Podcasts about nrs

The results of the Talar OsteoPeriostic grafting from the Iliac Crest (TOPIC) procedure for lateral osteochondral lesions of the talus (OLTs) are unknown. Therefore, the present prospective study aims to assess the numeric rating scale (NRS) of pain during walking at 2-year follow-up. Secondarily, the aim is to assess other clinical, radiologic, and safety outcomes. In conclusion, in the first 7 prospectively followed patients who underwent the TOPIC procedure for large osteochondral lesions of the lateral talar dome, an improvement of the NRS of pain during walking from median 5 preoperatively to 1 at 2-year follow-up was observed. Click here to read the article.

43 After sternly warning him he sent him away at once, 44 saying to him, "See that you say nothing to anyone; but go, show yourself to the priest, and offer for your cleansing what Moses commanded, as a testimony to them."45 But he went out and began to proclaim it freely, and to spread the word, so that Jesus could no longer go into a town openly, but stayed out in the country; and people came to him from every quarter. (Mark 1:40-45 NRS)

43 After sternly warning him he sent him away at once, 44 saying to him, "See that you say nothing to anyone; but go, show yourself to the priest, and offer for your cleansing what Moses commanded, as a testimony to them."45 But he went out and began to proclaim it freely, and to spread the word, so that Jesus could no longer go into a town openly, but stayed out in the country; and people came to him from every quarter. (Mark 1:40-45 NRS)

Elie Y. Katz Talks NRS Innovations for Small Retail Success Nrsplus.com About the Guest(s): Elie Y. Katz is the President and CEO of National Retail Solutions (NRS). Seven years ago, Elie brought his extensive experience from various industries to establish NRS, focusing on empowering independent retailers with essential business tools. His past involvement includes managing multiple real estate investments and food establishments. Under his leadership, NRS has grown to service close to 30,000 independent retailers across the U.S. with a robust ecosystem of point-of-sale networks and credit card processing solutions. Elie's vision revolves around providing cutting-edge technology to small businesses to help them compete against larger corporate entities. Episode Summary: In this episode of The Chris Voss Show, host Chris Voss welcomes back Elie Y. Katz, the dynamic President and CEO of National Retail Solutions (NRS). They explore the transformative impact of technology on small businesses and how NRS is spearheading innovations for independent retailers. Elie shares insights from his vast experience in creating tools that allow small businesses to thrive in a competitive market dominated by major retailers. Together, Chris and Elie delve into NRS's mission to support these businesses with state-of-the-art solutions. This episode takes a deep dive into the world of retail solutions, highlighting how NRS's products and services are game-changers for small retailers. With a focus on enhancing efficiency and profitability, Elie discusses NRS's wide array of offerings, from point-of-sale systems tailored for various industries to innovative credit card processing services. The conversation also touches on the importance of adopting technology to meet modern business challenges, the role of AI in improving operational efficiency, and exciting future expansions. Chris and Elie make a compelling case for why technology is indispensable for the growth of small businesses in today's economy. Key Takeaways: Empowering Small Retailers: National Retail Solutions offers an extensive range of tools, including point-of-sale systems and credit card processing, aimed at enhancing the operational efficiencies of small, independent retailers. AI and Technology Integration: NRS is integrating AI to assist retailers with product pricing and inventory management, ensuring they remain competitive and informed. Safety and Security: NRS has developed a patented panic alarm feature in their POS systems, which can silently alert authorities during emergencies, thus improving store safety. Expansion and Growth: NRS plans to expand its offerings into the restaurant industry while also aiming at serving international markets, leveraging its technology-backed solutions. Community Impact: Elie Katz emphasizes NRS's commitment to helping small business owners succeed, highlighting the entrepreneurial spirit that fuels independent retailers. Notable Quotes: "Our point of sale register is the brain. It has all the items… and it's ready to go." "Technology rules the roost… if we don't embrace the technology change, then you better embrace the fact that you may be out of business soon." "With our point of sale register, you're standing there… and that's why these brands love us." "We are gonna be hot and heavy going into the restaurant point of sale register business." "I know the struggles… it makes me proud to help business owners be successful with their business."

We are always honored when we can sit down with a veterinarian to discuss their specialty and passion and that was just the case with Dr. John Janicek. Dr. Janicek specializes in wobbler surgery and neurological diseases as well as having a very long resume in orthopedic surgery, soft tissue surgery, and sports medicine. From the causes, how to diagnose, treatment, rehab, recovery, outcomes and more we really got the opportunity to learn about Wobblers disease and its impact in our industry. Knowledge is power when making the best decisions for your horses and early diagnosis of Wobblers leads to a better outcome - and we are thankful to have the chance to share this knowledge with our listeners! As always when we bring a veterinarian on the podcast, remember - there is no way to cover everything in an hour and an audio podcast does not replace a trip to your veterinarian. If you have concerns about your equine athlete, consult your personal veterinarian!This week's episode is brought to you by NRS. NRS has everything you need from boots, hats, apparel, bits and spurs, saddles, ropes, feed and more! NRSworld.com

Katie Veteto is a river guide with quiet calculated confidence and a sharp eye for water. Within a few years she was navigating one of the most difficult crafts on the river—the massive sweep boat. NRS's new film Driving Sweep, directed by River Radius Contributing Host Greg Cairns, follows her journey of learning, doubt, and determination as she takes on a role historically dominated by men. Through her story, the film offers a powerful reflection on resilience, mentorship, and making space in wild places.GUESTSKatie VetetoKatie Veteto was born in Southern Utah, raised in the Missoula Valley, and now spends her time in Missoula, MT and Salmon, ID. She grew up seeing the rivers of the West through the joyful lens of community and recreation and continues to guide on rivers in Montana and Idaho. Katie is an elementary school teacher. During Katies time off, you'll find her romping in the woods with her dog Tuck, swing dancing, knitting hats, writing, or bumping around on a bike. In the Summer you'll find her somewhere on the Middle Fork of the Salmon.Greg CairnsContributing Host & Film Creator SPONSORSNRS@nrsweb Valley Nissan@valley_nissan WATCH THE FILMYouTube linkRead about the film GIVEAWAYEnter Here@riverradiuspodcast  THE RIVER RADIUSWebsiteRunoff signup (episode newsletter)InstagramFacebookApple PodcastSpotifyLink Tree

Evo Japan announcements, Tekken DLC reception, and the NRS curse come for MK1.

This podcast is the audio version of the Gear Garage Live Show, where we answer submitted questions and talk all things whitewater. Topics and links that Zach talked about in this episode Answer Questions Middle Fork Trip Planning Blog Some of the Questions that Zach covered in the Q&A section of this episode Topic: Oar Length (For a Specific Situation) What's the best oar length for running Class II rapids in a 15'6" long Stryker inflatable boat? The boat has a 60-inch span, a 6'2" wide beam, and a 160-pound outboard motor on the stern. I plan to use it occasionally as a drift boat. For longer, deeper, easy-going sections, I'll use the motor to go back upstream and re-fish, or to get through slow, deep, unfishable water. Thanks! Topic: IK for Extended Trips I've been using an Aquaglide touring IK for Class III/IV trips—our last was on the Lower Salmon—and after spending days sitting in water, I know it's time for an upgrade. I recently picked up a Star Outlaw II for my son, but so far it's only seen flatwater. We've got some whitewater trips planned for June and July, and I'd love some advice for my new IK. I'm super torn between a few options. In order of interest: Star Outlaw II — I like the 5 chambers, drop-stitch floor, and the price point, plus the reviews are solid. But I hate the lack of anchor points for gear—had to glue some on for my son. AIRE Outfitter II — Tons of great reviews, nice bow kick, and it has good gear loops. But it's pricey, and I'm worried I'll be sitting in water again with that floor. AIRE Lynx II — Same pros and cons as the Outfitter. Corran Tandem — I like that it handles big water, but I think I'd hate it on flatwater. RMR Taylor vs Animas — The price is right and what I've found so far is positive, but reviews are way fewer compared to NRS stuff. I'm 6'2”, around 300 lbs (currently cutting weight), and I need an IK that can support me on a 5-night trip. Also curious about the NRS Riffle—it looks durable and capable.

This podcast is the audio version of the Gear Garage Live Show, where we answer submitted questions and talk all things whitewater. Topics and links that Zach talked about in this episode GoRafting.com Maps Answer Questions May 4th Illinois Trip Today's Questions: Topic: Raft Pressure I'd love to hear your thoughts on air pressure for rafts. How do you know when it's right? What do you think about those digital air pressure caps, like the TRiB brand ones NRS sells? I know you should let some air out when driving over mountain passes or when the boat's sitting in the sun to prevent blowouts. But other than that, how important is it to get the air pressure just right on the water? Thanks, and keep up the good work! Topic: Tech Support Hi Zach! Love the show, great content! I'm filming our Main Salmon trip this year with a GoPro. What do you use—or what have you heard of—to merge and edit GoPro clips into one seamless video with text and music? I need something old-guy friendly, since I'm not super tech-savvy. Got any tips or tricks you've learned from your own experience? Thanks! Topic: Dish Bucket Water Love the show, thank you for keeping this up. I always look forward to the Tuesday show and any other reviews, testing or other topics you cover. For getting rid of dish water, different rivers have different rules. My understanding is that for high-volume rivers, it's better to dispose of strained dishwater into the river. For smaller rivers (Smith, MFS), you're supposed to disperse the water above the high water line and away from camp. For low use camps, I guess this could make sense, that eventually the rain will do it's thing and it'll soak into the ground. For desert trips or popular camps, this just seems like a recipe for attracting pests. Even if you could strain every bit of food, there's still going to be oils and dissolved sugars which will get tossed on the ground. Maybe my concept of how much oil/sugar/small stuff gets left behind is wrong. I'm assuming these rules have science/research behind them. Any thoughts or ideas on this?

This podcast is the audio version of the Gear Garage Live Show, where we answer submitted questions and talk all things whitewater. Ask a question on the next live show Some of the Questions that Zach covered in the Q&A section of this episode Topic: 40k Rogue Hi, Zach. Hope things are well How was the Wind Race? Some AW staff and Board and families were planning to paddle the Rogue April 6-8 after the Board meeting. But it looks like the flow forecast shows 40k. Thoughts on the Rogue at high flows? Topic: High Float PFD Hope you are well. Not sure you remember me, I have done a Rogue rowing school and a regular Rogue trip with NWRC (though it was some time ago). You have also been kind enough to answer a couple of questions for me and I think my son, Nathan, has been in touch with you once or twice. I have another question, if I may. Many years ago you answered my question on a recommendation for a PFD, you recommended the Kokatat Maximus. I have had two of them and since I am typing this email they have both done their job perfectly! Sadly both the second Maximus and I are getting long in the tooth. I think it may be time to up my flotation. Doing a bit of looking, there seem to be two out there that have 22 lbs of floatation, NRS big Water Guide and the Astral Indus. I vaguely recall you were not a big fan of NRS PDF's (I could be 100% wrong on that and please feel free to correct me if I am) and I do seem to prefer the Astral. Though the rescue harness is a little unnecessary for me to have since I could not imagine any situation being improved by me being live bait. If you have any thoughts on these two or any others it would be greatly appreciated. Topic: Mustang Dry Suit I saw your video on dry suits and I'm curious what you think about Mustang's newish neoprene necked drysuit? They seem to claim that it's dry, I have issues with tight neck gaskets and am considering giving it a shot. Curious if you have tried it or have any thoughts. Topic: River Trip Roster One idea for a future YouTube segment: How to assemble the right crew for your next private river trip. Personalities, skills, chores, kids/no kids, shared goals, etc. I've been fortunate to be on some great Grand Canyon and Salmon trips and it's been thanks to strong vision and leadership from permit holders / trip leaders.

I denne episoden av Issopodden har vi en helt spesiell gjest i studio – den rå og kompromissløse rapperen Cely!

Welcome to episode 232 of the Women's Running podcast. I'm your host Esther Newman and she's your other host Holly Taylor. On this podcast we talk about health, politics, stuff on TV and what we ate last night. Occasionally, we talk about running.This episode is sponsored by Coopah, the running app. Use the code WOMENSRUNNING when you sign up for 2 free weeks and a further 20% off for a whole year.Marathon trainingWe're talking training, and we're talking pop psychology – two of our most favourite things. See if you can figure out what's going on with our deeply troubling psyches. Speaking of which, Holly tries to persuade me to watch The Traitors – if you also avoid reality TV, let us know if she manages to persuade you. We also talk about looking forward to going to the NRS this weekend – if you're coming along, do please pop by to our stand and say hi!Coopah supportWe have another Jordan segment this week, as she checks in to see how our training is going using the Coopah training app. She explains how our training is like a sandwich, and we're very keen to find out what constitutes the pickle. And we're also very keen to find out if anyone cheats the plan! Do let us know!Lovely extra bitsThis episode is sponsored by Coopah. Coopah are offering all pod squadders a 2-week free trial of their app and then giving 20% off their standard annual subscription price. Just download the Coopah app and use the code WOMENSRUNNING when you sign up. Or visit coopah.com/womensrunning where you can find all of these details.·      Subscribe to Women's Running – and you'll save 50%Setting up your own podcast? Try Zencastr – we've been using it for ages and LOVE ITDownload a FREE mini mag to help you run 5K! Go to womensrunning.co.uk/runBuy a Pod Squad t-shirt!Do join us on Patreon so you can come and chat in our new Pod Squad community on Discord! Go to patreon.co.uk/womensrunningEmail us at wrpodcast@anthem.co.uk with any questions or running stories Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Welcome to episode 232 of the Women's Running podcast. I'm your host Esther Newman and she's your other host Holly Taylor. On this podcast we talk about health, politics, stuff on TV and what we ate last night. Occasionally, we talk about running.This episode is sponsored by Coopah, the running app. Use the code WOMENSRUNNING when you sign up for 2 free weeks and a further 20% off for a whole year.Marathon trainingWe're talking training, and we're talking pop psychology – two of our most favourite things. See if you can figure out what's going on with our deeply troubling psyches. Speaking of which, Holly tries to persuade me to watch The Traitors – if you also avoid reality TV, let us know if she manages to persuade you. We also talk about looking forward to going to the NRS this weekend – if you're coming along, do please pop by to our stand and say hi!Coopah supportWe have another Jordan segment this week, as she checks in to see how our training is going using the Coopah training app. She explains how our training is like a sandwich, and we're very keen to find out what constitutes the pickle. And we're also very keen to find out if anyone cheats the plan! Do let us know!Lovely extra bitsThis episode is sponsored by Coopah. Coopah are offering all pod squadders a 2-week free trial of their app and then giving 20% off their standard annual subscription price. Just download the Coopah app and use the code WOMENSRUNNING when you sign up. Or visit coopah.com/womensrunning where you can find all of these details.·      Subscribe to Women's Running – and you'll save 50%Setting up your own podcast? Try Zencastr – we've been using it for ages and LOVE ITDownload a FREE mini mag to help you run 5K! Go to womensrunning.co.uk/runBuy a Pod Squad t-shirt!Do join us on Patreon so you can come and chat in our new Pod Squad community on Discord! Go to patreon.co.uk/womensrunningEmail us at wrpodcast@anthem.co.uk with any questions or running stories Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

