get to go into production. I get to see how they shoot the show. I get to see what changes happen, the day of shooting. And then I get to go and post and I get to watch the showrunners, make that final cut of their show and make those decisions. And I've learned far more being a PA than I think I've ever learned in film school. Michael: (31:25)Right. Are you sitting in on the mix Phil: (31:27)Too? I probably could if I asked that this point, um, but I make it very clear that I don't, I'm not trying to get anything from anyone. So, I I've been invited and I probably could at any point, but you know, I'm here to run tapes around LA, right. That's my job. And I'll do it and I'll do it as fast as I can. Michael: (31:46)All right. So good attitude. It's got a good attitude. Phil: (31:50)Cool. Michael: (31:52)All right. That's a good, that's a good episode of the podcast. Phil: (31:55)I think. Very helpful. Yeah, absolutely. Michael: (31:57)All right, everyone, thank you for listening. And we got more coming up, so, uh, you know, I don't know. What do you gotta do? So you gotta subscribe to podcasts. Is that what you do? Phil: (32:04)Yeah. Make sure you subscribe, make sure you leave a review at this point. Give us that five stars. It helps with our rankings. Uh, make sure you share it on your social media. If there's something you find valuable. And then I would also encourage everyone to follow you on social media. Michael: (32:17)Yes, please do. Uh, yeah. I'm at, especially Instagram @MichaelJaminWriter. I post daily tips on Instagram. So Coco. Phil: (32:24)Yeah, absolutely. The right thing to go fall in there. I think that, um, the members of your course specifically who said that the content you're putting out on social media or their gems of information, and they've already been through your course, Michael: (32:38)It's funny that they say people, I, people will say that it could, this is gold. And I'm like, I, I might, when I post on my social media posts, well, this is gold. I'm like, no, Michael: (32:46)Dude, the gold is in the course. I wouldn't give you the gold. This is really, this is just really good. They're really, really good stuff. Isn't it? Is in the course.Phil: (32:53)Yeah. So it's good stuff. So check out the course again. And um, you know, I think one of the students in your course, you said, you know, if you can save up the money, it will be the most transformative course you'll ever take and he's taken multiple courses just like I have. And you know, I could talk all day about how much I love the course, and I'm glad it's there and you know, grateful that it's improved my writing. So thank you. Thank you. Okay. And we'll see everyone next week. Michael: (33:18)Very good. Bye-bye now Phil: (33:32)This has been an episode of Screenwriters Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing leaving a review and sharing this podcast with someone who needs to hear today's subject. If you're looking to support yourself, I encourage you to consider investing in Michael's screenwriting course at MichaelJamin.com/course. I've known Michael for over a decade. And in the past seven years, I've begged him to put something together. During the global COVID-19 pandemic. Michael had time. And I have to say, I wish I'd had this course 10 years ago. As someone who has personally invested in most online courses, earned a bachelor's degree, and actively studied screenwriting for over a decade, this course has been more valuable to me than most of the effort I've put in because it focuses on something noone else teaches: story. In his course, Michael pulls back the curtain and shows you exactly what the pros do in a writer's room and that knowledge has made all the difference for me. And I know it will for you too. You can find more information at MichaelJamin.com/course for free daily screenwriting tips. Follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

Ever wondered whether the Star of Bethlehem was real? Don’t miss this special holiday edition of the show, as Eric takes us back to Merry Ole England for his enlightening conversation with author and biblical scholar Colin Nicholl. (Encore Presentation)See omnystudio.com/listener for privacy information.

The interview with Colin Nicholl concerning the origin of the Nativity Star continues with Bible scholar Colin Nicholl. (Encore Presentation)See omnystudio.com/listener for privacy information.