What if you could cheat aging, indulge in life's guilty pleasures, and still thrive? Dr. Sandra Kaufmann, a pioneering longevity expert and fearless explorer of the biochemical frontier, joins Dave to reveal how you can bend the rules of biology to live longer, smarter, and stronger. Forget perfection—Dr. Kaufmann's radically practical approach embraces the human side of longevity, showing you how to optimize your body while enjoying the ride. From downing Diet Cokes to defying traditional medical dogma, she's rewritten the playbook on anti-aging with her Seven Tenets of Aging. Together, she and Dave dive into everything from molecular hacks for outsmarting junk food to unlocking the secret power of your mitochondria, DNA, and circadian rhythms. This episode goes beyond the surface with mind-blowing insights, hilarious moments, and actionable steps to take your health (and your fun) to the next level. What You'll Learn: • The Seven Tenets of Aging and how they'll change your approach to health • Why indulging in “bad” habits doesn't have to sabotage your longevity • Biochemical secrets to combat oxidative stress, glycation, and cellular junk • The real story behind NAD, circadian rhythms, and the tools for better sleep • How to create a personalized health plan that's sustainable, effective—and fun Resources: • Supplement Protocol One-Sheet for this episode: https://www.instagram.com/dave.asprey/?hl=en• 2025 Biohacking Conference: https://biohackingconference.com/2025 • Kaufmann Protocol Website: https://kaufmannprotocol.com • Sandra Kaufmann's Book – Why We Age and How to Stop It: https://www.amazon.com/Kaufmann-Protocol-Why-Age-Stop/dp/0692089047 • Sandra Kaufmann's Instagram: https://www.instagram.com/kaufmannantiaging/?hl=en • Danger Coffee: https://dangercoffee.com • Dave Asprey's Website: https://daveasprey.com • Dave Asprey's Book – Smarter Not Harder: https://daveasprey.com/books • Dave Asprey's Linktree: https://linktr.ee/daveasprey • Upgrade Collective – Join The Human Upgrade Podcast Live: https://www.ourupgradecollective.com • Own an Upgrade Labs: https://ownanupgradelabs.com • Upgrade Labs: https://upgradelabs.com • 40 Years of Zen – Neurofeedback Training for Advanced Cognitive Enhancement: https://40yearsofzen.com SPONSORS: Leela Quantum | Head to https://leelaq.com/DAVE for 10% off. Timeline | Head to https://www.timeline.com/dave to get 10% off your first order. Timestamps: • 00:00 Trailer • 00:45 Guest Introduction • 02:30 Longevity Insights • 04:22 Personal Stories • 08:00 Pharmaceuticals • 12:26 Diet and Lifestyle • 18:19 Seven Tenets • 22:04 Sleep and Circadian Rhythms • 26:41 NAD and Supplements • 37:46 Blood Sugar and AGEs • 47:09 Microcirculation • 49:08 NRS and Imports • 49:18 Cellbex Medication • 50:03 Cellbex Benefits • 50:41 Alzheimer's and Cellbex • 51:28 Antioxidants • 54:26 Stem Cells and Exosomes • 58:03 Laser Skin Treatments • 01:07:34 Hormones and Longevity • 01:20:03 Lithium for Mood • 01:27:45 Gender and Longevity • 01:32:39 Final Thoughts See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

13 Who is wise and understanding among you? Show by your good life that your works are done with gentleness born of wisdom. 14 But if you have bitter envy and selfish ambition in your hearts, do not be boastful and false to the truth. 15 Such wisdom does not come down from above, but is earthly, unspiritual, devilish. 16 For where there is envy and selfish ambition, there will also be disorder and wickedness of every kind. 17 But the wisdom from above is first pure, then peaceable, gentle, willing to yield, full of mercy and good fruits, without a trace of partiality or hypocrisy. (James 3:13-17 NRS)

13 Who is wise and understanding among you? Show by your good life that your works are done with gentleness born of wisdom. 14 But if you have bitter envy and selfish ambition in your hearts, do not be boastful and false to the truth. 15 Such wisdom does not come down from above, but is earthly, unspiritual, devilish. 16 For where there is envy and selfish ambition, there will also be disorder and wickedness of every kind.17 But the wisdom from above is first pure, then peaceable, gentle, willing to yield, full of mercy and good fruits, without a trace of partiality or hypocrisy. (James 3:13-17 NRS)

This podcast is the audio version of the Gear Garage Live Show, where we answer submitted questions and talk all things whitewater. Topics and links that Zach talked about this episode GoRafting Sponsor Answer Questions Some of the Questions that Zach covered in the Q&A section of this episode Topic: 2nd Boater Without getting into full details, I was in a situation where I was the second boat. We were an eight boat trip. This was the Middle Fork a few years ago. A signal came up the line to stop and eddy out. For some reason the lead boat didn't stop. I stayed with the lead boat and the third boat stayed with us. Again we signaled up to stop and again the lead boat did not try to Eddy out. We were running up on Sulpher and the lead boat went ahead and entered the rapid. I followed and stayed with the lead boat until it finally eddied out before Ramshorn. It turned out a boat in the back had gotten pinned and didn't come off until everyone hiked back and joined together to get it off. My question is was I right in staying with the lead boat when it didn't stop. My gut was telling me to eddy out because someone was in trouble behind us, but I felt a responsibility to the lead boat as I was his safety. The rower on the third boat felt the same. Topic: Oar setup with Tall Torso Hi Zach, Been watching your oar setup video to help dial in my boat this winter. I'm rowing a 13' Otter, 60" wide NRS frame, older 6-7" oar towers (wasn't exactly sure where to measure from), 8'-10" oars, and sitting on the dry box. The geometry has never been fully customized for various reasons. Anyways, I'm hoping you have some thoughts on a couple things and how they relate to oar setup. 1.) I'm fairly tall (6'-1") but most of my height is in my torso (32" inseam). 2.) In the past, I have sometimes been hitting my legs while rowing (probably some operator error involved). I was set on getting newer/taller oar towers to accommodate these issues, but your video inspired me to hit pause and think this through. I appreciate what you do for the boating community, and I want to say thanks for the videos and thanks for any advice you can give on my setup.

Darby McAdams holds many places in the river world: kayaker, film maker & instructor of both kayaking and film work for young paddlers. In November of 2024 her new film NEAR THE RIVER went public. In this episode Darby moves through her kayak path, her film path and talks about NEAR THE RIVER and its story about the people of the Zambezi River in Africa. DARBY MCADAMSNear the River filmIGRiver Roots Film ProductionNRS Dirtbag Diaries:  “Darby McAdams & the Evolution of Passion” by Chandra BrownSPONSORSDenver Area Nissan Dealers@nissanusaOver It Raft Covers@overitraftcoverspromo code, free shipping: riverradius   THE RIVER RADIUSWebsiteInstagramFacebookApple PodcastSpotifyLink Tree

In this episode of The Discomfort Zone Podcast, I sit down with Danny Mongno, a true paddling industry veteran, as he opens up about his journey through the highs and lows of a career in paddle sports. From his passion for teaching to overcoming physical challenges like hip surgeries, Danny shares the resilience it takes to stay active in an ever-evolving outdoor industry. We delve into the impact of e-commerce on small retailers, the growing significance of fitness and personal connections, and how the paddling community is shifting focus toward athletes who lift others up. Discover how Danny, through his work at NRS, is supporting events that are reuniting paddlers, amplifying women's voices, and empowering athletes to make a lasting impact. This episode is a must-listen for anyone passionate about the outdoors, community, and the power of connection in sports.

    Exploring the Efficacy of Autologous Platelet Leukocyte Rich Plasma Injections in Chronic Low Back Pain & Understanding Degenerative Lumbar Spinal Stenosis  Host David Rosenblum, MD  Episode Date: October 25, 2024 In this episode, Dr. David Rosenblum discusses two significant studies related to chronic low back pain and degenerative lumbar conditions. The first study focuses on the use of autologous platelet leukocyte rich plasma (PLRP) injections for treating atrophied lumbar multifidus muscles, while the second study investigates the correlation between muscle atrophy and the severity of degenerative lumbar spinal stenosis (DLSS).  Featured Article 1:  - Effect of Autologous Platelet Leukocyte Rich Plasma Injections on Atrophied Lumbar Multifidus Muscle in Low Back Pain Patients with Monosegmental Degenerative Disc Disease - **Authors:** Mohamed Hussein, Tamer Hussein    Key Points Discussed  1. Background:  Correlation between lumbar multifidus muscle dysfunction and chronic low back pain. 2.  Study Overview: 115 patients treated with weekly PLRP injections for six weeks, followed for 24 months. 3.  Outcome Measures:  Significant improvements in NRS and ODI scores, with high patient satisfaction. 4. Conclusions: PLRP injections into the atrophied multifidus muscle are safe and effective for managing chronic low back pain.  Featured Article 2:  -   Degenerative Lumbar Spinal Stenosis  Authors:*  Gen Xia, Xueru Li, Yanbing Shang, Bin Fu, Feng Jiang, Huan Liu, Yongdong Qiao  Key Points Discussed  1. Background:  DLSS is a common condition in older adults, often leading to muscle atrophy and disability. 2. Study Overview: A retrospective analysis involving 232 patients to investigate the correlation between muscle atrophy and spinal stenosis severity. 3.  Results:     - Significant differences in the ratio of fat-free multifidus muscle cross-sectional area between stenotic and non-stenotic segments.    - A strong positive correlation was found between multifidus atrophy and the severity of spinal stenosis.    - The atrophy was more pronounced on symptomatic sides of the spine compared to contralateral sides. 4.  Conclusions:  The findings suggest that more severe spinal stenosis is associated with greater muscle atrophy, emphasizing the importance of addressing muscle health in DLSS patients.  Discussion:  Dr. Rosenblum provides insights into how these studies inform clinical practices for treating chronic low back pain and managing degenerative conditions. He emphasizes the need for comprehensive treatment strategies that consider both muscle health and spinal integrity which may be achieved via peripheral nerve stimulation of the medial branch nerve and multifidus muscle or PRP injection in to the multifidus muscle.  Closing Remarks:  Listeners are encouraged to stay informed about innovative treatment options and the importance of muscle assessment in managing spinal disorders.   **Follow Us:** - Subscribe to the Painexam Podcast for more episodes discussing the latest in pain management research and treatments. - Connect with us on social media [insert social media links]. NRAP Academy also offers: Board Review Anesthesiology Pain Management Physical Medicine and Rehabilitation Regenerative Medicine Training  Live Workshops Online Training The Virtual Pain Fellowship (online training program with discount to live workshops)         Regional Anesthesia & Pain Ultrasound Course   Private Training Available Email Info@NRAPpain.org **Disclaimer:** The information presented in this podcast is for educational purposes only and should not be considered medical advice. Always consult a healthcare professional for medical concerns. References Xia, G., Li, X., Shang, Y. et al. Correlation between severity of spinal stenosis and multifidus atrophy in degenerative lumbar spinal stenosis. BMC Musculoskelet Disord 22, 536 (2021). https://doi.org/10.1186/s12891-021-04411-5 Hussein M, Hussein T. Effect of autologous platelet leukocyte rich plasma injections on atrophied lumbar multifidus muscle in low back pain patients with monosegmental degenerative disc disease. SICOT J. 2016 Mar 22;2:12. doi: 10.1051/sicotj/2016002. PMID: 27163101; PMCID: PMC4849261.

    Exploring the Efficacy of Autologous Platelet Leukocyte Rich Plasma Injections in Chronic Low Back Pain & Understanding Degenerative Lumbar Spinal Stenosis  Host David Rosenblum, MD  Episode Date: October 25, 2024 In this episode, Dr. David Rosenblum discusses two significant studies related to chronic low back pain and degenerative lumbar conditions. The first study focuses on the use of autologous platelet leukocyte rich plasma (PLRP) injections for treating atrophied lumbar multifidus muscles, while the second study investigates the correlation between muscle atrophy and the severity of degenerative lumbar spinal stenosis (DLSS).  Featured Article 1:  - Effect of Autologous Platelet Leukocyte Rich Plasma Injections on Atrophied Lumbar Multifidus Muscle in Low Back Pain Patients with Monosegmental Degenerative Disc Disease - **Authors:** Mohamed Hussein, Tamer Hussein    Key Points Discussed  1. Background:  Correlation between lumbar multifidus muscle dysfunction and chronic low back pain. 2.  Study Overview: 115 patients treated with weekly PLRP injections for six weeks, followed for 24 months. 3.  Outcome Measures:  Significant improvements in NRS and ODI scores, with high patient satisfaction. 4. Conclusions: PLRP injections into the atrophied multifidus muscle are safe and effective for managing chronic low back pain.  Featured Article 2:  -   Degenerative Lumbar Spinal Stenosis  Authors:*  Gen Xia, Xueru Li, Yanbing Shang, Bin Fu, Feng Jiang, Huan Liu, Yongdong Qiao  Key Points Discussed  1. Background:  DLSS is a common condition in older adults, often leading to muscle atrophy and disability. 2. Study Overview: A retrospective analysis involving 232 patients to investigate the correlation between muscle atrophy and spinal stenosis severity. 3.  Results:     - Significant differences in the ratio of fat-free multifidus muscle cross-sectional area between stenotic and non-stenotic segments.    - A strong positive correlation was found between multifidus atrophy and the severity of spinal stenosis.    - The atrophy was more pronounced on symptomatic sides of the spine compared to contralateral sides. 4.  Conclusions:  The findings suggest that more severe spinal stenosis is associated with greater muscle atrophy, emphasizing the importance of addressing muscle health in DLSS patients.  Discussion:  Dr. Rosenblum provides insights into how these studies inform clinical practices for treating chronic low back pain and managing degenerative conditions. He emphasizes the need for comprehensive treatment strategies that consider both muscle health and spinal integrity which may be achieved via peripheral nerve stimulation of the medial branch nerve and multifidus muscle or PRP injection in to the multifidus muscle.  Closing Remarks:  Listeners are encouraged to stay informed about innovative treatment options and the importance of muscle assessment in managing spinal disorders.   **Follow Us:** - Subscribe to the Painexam Podcast for more episodes discussing the latest in pain management research and treatments. - Connect with us on social media [insert social media links]. NRAP Academy also offers: Board Review Anesthesiology Pain Management Physical Medicine and Rehabilitation Regenerative Medicine Training  Live Workshops Online Training The Virtual Pain Fellowship (online training program with discount to live workshops)         Regional Anesthesia & Pain Ultrasound Course   Private Training Available Email Info@NRAPpain.org **Disclaimer:** The information presented in this podcast is for educational purposes only and should not be considered medical advice. Always consult a healthcare professional for medical concerns. References Xia, G., Li, X., Shang, Y. et al. Correlation between severity of spinal stenosis and multifidus atrophy in degenerative lumbar spinal stenosis. BMC Musculoskelet Disord 22, 536 (2021). https://doi.org/10.1186/s12891-021-04411-5 Hussein M, Hussein T. Effect of autologous platelet leukocyte rich plasma injections on atrophied lumbar multifidus muscle in low back pain patients with monosegmental degenerative disc disease. SICOT J. 2016 Mar 22;2:12. doi: 10.1051/sicotj/2016002. PMID: 27163101; PMCID: PMC4849261.

    Exploring the Efficacy of Autologous Platelet Leukocyte Rich Plasma Injections in Chronic Low Back Pain & Understanding Degenerative Lumbar Spinal Stenosis  Host David Rosenblum, MD  Episode Date: October 25, 2024 In this episode, Dr. David Rosenblum discusses two significant studies related to chronic low back pain and degenerative lumbar conditions. The first study focuses on the use of autologous platelet leukocyte rich plasma (PLRP) injections for treating atrophied lumbar multifidus muscles, while the second study investigates the correlation between muscle atrophy and the severity of degenerative lumbar spinal stenosis (DLSS).  Featured Article 1:  - Effect of Autologous Platelet Leukocyte Rich Plasma Injections on Atrophied Lumbar Multifidus Muscle in Low Back Pain Patients with Monosegmental Degenerative Disc Disease - **Authors:** Mohamed Hussein, Tamer Hussein    Key Points Discussed  1. Background:  Correlation between lumbar multifidus muscle dysfunction and chronic low back pain. 2.  Study Overview: 115 patients treated with weekly PLRP injections for six weeks, followed for 24 months. 3.  Outcome Measures:  Significant improvements in NRS and ODI scores, with high patient satisfaction. 4. Conclusions: PLRP injections into the atrophied multifidus muscle are safe and effective for managing chronic low back pain.  Featured Article 2:  -   Degenerative Lumbar Spinal Stenosis  Authors:*  Gen Xia, Xueru Li, Yanbing Shang, Bin Fu, Feng Jiang, Huan Liu, Yongdong Qiao  Key Points Discussed  1. Background:  DLSS is a common condition in older adults, often leading to muscle atrophy and disability. 2. Study Overview: A retrospective analysis involving 232 patients to investigate the correlation between muscle atrophy and spinal stenosis severity. 3.  Results:     - Significant differences in the ratio of fat-free multifidus muscle cross-sectional area between stenotic and non-stenotic segments.    - A strong positive correlation was found between multifidus atrophy and the severity of spinal stenosis.    - The atrophy was more pronounced on symptomatic sides of the spine compared to contralateral sides. 4.  Conclusions:  The findings suggest that more severe spinal stenosis is associated with greater muscle atrophy, emphasizing the importance of addressing muscle health in DLSS patients.  Discussion:  Dr. Rosenblum provides insights into how these studies inform clinical practices for treating chronic low back pain and managing degenerative conditions. He emphasizes the need for comprehensive treatment strategies that consider both muscle health and spinal integrity which may be achieved via peripheral nerve stimulation of the medial branch nerve and multifidus muscle or PRP injection in to the multifidus muscle.  Closing Remarks:  Listeners are encouraged to stay informed about innovative treatment options and the importance of muscle assessment in managing spinal disorders.   **Follow Us:** - Subscribe to the Painexam Podcast for more episodes discussing the latest in pain management research and treatments. - Connect with us on social media [insert social media links]. NRAP Academy also offers: Board Review Anesthesiology Pain Management Physical Medicine and Rehabilitation Regenerative Medicine Training  Live Workshops Online Training The Virtual Pain Fellowship (online training program with discount to live workshops)         Regional Anesthesia & Pain Ultrasound Course   Private Training Available Email Info@NRAPpain.org **Disclaimer:** The information presented in this podcast is for educational purposes only and should not be considered medical advice. Always consult a healthcare professional for medical concerns. References Xia, G., Li, X., Shang, Y. et al. Correlation between severity of spinal stenosis and multifidus atrophy in degenerative lumbar spinal stenosis. BMC Musculoskelet Disord 22, 536 (2021). https://doi.org/10.1186/s12891-021-04411-5 Hussein M, Hussein T. Effect of autologous platelet leukocyte rich plasma injections on atrophied lumbar multifidus muscle in low back pain patients with monosegmental degenerative disc disease. SICOT J. 2016 Mar 22;2:12. doi: 10.1051/sicotj/2016002. PMID: 27163101; PMCID: PMC4849261.

12 Take care, brothers and sisters, that none of you may have an evil, unbelieving heart that turns away from the living God. 13 But exhort one another every day, as long as it is called "today," so that none of you may be hardened by the deceitfulness of sin.14 For we have become partners of Christ, if only we hold our first confidence firm to the end. (Heb 3:12-14 NRS)

12 Take care, brothers and sisters, that none of you may have an evil, unbelieving heart that turns away from the living God. 13 But exhort one another every day, as long as it is called "today," so that none of you may be hardened by the deceitfulness of sin.14 For we have become partners of Christ, if only we hold our first confidence firm to the end. (Heb 3:12-14 NRS)

Join me as I interview my friend and regular student at NRS, Mr. Jayberry Miller.  Jayberry is a young businessman who has an integrity that surpasses many in the industry. His gear is top notch, as well as his character.  Listen in as we discuss his business strategy, details of how he makes gear and much more.  The NRS Online Membership is THE best way to get the most up to date content for our followers: https://bit.ly/NRSONLINE Please check out our preferred gear provider, Tuff Possum Gear. Use code NATURERELIANCE for 10% off: https://tuffpossumgear.com/ Dont forget to go check out our NRS Online Membership for the best and most up-to-date content: https://bit.ly/NRSONLINEWild Times: Wildlife EducationWildlife mysteries, crazy news, and daring animal stories—listen now!Listen on: Apple Podcasts SpotifyThanks for listening! Follow us at Nature Reliance School.

The stolen documents case is back! Judge Aileen Cannon dismissed the charges against Trump and his goons in July on the theory that special counsels are illegal, and Monday Special Counsel Jack Smith filed his brief to the Eleventh Circuit explaining why she is very obviously wrong. Plus, RFK Jr. dropped out and endorsed Trump. Does that mean he's off the ballot everywhere? Links: Jack Smith 11th Cir Brief https://storage.courtlistener.com/recap/gov.uscourts.ca11.87822/gov.uscourts.ca11.87822.18.0_1.pdf   Trump v. US https://www.supremecourt.gov/opinions/23pdf/23-939_e2pg.pdf 18 USC 599 https://www.law.cornell.edu/uscode/text/18/599 ADLF Complaint re: Trump/Carson https://static.politico.com/83/4d/90f795464ab58210ca25aa3a1af7/adlf-complaint.pdf NRS 293.202 https://www.leg.state.nv.us/nrs/nrs-293.html New Yorker profile https://www.newyorker.com/magazine/2024/08/12/robert-f-kennedy-jr-profile-presidential-campaign Show Links: https://www.lawandchaospod.com/ BlueSky: @LawAndChaosPod Threads: @LawAndChaosPod Twitter: @LawAndChaosPod Patreon: patreon.com/LawAndChaosPod

In this episode, Stuart C. Gordon, MD, FACP, FACG, AGAF, FAASLD; Marlyn J. Mayo, MD; and Brenda Remo discuss strategies for optimizing PBC pruritus care in the clinic setting.Listen to their conversation on how important it is to ask patients about their pruritus, validate their symptoms and feelings, and offer treatment options framed with realistic expectations.Presenters:Stuart C. Gordon, MD, FACP, FACG, AGAF, FAASLDProfessor of MedicineWayne State University School of MedicineDirector, Division of HepatologyHenry Ford Health Detroit, MichiganMarlyn J. Mayo, MDProfessor of Internal MedicineDivision of Digestive & Liver DiseasesUniversity of Texas SouthwesternDallas, TexasBrenda RemoPerson living with PBCDownloadable slides: https://bit.ly/3LHHiufProgram: https://bit.ly/4fBLQ3lTo get access to all of our new podcast episodes, subscribe to the CCO podcast channels on Apple Podcasts, Google Podcasts, or Spotify.

Filmmaker Olivia Serafini-Sauli hung around the New York music scene in the 90s, and she always had her camera at the ready. So when her friends in the band The New Rising Sons were on the verge of having all their dreams come true, she was there to chronicle it. However, in spite of sold out shows, a major label record deal, and a debut album recorded at a legendary studio, the band's dream came to a sudden end.  Now, 30 years later, the debut NRS album has finally been released on Arctic Rodeo Recordings, and Olivia has taken all of her archival footage plus brand new interviews with band members, producers, record execs, and our very own Stephanie Seymour (who was a friend of the band and worked at Virgin Records when they were signed) to tell the complete story of the New Rising Sons.  Learn more about the film, the band, and the band's music here: https://www.via73films.com/ https://arcticrodeorecordings.com/?page_id=4471 Did you enjoy this episode? Let us know! Email us at modernmusicology1@gmail.com  and tell us all about it, or leave a comment wherever you find our episode and let us know! And don't forget to rate us on your favorite podcast app!  Find us on Facebook: https://www.facebook.com/ModernMusicology  Check us out on Instagram: https://www.instagram.com/modernmusicologypodcast/  Follow us on Twitter: https://twitter.com/ModrnMusicology  Subscribe to our YouTube Channel: https://www.youtube.com/channel/UCk-MlcGy5u3fK1j4bVty1Kw  Modern Musicology is part of the ESO Podcast Network. https://esonetwork.com/  Find more about us: Rob Levy: https://kdhx.org/shows/show/juxtaposition  Stephanie Seymour: www.therearebirds.com   R. Alan Siler: www.kozmiccreative.com   Anthony Williams: https://watchers4d.podbean.com/

Spyware is discovered on U.S. hotel check in systems. A Microsoft outage affects multiple services. Bitdefender uncovers Unfading Sea Haze. University of Maryland researchers find flaws in Apple's Wi-Fi positioning system. Scotland's NRS reveals a sensitive data leak. Rapid7 tracks the rise in zero-day exploits and mass compromise events. The SEC hits the operator of the New York Stock Exchange with a ten million dollar fine. Operation Diplomatic Specter targets political entities in the Middle East, Africa, and Asia. The FCC considers AI disclosure rules for political ads. N2K T-Minus Space Daily podcast host Maria Varmazis speaks with guests Brianna Bace and Unal Tatar PhD sharing their work on Legal Perspectives on Cyberattacks Targeting Space Systems. Tone-blasting underwater data centers.  Our 2024 N2K CyberWire Audience Survey is underway, make your voice heard and get in the running for a $100 Amazon gift card. Remember to leave us a 5-star rating and review in your favorite podcast app. Miss an episode? Sign-up for our daily intelligence roundup, Daily Briefing, and you'll never miss a beat. And be sure to follow CyberWire Daily on LinkedIn. CyberWire Guest N2K T-Minus Space Daily podcast host Maria Varmazis speaks with guests Brianna Bace and Unal Tatar PhD sharing their work on their paper: Law in Orbit: International Legal Perspectives on Cyberattacks Targeting Space Systems. You can learn more about their work in this post. Check out T-Minus Space Daily for your daily space intelligence.  Selected Reading Spyware found on US hotel check-in computers ( TechCrunch) Microsoft outage affects Bing, Copilot, DuckDuckGo and ChatGPT internet search (Bleeping Computer) Deep Dive Into Unfading Sea Haze: A New Threat Actor in the South China Sea (Bitdefender)  Apple's Wi-Fi Positioning Can Be System Abused To Track Users (GB Hackers)  National Records of Scotland Data Breached in NHS Cyber-Attack (Infosecurity Magazine) Zero-Day Attacks and Supply Chain Compromises Surge, MFA Remains Underutilized: Rapid7 Report (SecurityWeek) NYSE Operator Intercontinental Exchange Gets $10M SEC Fine Over 2021 Hack (SecurityWeek) Operation Diplomatic Specter: An Active Chinese Cyberespionage Campaign Leverages Rare Tool Set to Target Governmental Entities in the Middle East, Africa and Asia (Palo Alto Networks Unit 42 Intel) FCC chair proposes requirement for political ads to disclose when AI content is used (The Record) Acoustic attacks could be a serious threat to the future of underwater data centers (TechSpot) Share your feedback. We want to ensure that you are getting the most out of the podcast. Please take a few minutes to share your thoughts with us by completing our brief listener survey as we continually work to improve the show.  Want to hear your company in the show? You too can reach the most influential leaders and operators in the industry. Here's our media kit. Contact us at cyberwire@n2k.com to request more info. The CyberWire is a production of N2K Networks, your source for strategic workforce intelligence. © N2K Networks, Inc.

This podcast is the audio version of the Gear Garage Live Show, where we answer submitted questions and talk all things whitewater. Topics and links that Zach talked about this episode New Fliplines Palm PFD Throwbags Restocked Questions that Zach covered in the Q&A section of this episode Topic: Z-Drag Attachments As a novice boater I've been doing a lot of homework on z-drag techniques. Then, pulling on a boat with a z-drag, there is a lot of emphasis on dispersing the tension across multiple d-rings to not pop one off. No one mentions attaching the ropes directly to the raft frame. Why would this be a bad idea, or is it? Topic: Amazon Seat Update? Zach, you mentioned you bought the Amazon tractor seat as a potential NRS replacement. Have you used it and do you have any feedback on it? Topic: Transportation Hitch The transportation hitch then pulling a vector creates far more mechanical advantage than a z-drag, and much simpler.

Today's episode was recorded from the show floor at the annual Canoecopia show in Madison, Wisconsin. Billed as the world's largest paddlesports expo, Canoecopia features more than 100,000 square feet of canoes, kayaks, kit, outfitters, everything you can imagine, plus more than 100 speakers on an incredible array of topics.  I am honored to be one of those speakers and it's one of my favorite events. Thanks to Chris Hipgrave and the entire P&H Pyranha kayaks team for making space in their booth to record this episode.  We've got a great lineup of guests for today's episode.  We'll hear from: Four time Olympian gold and bronze medalist Greg Barton sharing Olympic stories and what's new from Epic Kayaks Christy Kurtz from Paddle KC on what makes their club successful Chloe Machula from Rutabaga Paddlesports with an inside look into Canoecopia Bruce Furrer with Werner Paddles on the origins of Werner and where they are today David Bain with Pyranha Mouldings and we'll hear about the new lightweight sea kayaks and the new Reactr from Pyranha Danny Mongno from NRS talking about the culture of the company and their newest addition to the PFD world and Stig Larsson from Level Six on their new latex free drysuit As a reminder, if you're not already a subscriber to onlineseakayaking.com, James and Simon keep on adding to the menu. Their latest addition is on foraging.  Visit onlineseakayaking.com and use the coupon code PTBPODCAST at checkout and you'll get 10% off up to 12 months of your subscription investment.   Enjoy today's episode from Canoecopia!

Elie Y. Katz, President & CEO of National Retail Solutions (NRS) that operates the leading point-of-sale (POS) terminal-based platform and NRS Pay credit card processing … Read more The post Bodega Crimes: Elie Y. Katz of NRS discusses system geared to protect appeared first on Top Entrepreneurs Podcast | Enterprise Podcast Network.

On December 8th, I hosted a webinar called “What “Do Showrunners Look For In A Script,” where I talked about how to come up with interesting and unique characters, as well as how tapping into your everyday life interactions with people can help with this. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesA Paper Orchestra on Website: - https://michaeljamin.com/bookA Paper Orchestra on Audible: - https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon: - https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads: - https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMichael Jamin:Well, no one cares that you took my course, so zero. No one's going to be. That's why we don't give a diploma out because the diploma is worthless. No one really cares if you went where you studied, who taught you all they care about? Is the script good or not? Does it make them want to turn the page or not? Do they want to find out what happens next or not?Michael Jamin:You are listening to What the Hell is Michael Jamin talking about conversations in writing, art, and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase And to support me in this podcast, please visit michael jamin.com/book and now on with the show.Michael Jamin:Hey everyone, welcome to a very special episode of What the Hell is Michael Jamin talking about. I'm here with my guest host Kevin Lewandowski, and he helps out a lot with the podcast, with all my social stuff, and he's actually by trade. He's a writer's assistant script coordinator, which is actually one step higher than writer's assistant, so he's worked on a bunch of shows. Kevin, welcome to the show.Kevin Lewandowski:Thank you for having me. Michael, for those of you, sorry I'm not Phil, I'm just kind of filling in for Phil for a couple days, but I'm excited to be here. And yeah, I hope to tell you all a little bit about script coordinating as well and what that all entails,Michael Jamin:Fill in and fulfill, fillKevin Lewandowski:In and fulfill.Michael Jamin:What shows were you script coordinator on?Kevin Lewandowski:So the big one was Why Women Kill.Michael Jamin:Did we ever figure out why?Kevin Lewandowski:I mean, depending on who you ask, a lot of women will say because of men,Michael Jamin:They kill for ratings.Kevin Lewandowski:Right? Okay, that's better. But yeah, that was, I forgot how long ago that was, but that was, unfortunately we got canceled four or five days before we were supposed to start filming. Our actors had just landed in Canada and then the next day they announced they were pulling the plug on the show.Michael Jamin:Why?Kevin Lewandowski:It could be many reasons. I think a lot of it had to do with we were a little bit behind on scripts and then budgeting and we were still kind of in the midst of covid precautions and things like that.Michael Jamin:Covid, people don't realize, especially new showrunners, you don't mess with the budget. You get things done on time, Ross, you're screwed. What other shows did you work on then?Kevin Lewandowski:So the first show I ever worked on was in 2015. It was the Muppets, and it was funny. I thought if anyone ever caught a break, this is my break. I was like, it's the Muppets, it's going to go on for five or six years and I'm just going to notch up every year. And after 16 episodes, that one got canceled.Michael Jamin:What's Ms. Piggy really like?Kevin Lewandowski:I mean, she is who she is. Difficult. Yeah, she's difficult. She's a bit of a diva. We have to had to cater to all of her needs.Michael Jamin:What about, I'm sorry, and what were the other shows? Screw Miss Piggy. Yeah,Kevin Lewandowski:Screw Miss Piggy. So after that, a bunch of pilots that never got picked up, and then I worked for a show on Netflix called The Ranch with AshleyMichael Jamin:ElementKevin Lewandowski:That was a live audience show and I was there for two seasons. I'm trying to think after that. It's all becoming a blur. I did two seasons of Why Women Kill. Actually the first year I was a line producer's assistant, and so that was interesting to kind of see the financial side of things and see where they decide to put the money in. And then for season three, they moved me to Script coordinator,Michael Jamin:But the Branch was a legit show. That was a big show.Kevin Lewandowski:That was a lot of fun because I'd always wanted to work in the Multicam world. There's just something about show night and it's just kind of a big party for everyone and you get to see the audience's instant gratification. It's just a lot of fun. A lot of fun to work on those shows.Michael Jamin:Yeah. Well now the next thing for us to do is try to get you into one of these jobs so you don't have to co-host with me all the time on thisKevin Lewandowski:Podcast. I don't mind co-hosting with you.Michael Jamin:Oh, all right. Well, we'll see if you feel that way at the end. Okay, that's fair. So we are doing, this is a special q and a. We do these monthly webinars or whatever, every three weeks actually, and we have a lot of questions we can't answer. And so we save 'em for the podcast. And now Kevin's going to feed them to me. He's going to regurgitate them to me. He's going to baby bird them into my mouth, and then I'm going to try to answer them as best I can.Kevin Lewandowski:Early Bird gets the worm or something like that.Michael Jamin:Gross. Kevin Gross.Kevin Lewandowski:And I apologize in advance for anyone's name I might butcher.Michael Jamin:It's okay. They don't need to. I mean whatever if you get 'em wrong. Okay,Kevin Lewandowski:So these first few questions are going to be kind of course related questions. The first one is from Dat Boy, D-A-T-B-O-I. And that person's asking, what are the best tips for making my script shine more than the rest?Michael Jamin:Oh boy. Well, I wish he would. Well, he was already at my free webinar. I wish he would sign up for my course. I mean, that's what the course is. The best tips for making it shine is making sure your act breaks pop, making sure the dialogue feels fresh, your characters are original. I mean, there's no tips. It's not a tips thing. It's 14 hours of, let me tell you how to do it. That boy, I wish. What do you think, Kevin? What's your answer for him?Kevin Lewandowski:I think it's one of the things you always say on your webinars is after taking my course, you'll just hear me yelling in your head all the time about this is your end of act two moment, this is this, this is that. And I can vouch for that and say, anytime I'm looking through a script or even watching a TV show, because of your course and just understanding the story structure, you get those spider senses like, oh, the raising the stake should be coming very soon. Now we're about halfway through the episode, so something better be changing here. And I think it's just, again, everything you say in your course of just knowing those beats when they need to hit how they need to pop will help set your script ahead of amateur writers.Michael Jamin:You're a good student, Kevin.Kevin Lewandowski:Yeah. Thanks.Michael Jamin:Alright, what's next?Kevin Lewandowski:So km phs, when I say I don't have experience, but I have a killer pilot and I took Michael Jamin's course. How much of a difference is the course going to make in terms of being a desirable hire?Michael Jamin:No one cares that you took my course. So zero no one's. That's why we don't give a diploma out because the diploma is worthless. No one really cares if you went where you studied, who taught you all they care about, is the script good or not? Does it make them want to turn the page or not? Do they want to find out what happens next or not? So I wish I could give you a better answer than that, but it's not the degree. The degree isn't worth anything. Hopefully the knowledge is worth something.Kevin Lewandowski:I think the analogy I have in my head of your courses, I look at scripts I wrote before taking your course, and it's like when you look back at high school photos and I had the Frosted tips, the pca, shell, necklace, hoop earring, and at the time it was cool. And now you look back and it's like it's pretty cringe-worthy. It's pretty cringe-worthy to see those photos. And now after taking your course, I feel like it's like now I'm wearing a suit and I don't have the poop hearing and I don't have the frosted tips, and I'm not as cringe-worthy when I look back at some of the scripts I wrote a year or so ago.Michael Jamin:Good, good. All right, good. Very good. Impressing me more and more, Kevin.Kevin Lewandowski:Right? Next question. Ous. I'm butchering that one. Nope,Michael Jamin:Perfectly. That's how he says his name.Kevin Lewandowski:Yeah. What are the most important things an inspiring writer should be aware of while reviewing one script before sending it to an established executive or writer?Michael Jamin:God, it's pretty much the same answer as all the other ones. It's like, do your act breaks, pop? Is it fresh? The dialogue, I'm sorry, but it's the same answer, so I don't really have anything to say. Yeah, yeah.Kevin Lewandowski:Next question, mal. Yay.Michael Jamin:Exactly.Kevin Lewandowski:In a 26 page pilot is page 11 two, late for the first act break, second act break or second act being on page 20.Michael Jamin:On the 26 page script, the first back page is on 11, is that what they said?Kevin Lewandowski:Yeah.Michael Jamin:It's not terrible. I've seen worse things. I'm assuming it's a single space. It's not terrible. Yeah.Kevin Lewandowski:Colin Miller, what is a good system to practice writing every day? I like this question.Michael Jamin:A good system, a good system. I don't know why you like it, because I'm stumped. I mean, I would just say write a good system is to, I'm most creative in the morning, so that's when I want to write and I try to do my busy work in the evening stuff that's easier, but you might be a night owl, but I would just carve out time every day and just sit down at the computer and write. And don't be so precious that no one's going to look at your first draft. That first draft can be terrible, so don't just get it on paper. Yeah.Kevin Lewandowski:Yeah. I think a lot of maybe misconceptions people have is writing every day isn't necessarily open up final draft and typing something. Sometimes it's going on a walk for an hour and a half and thinking about the story you're trying to tell and laying out the beats in, I live in Glendale and there's a outdoor mall. It's fun to kind of just walk around there and people watch a little bit. And sometimesMichael Jamin:The Americana, that's where you go.Kevin Lewandowski:Yep. Right By the Americana.Michael Jamin:Are you in walking distance to thatKevin Lewandowski:Few blocks?Michael Jamin:Interesting. Okay. Alright. You'd like to go on the trolley.Kevin Lewandowski:I've never been on that trolley. I'm always afraidMichael Jamin:You like to ring the bell on trolley, Kevin. Yeah.Kevin Lewandowski:I'm always afraid it's going to hit someone.Michael Jamin:Yeah, I know. I know.Kevin Lewandowski:I think takes up a lot of the bottom of the path.Michael Jamin:Yeah. AllKevin Lewandowski:Right. Next question. So NRS creates, I guess this is a question, it's more of a comment. It said, agreed. The course is changing the way I see all of my stories. Good, great.Michael Jamin:Great.Kevin Lewandowski:Christina Sini, who's a current student, and Michael Jamin's course, we learned to break and structure story well before writing those bits and pieces of a script glued together that we won't have to cling to anyone to make them fit. We basically learned how to build in order. I think that goes back to your analogy of laying the foundation first and doing, starting with the characters in beat sheets and then outlining and eventually getting to the physical writing of the script.Michael Jamin:Yeah, she's doing great, Christina. She's having a good amount of success early on, so I'm impressed.Kevin Lewandowski:Another very active person in the course, Laurie. John Michael's course is amazing. When you take the class, you also become of the Jam and Facebook community. We do table reads and give each other notes twice a month. Writer sprints, Wednesday nights and mock writer's room. So anyone that's thinking about getting the course, we have this private Facebook group and it's a bunch of great people in there and we are all just trying to build each other up.Michael Jamin:It really is. It's impressive because when you look at some of the other Facebook groups, the screenwriting groups or on Reddit or groups, it's mostly people trying to tear each other down. But because this is private, I think they're not like that at all. It's a community, I think.Kevin Lewandowski:Yeah, I think that was a big thing for you because you said you were in some of those groups, and I think you even said you sometimes as a professional working writer, you would say something that people would attackMichael Jamin:You. Yeah. You don't, what are you talking about? Oh, alright. I happened once or twice. I was say, I'm done. Yeah.Kevin Lewandowski:All right. Next question. VV oral, is it worth it? And parentheses story structure is very detailed in your course, so I think maybe it's worth it, not is it worth it? Yeah. I think it's just more people praising about your course.Michael Jamin:Okay.Kevin Lewandowski:Let's see. Okay, now we have some craft questions. Good. From Mal mavey, they, again, is it okay to end a pilot on a cliffhanger?Michael Jamin:Yeah, it's okay, but better not. You're really counting on the fact that anyone's going to care, so you're better. I think what the danger is, you may be writing towards this cliffhanger thinking that everyone's going to be so, oh my God, what's going to happen if you don't write? If all those pages beforehand aren't so great, no one's going to care what happens. And so a lot of people write towards this cliffhanger thinking, oh, aren't you going to be enthralled? And the answer is no, we don't care.Kevin Lewandowski:Yeah. Yeah. I think trying to work backwards from that I think can be a disservice. And I think it's just you definitely don't want that cliffhanger to be more exciting necessarily than your act one break, because that's what we know what we're following. Lex Macaluso, once I have a great script, what are the practical steps to do?Michael Jamin:Well, once you have a great script, write another one for sure. And then you want to make sure you actually do have a great script. And you do that by showing it to people. And it doesn't have to be somebody in the industry. It could be a friend or a mother or someone whose opinion you trust. What do you think? And if they love it and they say, this is amazing, show me something else. You're onto something. But if they say, well, I like this part, or I like when this happened, or This is a good storyline, then that's not a great script. So you have to be honest with yourself. It's really, look, it's really hard to write a great script. Everyone assumes they have it and I don't assume I have it. So when I do my job really well, I might have a good script. A great script is really, you got to really hit it out of the park.Kevin Lewandowski:And I think just that idea of what is a great script, so arbitrary, and I think it's sticking to the story structure of what you teach in your course can help set your script apart from others.Michael Jamin:Yeah. And honestly, it is those things that I'm looking for. All the things that I say that when I'm reading a script, what I'm looking for and what I'm really looking for is I want a really good script. It doesn't even have to be great because a really good script stands out great or amazing is very rare. I mean, how often do you see a movie that's been made or a TV show and you go, this is a great script. Most of the time you're like, oh, this is really good.Kevin Lewandowski:So if you were reading a script, and let's say maybe the structure wasn't where you think it should be, but the characters were very compelling and the characters were witty with what they were saying. Would you still be okay with that? Or vice versa if maybe the characters was a little bit too much speaking on the nose, but the structure and everything was spot on with that.Michael Jamin:Years ago we hired on a show, we were running a show and we were reading a ton of scripts, and we got to one where Act one was really good. Act two was really good, and Act three was not very good. And we hired him anyway because we were thought at that point, I was like, he did the first two parts really well, I could fix, or we could fix Act three, not a problem. And so I think that says a lot. You do act one, walk two. That's a big deal. He's a young writer.Kevin Lewandowski:Do you see a pattern with a lot of writers starting out is Act two where they struggle the most? Or is it act three or is it,Michael Jamin:Listen, I don't make it to act two. If Act one isn't good, I don't read further. I get another script. If I get a stack of scripts, who cares about Act two? Fact One sucks.Kevin Lewandowski:Yeah. Ben Miller, what screenplays are the best to read, to learn from perhaps the West Wing pilot, which I read in a screenwriting class?Michael Jamin:Well, it depends what you want to write. If you want to write drama, then maybe West Wing pilot, I haven't read it, but you can also learn from reading band scripts. You can say to yourself, if long as you're honest, why am I not interested in this? And if you know what to look for, why is the script not compelling? Is the dialogue, is it the act breaks? Do they now you'll know what to look for? And then the trick is to be honest with yourself. There's been times even in my early career where I might pitch something to my partner and he'll say, if you read that in a script and someone else's script, you'd say, that sucks. And I go, really? I thought it was good. He goes, no, no, you would say it sucks. So then at that point, you got to go, okay, you got to back off. And you don't fight for it. You got to be honest with yourself.Kevin Lewandowski:I think another amazing thing in today's world that didn't really exist when you start out is pretty much any show that's out there right now, you can get access to some version of the script, whether it was a writer's draft or a production draft. IsMichael Jamin:That true? How do you find them?Kevin Lewandowski:I mean, if you just go to Google and you type in Breaking Bad Pilot script, there's going to be versions that you can download. It's always interesting to read those scripts and then watch the first episode and see how much did they change? Because I doubt you'll be able to find necessarily the final shooting draft online, but those first couple writer's drafts are available. And it's always interesting just to see you're reading it and you really, really like this part, but then you watch the episode and they took it out. You're like, oh, okay. That's interesting thatMichael Jamin:If you really wanted up your game, you could also watch the pilot of Breaking Bag and type out the script while you're watching it and then read it later and look for what are the act breaks, literally, what are the act breaks? How do they work? What's the dialogue on that? What's the last line of every scene? What's the dialogue? At the last line,Kevin Lewandowski:When I was doing writer's assistant script coordinate stuff, that's what I used to do to type faster just sit and watch TV and just type out the script as it was happening.Michael Jamin:Wow, good forKevin Lewandowski:You. Because in the room, they don't like it when you say, Hey, can you slow down a little bit? Can I hear that again? No, you got to go.Michael Jamin:Yeah.Kevin Lewandowski:Okay. Part, what advice would you offer writers to adapt to the inevitable changes in developments expected in the screenwriting field and then years to come? I'm assuming that's in the context of chat, GPT, ai, that kind of stuff.Michael Jamin:Right now, that stuff is being regulated. I don't know of anybody who's using it in a writer's room. That's not to say I could easily be out of the loop, so I don't know. But right now, as far as I know, chat, GPT wasn't a tool. Any writer that I knew was clamoring for, because we all knew if it works, it's going to put us out of a job. So any changes? I don't know. I really don't know. I would just say maybe I'm naive, but stay the course. Figure out how to write without using a computer program or else, because if you're using the computer program, what do we need you for?Kevin Lewandowski:Right. Have you ever just to see what it would look like, just prompt, Chappie, just to write you a random scene just to see what it would look like, and then compare it to your knowledge you have of being a professional writer forMichael Jamin:Many years. Well, a couple of months ago, my partner decided to put some prompts into chat, GPT to come up with story ideas for Come FD for the show we were on. He just read 'em to me. We were both laughing at how terrible they were. It was like a paragraph of what's going to happen in this episode. And it was interesting how it was able to glean what the show was and what it was like, but it was just such an oversimplification of what the show, it lacked any nuance. It was kind of stupid. It was like, nah, that's not, I know. That's what it was almost like asking a 4-year-old what you think the show is and the four year olds. Yeah. Okay. You're right. It's about firemen. Okay, sure. But other than that, the ideas were terrible.Kevin Lewandowski:Yeah. Another question from NRS creates, what are your thoughts on screenwriting competition websites like Cover Fly and the Blacklist? Is that a good way to get a script into people's hands? Thoughts on one act, scripts, one act plays? Do they have three acts?Michael Jamin:A lot of questions. I think you're the better person to answer the first part.Kevin Lewandowski:Yeah. So I've definitely submitted to some of those contests just to see A, if I would get any more B, what kind of feedback they would give. And a lot of times it's not very helpful feedback. And you've talked about, you have to question who these people are that are giving feedback, because chances are, they're not professional working writers right now. They would not have the time to go through 20, 30 scripts to give feedback. So chances are these could potentially be recent college graduates that are just doing what they think, what they learned in film school. And interestingly enough, I think Phil, he went through one competition. He sent me what the feedback was, and just reading it, I was like, this sounds very Chat, GPT ai. It was just very, because he sent me other ones he got, and I was like, okay, this feels like a person actually read this. This feels like it could have been put in chat, GPT, write a response based on what you think. And then when I said that to him, he was like, you might be right. He's like, you might be right. Interesting.Michael Jamin:Back when I was writing my book and I submitted to some publishers, whatever, a couple wrote back why they didn't like it, why they didn't want to option the book or whatever, and whatever. A couple of them, their feedback was like, no, it's clear to me you barely read it. Which I understand because these were low level publishing types editors. And on their weekend read, they probably had to read a couple dozen books, manuscripts, they're not going to give it full attention. And I was like, so some of the criticism, I was like, okay, that's a fair criticism. But no, but that is not, there's literally no truth in what you're saying there. You just phoned it in because you have to read so much over the weekend. So I don't know. Got to take, no one's going. I mean, it's the same thing for these websites. Are they really going to put their heart and soul into it? No. Why would TheyKevin Lewandowski:Don't care. They just want theMichael Jamin:Money. Yeah. Why would they? Yeah.Kevin Lewandowski:You think about someone in your position giving feedback to a fellow writer that might take you two and a half hours, read the script, think about your notes, and then put 'em in a format to be able to explain them to the writer. And I don't think these people in those competitions are doing that. They probably just read it once and write down what they think. And it's funny how some of them, it's what would you rank the character dialogue on a one to 10, and they write six and a half. It's like,Michael Jamin:Where are you gettingKevin Lewandowski:That from? One is six and half. So then what would've gotten me an eight or an half or a nine?Michael Jamin:One of the things we just started doing on their website, if you have the course, our screenwriting course, I have a couple of friends who are high level writers who are willing to give notes. But here's the thing, you're going to pay. It's not cheap. You're going to pay these people to sit down and read your damn script for two or three hours and they're not getting $10 an hour. That's not what they're going to get. I don't know what you get paid for,Kevin Lewandowski:I guess. So is this a good way to get your script into people's hands? So I think, yeah, mean it's technically people's hands, but I don't know ifMichael Jamin:I don't think they're the right hands.Kevin Lewandowski:Feedback is going to be any valuable. And then thoughts on one X Scripts. One X plays, do they have three x inherently?Michael Jamin:That's an interesting question. Do they have three acts? I would say yes, in terms of the structure, in terms of what makes something compelling, but not necessarily, I guess I've written some stories in my book that don't fall into the traditional three Acts structure, but they come close. They definitely come close to it. And that's just because, well, it doesn't really matter why, but you can't go wrong. You really can't go wrong if you structure something like the way we teach.Kevin Lewandowski:So in your opinion, because heard, sometimes people use a five act structure, and I think for me, I think it's basically the same three act structure, but so act one will be act one, and then Act two isMichael Jamin:ActKevin Lewandowski:Two A and then Act two B. And so it's kind of broken up like that. So for me,Michael Jamin:Well, Shakespeare wrote that way. Yeah.Kevin Lewandowski:And he's all right. He did.Michael Jamin:Yeah. I mean, I just think it's easier not to write. I just think three is easier to get your head around. Yeah.Kevin Lewandowski:Yeah. I think just the thought of hearing the words, so writing five acts, that just sounds like it can be a lot, but if you could be like, oh, three acts, okay, I can do that.Michael Jamin:Yeah. Right. Anyone could do that. Yeah.Kevin Lewandowski:Next topic, breaking in. DJ asked when starting out to obtain that experience, what sort of job should one be searching for, staff, writer, assistant, et cetera?Michael Jamin:You should be searching for the production assistant job anywhere, and eventually, after a season or two, see if you can move to a job that's closer to the writer's room. Physically, let's do what Kevin did. That's what he did.Kevin Lewandowski:And I think there's a staff writer that's obviously not entry level assistant. There's various assistant positions you could do production assistant, you can do showrunners, assistant executive assistant. I think one of the, or the terminologies people may get confused is writer's production assistant and then writer's assistant. And the writer's production assistant is the one that's responsible for getting the lunches, stocking the kitchen, making copies, things like that. And the writer's assistant is the one that sits in the room, types up the notes and the jokes that are being pitched. And they work closely with the script coordinator. And as you've said, many times, the writer's assistant is not an entry level job. It can be very intensive times.Michael Jamin:And for what's worth, I've worked with several assistants, either writer's, assistant production assistants, who've since gone on to become staff writers have had successful careers. So it's not like many. So Kevin, hopefully you'll be next.Kevin Lewandowski:Yeah, I'm hoping so too. Next question, Sammy. ak. So the best way to get a foot in the door to support and learn the biz write in assistant or pa, we kind of just answer that. Yeah. Production assistant is that entry level. You're kind of just the gopher and you're the whatever they kind of need you go do, and you prove yourself to those people above you. And they notice. Notice people notice when you're either calling it in or you're really going above and beyond to make whoever's ahead of you life a little bit easier. Yeah. All right. Now we got some miscellaneous. Oh, here's a fun question. Tulio, how close are you to officially publishing your book, Michael,Michael Jamin:It's already out tulio. You can go get it. You can find it. Sign copies are available@michaeljamin.com slash book. Or you could search for a paper orchestra on Amazon or Barnes and Noble, or the audio book on Audible or Spotify or Apple. How about that?Kevin Lewandowski:Get the book. Everyone get the book. The comment to address from Jonathan Loudon, real world dilemma. I like this. Can't get experience without getting hired. Can't get hired without experience. That's why, who is such a reality?Michael Jamin:Well, but if you're starting off in an entry level position, you don't need to know anybody. You just have to put yourself out there. And then in terms of knowing someone later in your job, well, now you already know people. Now you broke because entry levels, literally, you have a pulse in a car. So I find that it's a convenient excuse. Put yourself out there, and Kevin, you didn't have any contacts when you broke into Hollywood. None. So there you go.Kevin Lewandowski:You just got to knock on some doors. I think people that work in the industry, they know kind of how it works. Once you break in, you become a pa, and you make those network connections with production coordinators that you've worked with and people on the show, and you build those genuine relationships and you do good. Then when they go to the next show and they're like, Hey, we need someone, then they'll reach out to you andMichael Jamin:They're not reaching out for you because they're as a favor to you. They're reaching out to you because we need to hire someone. And I don't really want to spend days interviewing.Kevin Lewandowski:I already know you can do the job. It's so much easier just to bring you aboard.Michael Jamin:Yeah, right. It's not like a favor to you. It's a favor to them.Kevin Lewandowski:Yeah.Michael Jamin:You are listening to, what the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A Paper Orchestra, A Collection of True Stories. John Mayer says, it's fantastic. It's multi timal. It runs all levels of the pyramid at the same time, his knockout punches are stinging, sincerity, and Kirker View says, those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft, will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, come check out my book, go get an ebook or a paperback, or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book, and now back to our show.Kevin Lewandowski:Next question, all nighters cinema, what makes your script stand out? If it's a book adaptation and the story isn't your original story,Michael Jamin:Well, do you have the rights to adapt? A book is one question. So if you don't, I probably wouldn't adapt it. And that's not to say that when people think you adapt a book, you still have to have these act break pops. These scenes have to unfold. It's not like books are a slam dunk to adapt. I mean, there's definitely some art and craft that has to be applied to turning into a script. So that's how you make it stand out.Kevin Lewandowski:And I think one of the other things you like to say is if you have a book, there might be a few different stories happening throughout that book. And in your paper orchestra, one of the examples you get, oh, I forget what it was called about the swing dance, and I forgot that chapterMichael Jamin:Was called Yes, swing and a Miss.Kevin Lewandowski:Yeah. As you said, there was other stuff happening at that point in your life, but it was just this story was the one you wanted to tell. Of course you were going to work and doing stuff like that, but this was the story you wanted to tell.Michael Jamin:Right. And also, how many times have you seen they've adapted a book, I don't know, a popular book into a TV show movie? And sometimes it's good and sometimes it's bad. It's because it's not as simple as simply typing the book.Kevin Lewandowski:And a lot of times people say the book was even better or the book was better anyways. And I mean, it's hard to take 300 pages of a book and consented toMichael Jamin:An hour and a half movie. Right.Kevin Lewandowski:David Sallow, what if you a show idea that you have done the work on and think it uniquely speaks to the present moment? Are there any shortcuts possible there or noMichael Jamin:Shortcuts to what? You got to write a script. Yeah. There's no shortcuts to write in a good script, and there's no shortcuts to selling it. There's no shortcuts anywhere. Shortcuts. When does shortcuts ever work? I don't know. Where are the shortcuts? Yeah, little Ed riding Hood. Other than that, in real life, you got to put the work in. Right.Kevin Lewandowski:Do you ever watch the, there's a documentary about the South Park creators and how from they, from blank page to delivering the episode, how many days do you think,Michael Jamin:Well, I know they're super fast, so I would say five,Kevin Lewandowski:Six.Michael Jamin:Six.Kevin Lewandowski:Okay. Six days. That's very fast. They are delivering it like a half hour before it's supposed to. Yeah.Michael Jamin:And that's because the animation process is so crude that they can do it so quickly, but that's fast,Kevin Lewandowski:And we've just gotten used to it that way. So I think with them in an interesting way, that's why their shows seem like their current and present, because something could have happened in the news last week, and then that episode could air next week. Whereas other animation shows, and I know you've worked in animation, sometimes it's seven, eight months before that episode,Michael Jamin:Or it could be nine months, nine months animated show. So yeah, you don't do anything top of one within in an animated show, not the ones I've done.Kevin Lewandowski:Yeah. Next question. What if I wrote lyrics to the theme song? Is that okay to include? I think this might be in the context of one of the things you say in your scripts, don't write music cues. Don't write, don't put song lyrics in there, or something like that.Michael Jamin:I mean, if you think you got fantastic lyrics and you're going to really impress the hell out of someone, but you still have to, when I'm reading the script, I have to imagine what the music is, and I'm not going to imagine the music. And I suppose you can write the lyrics and maybe some people will read it and some won't. So it's up to you. Do you really think it's fantastic or not?Kevin Lewandowski:I had a couple scripts that I put part of a song in there and then listening to, I'm like, no, it's coming out, taking it out.Michael Jamin:In my opinion, there's really no, I'm not crazy about reading that.Kevin Lewandowski:Yeah,Michael Jamin:I mean, maybe others are, I don't know.Kevin Lewandowski:Well, I think, I think back to my script, it was I just kind of being lazy. Could I take that three eighths of a page and add something in there that's going to help move the storyline further, or was I just looking for a, what's a funny moment I could have right now?Michael Jamin:Right. Okay.Kevin Lewandowski:Let's see. From Aaron, in terms of recognizing good writing, writing, what is considered too much in terms of providing direction to actors, description of character, thoughts and emotions, et cetera?Michael Jamin:The less the better, in my opinion. You don't want let the actors do their job, and if you feel you can't convey the anger in a scene or the love in a scene with dialogue and you're yelling at the actors, do it this way, then you haven't done your job as the writer do your job. Not everyone else's. As far as action lines go, I am of the camp that the shorter the better because most writers or most people reading do not want to read your action line. I suppose one day, if get, I think when you get more successful, if you're Aaron Sorkin, you can write whatever the hell you want. You're, because he writes his actions line. I imagine poetry, it's probably his action lines are probably just as interesting as his dialogue because he's such a great writer, but don't count on it when you're starting off.Kevin Lewandowski:I was reading something, I forgot who the actor was, but they said, the actor always requested that their script have commas and apostrophes taken out of dialogue because they felt like they didn't want someone telling them how to say things. And I was like, I can respect as an actor, but I was like, that poor script coordinator, they have to go through that whole script again and take everything out.Michael Jamin:That's a little bit much to me. It seems like putting a comma there is like that's just grammar. And if they wanted to take it out, I think they should do it themselves, but whatever,Kevin Lewandowski:From Jonathan Loudon, again, how many feature films have you written, pitched, but never sold?Michael Jamin:Well, we wrote one completely as a spec, and that did not sell, but that got us a producer interested in our writing, and then we wrote two more that did sell as pitches. We pitched them first, then we got paid to write the script. And as far as I can remember, I don't think we wrote any other feature scripts. I think we maybe had some ideas that were batting around, but we never actually pitched or wrote, but we work mostly in tv.Kevin Lewandowski:So do you know, because from what I can recall, you've never sold a feature that actually went into production, correct. Right,Michael Jamin:Right. They they never do.Kevin Lewandowski:Yeah. And how do you think you would feel, because as you say, tv, the showrunner head writer has the final say, and on a feature, it's the director that has the final say. I worked with someone, his name's Steve Rudnick, and he wrote Space Jam and the Santa Clause movies with Tim Allen, and he told me this story how he was at a baseball game and he saw someone walking down the aisle and it had a Space jam cast and crew jacket. And he asked the guy and he was like, can I ask you where you got that jacket? That's a really cool jacket. And he's like, oh, I worked on production. This was all our rap gifts, and Steve never got one because writers usually aren't part of the production aspect onMichael Jamin:Feature, and he was accredited writer on it. Right. That's what an actor thought he was. Yeah. Yeah. I think that's probably common. I don't know why people want to become writers on movies. I mean, it would be cool, but maybe he was heavily rewritten. Maybe he was, I don't know.Kevin Lewandowski:He was so bummed. Yeah.Michael Jamin:Yeah. He wasn't invited to anything.Kevin Lewandowski:Yeah. Right. Geo, could you elaborate on the things not to say to executives or some examples of what the producer said?Michael Jamin:What the producer said? I'm not sure I answered the question.Kevin Lewandowski:So can you elaborate on the things, so I guess as a writer, and maybe you gave your script to an executive and they were giving you feedback or said, Hey, maybe do this, do this. How would you respond to those notes?Michael Jamin:Yeah, you want to be positive. Great. We'll work on that. Thank you. Good idea. Interesting thought. We'll definitely do our best with that, and then later, hopefully you can take 90% of the notes and the ones you can't take, you say, I think we address the spirit of your note. Even if we couldn't address your notes or this one, we couldn't make it work occasionally, but you're doing 90% of the notes. Yeah.Kevin Lewandowski:I think the phrase I would always hear on notes calls is, okay, well, yeah, we'll take a look at it. We'll take a look at that. Yeah,Michael Jamin:We'll take a look at it. Yeah. We,Kevin Lewandowski:Next question from Cody, with short seasons, freelance opportunities have mostly gone away, but are there still opportunities for freelance, and if so, how are writers polled in for those?Michael Jamin:I don't know. That's a good question because that's a question. You'd have to look that up with the Writer's Guild. I don't remember on our last show there, I don't recall ever having those guys doing freelance, giving off freelance episodes to anyone. So it used to be a Writer's Guild mandate if the show was a certain length that they had to give out a certain number of freelancers. And now maybe they don't have to, but I wouldn't either way get it out of your head that you're ever going to sell a freelance episode because it's just so over my 28 years, I think I've sold maybe three freelance episodes and I would do more. It's not a problem. It's just that they're really hard to get.Kevin Lewandowski:And I think a lot of times what happens in writer's rooms is those writer's assistants and script coordinators that have proved their worth for a couple of seasons. If that opportunity comes for them to get a freelance episode, the showrunner helps 'em out with that, and that helps them get into the Writer's Guild and things likeMichael Jamin:That. That's usually a bone you throw those support staff after they've been there a couple of years.Kevin Lewandowski:That's a nice bonus. It's a nice check to get. Next question, David Campbell. Does the creator continue to have involvement or do you teach them on the job?Michael Jamin:If someone creates the show and they are not the showrunner, which just happened on a couple shows we've done. We were not the showrunner and the creator had involved. They were on the writing staff, but they didn't have any say. They didn't have the final say or anything. If we are the showrunner, whoever's the runner has final say. Yeah.Kevin Lewandowski:Next question, nerds and friends, how many writers' rooms are virtual remote nowadays? What is the path to becoming a showrunner? Is it a writer pivoting into that role? I can imagine producing experience helps.Michael Jamin:No, so a showrunner is the head writer. The way you become a showrunner is by being a writer on many shows and being good at writing, and then the producing aspect of the job. You kind of learn on the job as you rise up the ranks. You don't have to take a course or there's no certification, and it's something you can fake.Kevin Lewandowski:For me, I never really understood what the word producer meant. No one in the context of television, because it's working in the industry, you learn, okay, writers can be producers, but then sometimes accountants, if they're high enough, they can also be producers. And not every producer is necessarily like the creative vision. Some of them deal with the money aspect of it.Michael Jamin:Yeah. They're non-writing producers or non-writing executive producers, they'reKevin Lewandowski:Called. Yeah. Next question, K with an asterisk next to it. Are series filmed for streaming services similar to TV regarding creative control for the show runner?Michael Jamin:Yeah. Yes.Kevin Lewandowski:Easy question. Yeah, all-nighter cinema. How different is trying to greenlight a serial TV show versus a mini series?Michael Jamin:It just depends on what the network, usually they're buying series. They're not buying mini series there. Sometimes they're buying limited series. It just depends on the network. And I wouldn't even approach, again, your goal is to write one great script as a writing sample, and it's not to time the market and figure out who's buying what. Can you write a script? Answer that question first,Kevin Lewandowski:Right? If a studio buys your pilot but ends up passing and an exec at another studio is interested, how realistic is it that they'll buy it againMichael Jamin:If the first one will buy it?Kevin Lewandowski:I don't know. I'm wondering if they're asking just because one studio passes on your script, does that mean every studio is going to pass on it?Michael Jamin:No. No. Usually if you're lucky, you pitch to five studios and one buys it. That's how they don't all want to buy it. You're lucky if one wants to buy it. But again, what's frustrating about all these questions that we're hearing is everyone's saying, how do I make money selling a script? And no one's saying, how do I write a good script? Everyone is already assuming that. It's just so damn frustrating. It's like, guys, what do you think? How do you think this is going to work? It's not about the meeting. It's about writing a damn good script. First thing's first. So I don't know, what are you going to do? I yell into the wind. People don't listen to me on this.Kevin Lewandowski:I listen. They'll listen. They'll listen. Yeah. I mean, I think there's almost this weird delusion that people think they're going to move out here within a year. They're going to have their own show. And I was just talking to someone the other day that they're going to USC, and she was talking about kind of her timeline with things, and she said, I want to give myself five years from when I graduate in 2025 to try to get into a writer's room. And when she said that to me, I said, very realistic. That's not too quick that, because there's a lot of luck of, IMichael Jamin:Thought you were going to say have her own show on the air.Kevin Lewandowski:No, no. She was very much, if I can be in a writer's room in five years. So I thought, yeah, because tough, because if you can get on that show that season one, it's not a hit yet, then it becomes a hit that can definitely fast track you a little bit. And my struggle has been, none of the pilots I've worked on have gotten picked up and shows have gotten canceled. And I'd like to believe that's not my fault, but it's hard to look at the No, I'm kidding. I'm kidding.Michael Jamin:But yeah. But it's a little frustrating when people ask these questions sound to me like when I hit a grand Slam, who do I high five first? They're like, dude, can you get on base? Do you know how to get a base hit? What are you talking about? Just get a base hit first. So that's what it sounds like to me. And I wish people would just have more realistic expectations and would take a little more, everyone's assuming they already knew how to do the hard part.Kevin Lewandowski:Yeah. Next question, given that streaming has changed the face of sitcom series writing, how do you feel about the future of the industry? Are there days of having full writer's room and staff over?Michael Jamin:It certainly seems that way, but who knows right now, if you follow what's going on, it seems like, it seems like everything's becoming, we're slowly moving back to the old days. There's going to be fewer streamers. They're going to be consolidation. They're already talking about these big streamers merging. And when that happens, things will change, but we don't really know. Right now, the industry's at a crossroads. They're not picking up a lot of shows. Now. They will pick up start. That will happen. And imagine a couple of, it can't go on much longer. They got to have to start pulling the trigger and start making TV shows again. So we don't know. We're at the crossroads,Kevin Lewandowski:Because I think you said back when you were working on, just Shoot Me In, I think you said King of the Hill, there was more than 15 writers on King. KingMichael Jamin:Of the Hill. We had 20 writers in King of the Hill, and we were do 22 episodes in a season.Kevin Lewandowski:And how many were on Just Shoot Me?Michael Jamin:Well, let's see. In the beginning, I would say it's closer to maybe 10 or so, maybe 12 at some point.Kevin Lewandowski:And in your experience, do you think comedy rooms always have more writersMichael Jamin:Than drama? I don't know. I mean, it just really depends on the budget of the show and how many episodes you're going to be doing.Kevin Lewandowski:I think I was watching something about Breaking Bad, and I think they had six writers.Michael Jamin:Oh, really? That's it.Kevin Lewandowski:Wow. On why Women Kill. We had five.Michael Jamin:The thing about drama is that you don't have to, it is easier in the sense that when you're writing a comedy, you still need to have that structure. You still need to come up with a story that is engaging, but it also has to be funny. But when you're doing the drama, you just need to come up with an engaging story, and it doesn't have to be funny, and you don't have to punch up the lines. And in that sense, I do think it's a little easier, but that's not to say writing Breaking Bad is easy. I mean, what a great show that works.Kevin Lewandowski:Right, right. Next question from maybe, are there tutorials and Final Draft, a proper guide for making your script presentation acceptable?Michael Jamin:What do you think? I don't know. I haven't looked at the tutorials.Kevin Lewandowski:Yeah. I mean, I think the nice thing about Final Draft is they have pre-built templates that you can use. So if you're writing a Multicam, it'll prebuilt that template and everything will automatically be capitalized for you. And same thing with Single Cam. And I think one of the things you always say is when you hand your script to someone, they're not going to know you use Final Draft or one of these other programs to write the script. They're just going to get a printed out version. And I think there's minimal things you need to do, make sure the dialogue is in the middle of the page and certain things are capitalized, and there's a certain format formatting of that. But Final Draft can take care of all that too. So when you're done writing, you just hit file, export as PDF, and that's it. You're done. All the four is done.Michael Jamin:I mean, final Draft, like you said, has those templates, and it'll make your script look like a script, which is great. You got a script, you got something that looks like a script, but does it read like a script?Kevin Lewandowski:Right. Har Draft does not do that for you. Yeah, it won'tMichael Jamin:Do that.Kevin Lewandowski:Michael's course does.Michael Jamin:Yeah. I hope,Kevin Lewandowski:Lorenzo, given your friendship with the late David Bellini, have you got any insights on Italian films, TV industry, in your opinion? Is there any difference? Thank you.Michael Jamin:From what I knew from David. David when he was a lot, the difference is enormous. It's a whole different film structure over there. It's not so much of an industry as it is. I don't know. It sounded like really hard. And he was pretty successful. He worked on a bunch of shows, and he moved to LA to Hollywood because he was like, this is too crazy here. This is just not enough work. So I think it was a miracle that he was as successful as he was there, but it's a whole different ballgameKevin Lewandowski:If the script doesn't have scenes in it. How should it be written? Is it just dialogue and descriptions? Do you have any advice for someone who wants to be a script doctor?Michael Jamin:Okay. The script does have to have scenes in it. It can't be all one scene. That's not going to be acceptable. A script doctor is not really, that's some bullshit that people say on the internet. No one I've ever met ever called themselves a script doctor. We're all screenwriters. And sometimes you sell your own work, and sometimes you're brought in to rewrite somebody else's, and there's no script doctor. You don't get a degree and you don't wear a stethoscope. And that's not a job. It's just sometimes will get paid to rewrite someone else's script, but you'll only get that job if you're a really good writer and you've written some really good scripts on your own. And then when you do, usually you're like, hell, I'll just write. I want to write my own stuff. And you're brought in to change someone else's script because it's like, all right, someone's giving me money and here's a job, and I'm in between jobs, so I'll do it.Kevin Lewandowski:There's no shortcuts. A couple more questions, Aaron. How many followers, subscribers would someone need to have on social media for that to be interesting and asset to a studio or showrunner?Michael Jamin:Literally have no idea. And I'm not sure it would be interesting to a showrunner at all as far as the studio, in terms of being a writer. You're not expected to have a social media following at all. I just happen to have one, but it's not right. No one's, no one ever asked me, no one really cares. The benefit is I can promote my own stuff. I have a following, but for a writer, you don't need that.Kevin Lewandowski:Yeah. And then our last question, is it okay to make the size of the words on the title page a little bit bigger?Michael Jamin:I suppose it is. I don't try to do anything fancy, but I don't know why you want to. It's okay if you want to. It's not desperate, but I don't know. I try to make it, I want my script to look like just an ordinary script. I want the pages themselves, the dialogue to stand out. I'm not really trying to make the cover page stand out.Kevin Lewandowski:Yeah, I think it's like when writing any paper you did in college or whatever the title is, 18 font, and then the stuffy writing is 12 font or whatever.Michael Jamin:Yeah, you can do that.Kevin Lewandowski:Yeah. I think one of the things you said is the title page. No one necessarily cares about that. If you put a fancy image on there, that's not going to, people aren't going to be like, oh, we got to hire this person. We got to hire this person right now.Michael Jamin:Yeah. Don't even give any thought to the title. I mean, really. You're not going to fool anybody. So yeah.Kevin Lewandowski:Well, that is all the questions we have from that webinar.Michael Jamin:Wow. Excellent. Kevin, you did really well. You're a natural here. Thanks. Yeah. Alright, everyone. Thank you. Please continue coming to our webinars. We do 'em every few weeks. To sign up, go to michael jamin.com/webinar. I got a book out. I hope you all get it. Sign copies are available @michaeljamin.com slash book. And if you want to come see me on tour, go to michael jamin.com/upcoming. Kevin, where can people find you?Kevin Lewandowski:I'm on social media, Kevin Lewandowski. Sorry it's a very long last name. It gets butchered a lot, but I'm there. And yeah, I occasionally make appearances with Michael on these webinars and things like that. So yeah. Thank you all for who's been coming to the webinars and checking out Michael's stuff. Just go to michael jamen.com and just start clicking around. There's a bunch of stuff you can get his free scripts, stuff he's written. There's free lessons up there. Every podcast we do gets uploaded there. You can spend hours on that websites. Just go there, click around, buy the book byMichael Jamin:The book. Thank you so much buddy. Alright. You're just going to stick around. Kevin's going to be back next week for another episode. I believe it's next week. We will see when it drops, but he's going to be back around for another one. Alright, everyone, until then, keep writing, keep being creative and all that stuff. Thanks so much.Michael Jamin:Wow. I did it again. Another fantastic episode of, what the Hell is Michael Jamin talking about? How do I do it week after week? Well, I don't do it with advertiser supported money. I tell you how I do it. I do it with my book. If you'd like to support the show, if you'd like to support me, go check out my new book, A Paper Orchestra. It asks the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most. Laura Sanoma says, good storytelling also leads us to ourselves, our memories, our beliefs, personal and powerful. I loved the Journey, and Max Munic, who was on my show says, as the father of daughters, I found Michael's understanding of parenting and the human condition to be spot on. This book is a fantastic read. Go check it out for yourself. Go to michael jamin.com/book. Thank you all and stay tuned. More great stuff coming next week.

National Retail Solutions Offers Innovative Solutions for Independent Retailers NRSplus.com Show Notes About the Guest(s): Eli Katz is the President and CEO of National Retail Solutions (NRS) Plus. With over seven years of experience in the industry, Katz has brought his expertise as an executive in various companies to found NRS. NRS operates the leading point-of-sale terminal-based platform and NRS Pay with credit card processing for independent retailers. With over 27,000 active POS terminals in stores nationwide, NRS provides solutions to help independent retailers compete in the market. Episode Summary: In this episode of The Chris Voss Show, host Chris Voss interviews Eli Katz, the President and CEO of National Retail Solutions (NRS) Plus. Katz shares the story of how NRS was founded and the mission behind the company's offerings. He discusses the challenges faced by independent convenience store owners and how NRS provides them with the technology and insights to compete in the market. Katz also highlights the importance of clean and transparent credit card processing for small businesses. Additionally, he introduces NRS's innovative panic alarm system embedded in their point-of-sale registers, designed to enhance the safety and security of store owners. Katz concludes by discussing NRS's partnerships and future plans to continue improving their product offerings. Key Takeaways: NRS provides independent convenience store owners with a point-of-sale register that offers digital coupon products, credit card processing, and other features to help them compete in the market. NRS's credit card processing solution, NRS Pay, offers a clean and transparent rate with no long-term contracts or hidden fees. The panic alarm system embedded in NRS's point-of-sale registers silently alerts the police in case of emergencies, providing a sense of security for store owners. NRS has partnered with companies like Strata Select, MS Energy Technologies, and Source One Digital Team to offer additional solutions and services to their customers. NRS is committed to continuously improving their product offerings and providing support to independent retailers in various industries. Notable Quotes: "We created the world's greatest point-of-sale register for these independent, convenient liquor tobacco stores." - Eli Katz "Our point-of-sale register offers clean and transparent credit card processing with no hidden fees." - Eli Katz "The panic alarm system gives store owners a sense of security and comfort, knowing that help is just a button away." - Eli Katz "We partner with reputable companies to offer additional solutions and services to our customers, such as signage and canopies for gas stations." - Eli Katz "Our goal is to level the playing field for independent retailers and provide them with the tools they need to succeed." - Eli Katz

S07 - Ep 004. The Final Cast - NRS Join Blake from NRS and I as we talk everything NRS. PFD, Clothing, Rafts, and video lesson series. www.nrs.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we're sharing the most recent episode of the "Owner to Owner" podcast.  Host Jesse Tyler is joined by three great co-owners at 100% ESOP Northwest River Supplies, Tony Mangini, CFO/HRM, Natalie Zamora, Sales Operations Manager, and Walker Andersen, Receiving Associate. Each guest on the "Owner to Owner" podcast shares personal insights on what ownership means to them; how they describe ownership when talking to family, friends, and strangers; three words they use to describe employee ownership; their EO A-ha moments; and why anyone seeking work should consider a career at NRS: https://www.nrs.com/about/careers/ The goal of the "Owner to Owner" podcast is to have actual employee owners discuss a wide range of ownership experiences and culture topics, and to bring more insight into the individual ownership experience. Listen to all of the great episodes of the "Owner to Owner" podcast here: https://www.ownertoownerpodcast.com/

Bret Keisling shares a clip from Episode 59 of the "Owner to Owner" podcast.  Host Jesse Tyler's guests are three great employee owners from Northwest River Supplies (https://www.nrs.com/), a 100% ESOP based in Moscow, Idaho.  In this excerpt, Tony Mangini, CFO and human relations manager at NRS, shares his EO A-ha Moment.   Tony candidly explains how he attended a regional conference specifically looking for ways to shut down the company's ESOP. Instead, he learned something about ESOPs that would change his mind and change NRS into a tremendously successful 100% ESOP. The full transcript and show notes for this episode are available on our website at https://www.theesoppodcast.com/post/mini-cast-253-from-nah-to-a-ha For more, check out Episode 59 of the "Owner to Owner" podcast featuring Jesse Tyler and three great employee owners at Northwest River Supplies at https://www.ownertoownerpodcast.com/post/o2o-ep-59-northwest-river-supplies

On October 28th, I hosted a webinar called "How To Write A Great Story," where I talked about how to come up with interesting and unique story ideas, as well as how tapping into your everyday life interactions with people can help with this. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMichael Jamin:Yeah, you better figure that out because your story needs to be about one thing everyone wants to throw in the kitchen sink. And it's about this, but it's also about this, but it also has elements of this. It's like, no, no, you don't know what your story is. You got a hot mess. You can't kitchen sink it. Your story's about one thing. And if you think it's about two things, congratulations. Now you have a sequel or you have another episode, but your story's about one thing. And if you think I'm making it up, read stories that you've enjoyed and ask yourself the same question. What is this about you're listening to? What the hell is Michael Jamin talking about? I'll tell you what I'm talking about. I'm talking about creativity, I'm talking about writing, and I'm talking about reinventing yourself through the arts. Hey everyone, welcome back to What the Hell is Michael Jamin talking about? And today I am answering your questions and I'm back here with Phil. Welcome back, Phil,Phil Hudson:Good to be here. Thank you forMichael Jamin:Having me. We had a delay because I borrowed some of Phil's mic equipment for a few weeks and then I gave it back to him with the wrong card. And then Phil, you learned a lesson. The lesson is no good deed goes unpunished.Phil Hudson:Oh man, I feel like's. I'mMichael Jamin:Happy to have taught you that lesson. ThankPhil Hudson:You for teaching me that lesson. I feel like the theme of every story I've ever written is that you get screwed either way. Just so everyone knows. Sometimes high tech is low tech and we have these awesome zoom recorders and they only allow you to have a 32 megabyte SD card. And then the American way of gluttony. We bought massive SD cards for the podcast, missed an SD card somewhere. SoMichael Jamin:Here we're won't run, but we're back and we made it work. We had a little delay. And so today I have these webinars every three weeks or so where I talk to people about writing. And anyone's welcome to join. It's free, go to michaeljamn.com/webinar for the next one. And we have a rotating list of topics that I cover and they're all writing related. And so these are some of the questions I didn't have time to answer during these webinars.Phil Hudson:And you are often testing new subjects too, so if you've attended them in the past, make sure you come sign up so you can get into those.Michael Jamin:Yeah.Phil Hudson:Alright, well, we've got several topics and as we do, I tend to group these together based on subject matter, and these are raw questions just ask during the podcast. So I apologize in advance for ruining people's names and mispronouncing everything, but let's start with craft. I think that's the thing people care a lot about is how do they get better at writing? And s sl junk indie author asks, how does the story structure fluctuate depending on genre, I should say too, this is from your podcast, how to Write a Great Story, which is one of your MyMichael Jamin:Webinar. My webinar. YourPhil Hudson:Webinar, yeah, yeah. Excuse me. Your webinar, how to Write a Great Story, which is one of your most popular webinars that we have. So if you haven't signed up for that, go do that the next time it's up. So how does the story structure fluctuate? Depending on genre, if I'm writing a horror, but I'm used to fantasy, what are some things I need to consider when structuring my story?Michael Jamin:I really don't think there's that much of a difference, to be honest. I think if you're writing a mystery that's different, and I think writing mysteries, people do it wrong all the time. Rich are a little harder to do, but you're just telling the story structure is very similar. You're telling a scary story. A horror story is just a scary story. A fantasy is just, it is a fantastical story, but they're just stories. I mean, everyone gets hung up on these genres. You get to decide the tone and the tone of your story is scary or fantastical, but it's still a story.Phil Hudson:Yeah. Something that you told me privately that I think is interesting for everybody listening, you were approached by a publisher who said, we want to make you the next Save the Cat. We want you to publish this book series, and you've never read any of those things. But for those of us who have, this is commonly taught, what are the tropes of your genre? What are the things in your genre? What is the story structure of your genre? And it's like you read between the lines and it's like what you've said many times. You're taking something apart and reassembling that and it's not the right way. You need to start with structure and then move forward. It's the same reason you do a foundation and then a frame, and then you do the rest of the house.Michael Jamin:You can paint the house any color you want, and that's whether it's scary or funny or dramatic or whatever. That's just color of paint. But the house still looks the same for the framing, still looks the same regardless of what paint you want to put on it.Phil Hudson:Awesome. Just Mason May. How does someone overcome the concern that our work won't live up to its potential?Michael Jamin:Oh, it never does. To get over it, you'll never be happy. You'll never be, oh, I should have done it. This. When you're done, you're always going to look at it and go, I wonder if this could have been better. I think any artist is going to feel that way, but if the question is how do I make sure it's good enough to even share, well, then you can just give it to your friend or your mother or whoever and have them look at it and read it. Take your name off the cover and ask them, did you enjoy reading this? When you got to the bottom of the page, did you want to turn the page or not? And if you wanted to turn the page, you did a good job. And if you didn't, something's wrong.Phil Hudson:Right. Aside from that, what would you recommend people do to overcome the fear of rejection or the fear of someone hating their work?Michael Jamin:I get over it. I mean, that's the job you're signing up for this. Hopefully no one's going to be too mean to you, but just know that when I was starting off, I was no good. No one's good when they start off. I mean, no one starts every single artist you admire, musician, actor, writer, whatever, performer, they were not good when they started. Listen to them in interviews. They'll say as much, so you get better. The more you do, the better you get.Phil Hudson:Yeah. We watch these kids shows now that I've got small children, and one of our favorite shows is Bluey, which I've talked about before. And they just dropped a bunch of new episodes yesterday, and one of the episodes is about drawing. And the daughter bluey is not good at drawing, but the dad's not good at drawing, but the mom's really good at drawing, and then the little sister doesn't care at all. She's just a kid and she's just drawing whatever she wants. And so the dad's super conscientious, self-conscious of what he's drawing. And so bluey the protagonist becomes a little self-conscious of her drawing, and they tell the story that the dad made fun of when he was a kid. So he stopped and the mom, just, her mom incentivized her, encouraged her, you're doing great for a 7-year-old. And she was like, oh, and that was enough. And then she became a wonderful artist. So at the end, bluey and the dad are both freed up to draw the things that they got made fun of or were worried about. And it's this beautiful allegory of just, Hey, just let it go. Who cares? That person's just being a jerk and it's because they envy what you do. That'sMichael Jamin:A good lesson. That's a good lesson from that show.Phil Hudson:Yeah, it's a great show. I bet we should watch it with your kids, Michael.Michael Jamin:My kids are too old to watch TV with me now.Phil Hudson:Yeah, that's scary. It's so sad to hear that. Rachel Zoo, I would like to get my motivation for riding back and for everybody. You have this other webinar you just put out, which is about how professional writers overcome writer's block. And I think that kind of addresses this, but this was before that. But what general thoughts do you have about getting motivation back to write?Michael Jamin:Yeah, I mean, well, first of all, I can't motivate anyone. I mean, if you don't have the motivation in you, then it's not going to get done. So you have to be self-driven. But probably what you're experiencing is the fact that you just don't know how to do it. And so when you don't know how to do something or you think you're bad at it, it's not fun. Why would you want to do anything when you feel like you're horrible at it? But once you learn how to do it and story structure can be taught and it doesn't make writing easier, it makes it easier. It doesn't make it easy, but it makes it easier. So I think the problem that you're facing is you just dunno how to do it yet. So come to some of my webinars and that'll help you a lot just to learn. You're flailing. I don't blame you. It's no fun. When you're flailingPhil Hudson:For everybody who is unaware, you also give away the first lesson of your online course for free @michaeljamin.com/free. And you teach this beautiful lesson about what is story. That alone is worth its weight in gold because it's just something we all miss or forget. And you've even said you forget sometimes.Michael Jamin:Yeah. I mean, I was watching a movie that I got a screener the other, and I'm getting halfway through, I go, there's no story here. I'm bored. And now my wife was bored by it too, but she didn't know why. I knew why because I'm a writer. I'm like, what's the story you're telling? No one knew. And yet the movie got made. I dunno, I got to tell you.Phil Hudson:Yeah. The other thing that comes to mind is many people have heard this guy, and you've heard me talk about him before, this guy, Jocko Willink, former Navy Seal leadership consultant, multiple New York Times bestsellers, a huge podcast, and he has this motto that says, discipline equals freedom. And he's like, it's a little bit counterintuitive because you think if you're disciplined, then you don't have choice and you can't do things. And his point is, if you are disciplined, you don't have to rely on motivation. And that's what I hear from you and I've heard from other professional writers is being a professional is doing it When you don't feel like it, motivation doesn't matter.Michael Jamin:You know what? I'll tell you as well, I post every day on TikTok or at least five or six days a week. I find, and I've talked to other creators who feel the same way. If I take too many days off, it gets harder to get back on. So two is the max, and you got to, because I know people think it's easy to, it's not easy posting on social media. It's like I got to think about what I'm going to say. I got to rehearse it, I got to shoot it, then I got to tag it, upload it, make all the meta tags. I don't do it in two seconds. And yeah, it's like brushing your teeth. You have to do it,Phil Hudson:And that's like any habit they say you can mess up once, don't mess up twice. It's like dieting, don't make two bad choices. If you made one, that's okay. Now continue to get back on track, but it's discipline, discipline, discipline. You just need to sit down and do the work because that is what is required. And if you're not willing to do that, this is not the career for you. It might be fun for you to do on your own, but even then I imagine that's going to be pretty brutal if you don't have the discipline and the habit of just sitting down and doingMichael Jamin:It. Oh, even if it's a hobby, it'll still be more fun if you know how to do it. I mean, golf is a hobby for most people. The better you get, the more fun it is to play.Phil Hudson:Yeah, I don't like being bad at things. That's very true. Great. Stephanie Anthony, what are daily writing exercise exercises that are invaluable to helping to build stronger storytelling muscles?Michael Jamin:Well, I don't do exercises, but would certainly have. Keeping a journal or a diary and writing it, knowing that no one will read it is very freeing. When I was in high school, I wrote, I had a creative writing class and our assignment was to write daily entries in this journal and we gave it to him at the end of every class and then he would read it and he was always so kind. He always said such nice things about what I wrote. He was looking forward to reading it. I thought that was really nice of him to do. I'm sure it wasn't very good, but I was trying to entertain him and he appreciated it. Yeah, just write and read how those are your exercises. Write and read.Phil Hudson:I've talked before about some of my experiences translating for the Sundance Labs and some of the things I got to do with the scholarship I had through Robert Redford and this woman Joan, who runs these workshops at the labs for whether you're a writer, a director, whether you're doing editing, whatever it is, everyone goes through this basic storytelling lab with her, these workshops almost every day. And it's about taking, basically it's what you talk about in your course, mining your life for stories. And I remember that one time I went and she saw me and she recognized me from doing this Redford scholarship stuff, and she was like, it's so good to see you here. And I told her what I was doing and she was introducing everybody in the room and I introduced myself and she was kind enough to say, and Phil is a very talented writer, and I made the mistake of saying, well, that's why I'm here translating. And I've been thinking about that literally today as doing the work and practicing and getting better and then getting acknowledgement from other people is important. The practice of doing it every single day is the exercise. And then I think the other exercise is accepting people's praise when it's earned and deserved.Michael Jamin:Take the compliment because you know why it's insulting not to. It insults the person, not if you shit on it, then they gave you a giftPhil Hudson:And I did.Michael Jamin:I see people do it all the time. You're not the only one. It's normal. You also feel like, well, I'm not good enough.Phil Hudson:My thought was like, well, I'm not in the labs, so I'm here translating, but I did it in front of people and I did apologize to her after, and she was very kind and we had a good chat about it, but that was ringing in my head today.Michael Jamin:It's hard to take a compliment for a lot, a lot of time I feel the same way. I feel the same way,Phil Hudson:But if you say no or you shoot it down, then it's all going to be harder because you're reinforcing unconsciously that you are not good or it isn't good enoughMichael Jamin:AndPhil Hudson:You got to take the wins. Take the wins.Michael Jamin:Yeah, right.Phil Hudson:Awesome. A couple of questions related to the topic, and you're online screenwriting course, so they're kind of bundled together, Joel Riedel regarding execution of an idea in a script. How do you know when you've taken a script far enough? In other words, how do you know if it's ready?Michael Jamin:Well, kind of the same. I kind of touched on this earlier, but basically give it to someone and take the title sheet off. If so, they don't know you wrote it and then give 'em a week or so to read it. And if they get to page 20 and they ask, they're going to say, what do I know? I'm not a Hollywood director. How do I know if your script is any good? You say, well, no. When you get to 20, do you want to read more? Does it feel like I gave you a gift or a homework assignment? That's it. You don't even, because your reader is your audience, they don't have to be a Hollywood insider to know whether they like something or not. Do they want to turn the page or not? And if they do, it's good. If it's not, if they don't, that's a problem.Phil Hudson:Yeah, there's levels of that too, because I've written things that I've given to friends and they said this was great and then given 'em to you and you've given me good praise, but solid feedback and things that I could improve, and it's the quality of the feedback is also important, but what I'm hearing you say is regardless of that, if you have a show on tv, whoever's going to sit down and invest their time to watch your story, they need to all understand there's a story here and it's worth the hour of my time, the 27 minutes of my time, whatever it is that they're doing.Michael Jamin:Yeah, because no one's obligated to watch your show. They'll turn the channel now. So that's how you judge things.Phil Hudson:Yeah. Are you ever at a point when you write things where you feel you've done enough, I'm happy with that one, that one's good to go, or is it always like, I can make that better. I just got to turn it in?Michael Jamin:Yeah, I always feel that way. Even with my book coming out, I always feel like I could have done that a little differently, but it's like, no, you got to let it go. You got to let, but I saw an interview with Frank Geary and he was looking at, I think it was 60 minutes, and he was staring at the Disney Concert Hall, which he designed, and he's a fantastic architect. I think he was with Leslie Stall, and they're admiring his work and she goes, when you see this building and it is one of the most beautiful buildings in la, yeah, it'sPhil Hudson:Great. It's gorgeous. If you guys have seen Iron Man, I want to say Iron Man one, they go to it,Michael Jamin:They do. It's very sculptural. It looks like a piece of sculpture, and she said, when you look at this building, what do you see? He goes, I see all the things I would do differently now, and he's a master, so you just never get past that stage,Phil Hudson:But that's not the job of a pro, which is what you teach. The job of a professional is you do the work, you turn it in, you move on.Michael Jamin:Yeah, you move on to something else and make the next one better if you can.Phil Hudson:Well, you always do the best you can with the time you have. Is that accurate to say?Michael Jamin:Yeah. Yeah, for sure. That's definitely what with tv, we got to turn on an episode of TV and at the end of the week, so we do the best we can.Phil Hudson:Yeah. Awesome. Camika Hartford in creating a story with structure in mind first, is it ever useful to organically write or figure it out, then go back and pick out the pieces you want to create a solid narrative, or is that just wasted time? This is in regards to Greta Gerwig process. That's a little bit different than most people. That'sMichael Jamin:A great question, and if you were writing a movie on your own time, sure, you can write it. You don't have time to schedule. You could take four years to write your movie, and if you want to discover it organically and if you understand how to do that, if you understand what that means, it means you have to write and write and then you figure out what the story is. Then once you finally find the story, you can go back and rewrite all the other stuff that's not the story and then fix it. But you still have to understand what story structure is to know what you're fixing. If you were to on a TV show though, you don't have that luxury. You're on staff with a bunch of other writers in a room, and before one word is written, you break the story on the whiteboard and then you outline it. Just don't discovering the story. Everyone agrees on what the story is in the writer's room, so it's a very different process. One is more organic, the other is definitely more efficient.Phil Hudson:You said everyone agrees, and I've been in the room, or I've seen people not agree with the showrunner.Michael Jamin:When I say everyone agrees, I mean the showrunner agrees. Yeah,Phil Hudson:So just for a point of clarification for people, it is not your job to approve every decision in a writer's room, but like you said, when you're writing something for yourself, you have the luxury of doing that. So yeah, fascinating question and answer. Thank you, cam. Gleb, Lin, how can I bring my vision to life through a screenplay?Michael Jamin:How can I bring my vision to life? I'm not really sure. Are they asking how do I sell it orPhil Hudson:How do I think? What I'm hearing from this question based on the topic is, alright, so I've got this vision for what I want my story to be, and I've chosen screenplay as my medium. How do I get what's in my head on the pageMichael Jamin:And justice?Phil Hudson:You knowMichael Jamin:What? I saw this short by Wes Anderson last night, God, I can't remember what it was called, damnit, I don't remember what it was called. It was with Ray Fines and Ben Kingsley. It was a half hour long and it was typical Wes Anderson only, it wasn't shot like a movie, it was shot like a stage play, and so the character would talk and behind the character, the sets would move and would fly in this different set. Then he'd pretend to walk and then he'd be in a different set, and it was wonderful to watch. It was so creative, but on paper, it's the most boring thing in the world. There's no magic on paper. You have to see it. So if that's what you want to do, you're going to have to just build that yourself. You're going to have to got a phone, you got a camera, you got friends, make it yourself and don't spend a lot of money. Whatever you think it's going to cost, I guarantee you I can shoot it for much less because it's not about the money. It's always about the words and the more creative you are. I did a bunch of commercials that I wrote for,Phil Hudson:It's just about to talk about, wereMichael Jamin:You going to say that?Phil Hudson:I was, yeah.Michael Jamin:For Twirly Girl, my wife had a company called Twirly Girl, and we shot all these commercials and I wrote and produced them and I hired a bunch of high school kids to shoot it as my crew and the sets, I built the sets out of cardboard, literally I got cardboard boxes and I built everything. And the fact that it was made out of a cardboard made it funnier. It made it silly,Phil Hudson:But tonally on point too because it's a children's clothing line, right? Yeah.Michael Jamin:But it was magical, but it had the same, Wes Anderson has that same kind of magical thing about him. It doesn't exist so cool about it.Phil Hudson:For those of you who haven't seen them, are those published anywhere? Are they on Twirly Girl YouTube? I know we have in your Vimeo account. I've seen them.Michael Jamin:I know there, I mean, I think you could see some of them. If you go to twirly girl shop.com,Phil Hudson:Would you ever want those published on your site just as examples?Michael Jamin:We can do that. Do you think someone is interested? We should put some there.Phil Hudson:Why don't you guys, if you guys are listening to this, just go comment on Instagram and just put hashtag twirly girl in the comments, and so we know if you guys want to see 'em, we can load 'em up on your side. Yeah,Michael Jamin:We can make a page for that, but it's probably a good idea, Phil. I think it should be inspiring. Each of those commercials, they're about three to five minutes long, whatever. Maybe they're five minutes, but I cut 'em down to three and each one costs, the first one I think was 1200 bucks. You can do it cheap. You can do it cheap.Phil Hudson:My business partner Rich, he was one of my professors in film school, actually he's teaching at Grand Canyon University in Arizona. He's teaching film right now. And so for the final project last semester, he had them shoot a video, basically that kind of commercial for pickleball brand. And the thing looks incredible. There's amazing camera, there's crane movement, there's drones, it looks good, and $128.Michael Jamin:Yeah. Oh, that's great. That's great.Phil Hudson:Yeah, it looks like it was 10 grand. Now there's, it got to perform as an ad. I dunno, but the quality was definitely there and what I'm getting to is when you talk about getting your vision to life, it is the job of the writer. It is the job of the writer to get the vision on the page so that anyone who reads it can see that vision. But it is the director's job to take that and work with the art department and everyone else to expand it. Or in tv, the writer is typically the showrunner. That showrunner has that same capacity to get the vision made beyond doing it yourself. I think the other piece of advice that I might give would be you need to understand your craft. You need to understand what a screenplay looks like, and your formatting and your own style and tone are going to influence your ability to do that on the page. If you're not going to produce your own stuff, and I don't mean that to counter what or contrast with what you're saying, it's just the person who's not going to go shoot those things. If you're just talking about it from a writer's perspective, you got to have your story there. The structure has to be sound, and then you need to be able to use the words and the style and format of screenwriting to get the job done to convey that vision.Michael Jamin:And as you were talking, I forgot to tell you this morning on TikTok, someone tagged me and they said they're in law school and that they're taking an entertainment law class and their professor assigned them to watch my channel.Phil Hudson:That's awesome. Why?Michael Jamin:I don't know why. What a weird homework assignment.Phil Hudson:Love it. Love it. Maybe he's going to just call out all the things that you could be sued for. Yeah, maybe. That's wild, man. The world's shifted in the Michael Jamin sphere over here. You got Michael's got his own Wikipedia page too. Yeah,Michael Jamin:I'm on Kpia. Yeah,Phil Hudson:A couple of years ago you would've never wanted any of this attention, right?Michael Jamin:No, I still struggle with it a little bit. I still strugglePhil Hudson:Just highlighting that for everybody here who's struggling to put their stuff out there, what a lot of these questions are about, you wanted to do something, just publish this book and you said, what do I need to make that happen? It's been over two years in that process. And your book will be coming out pretty soon.Michael Jamin:Yeah, we'll do a special episode on that. But yeah, when I'm yelling at you guys to build the damn mountain to build it yourself, I just want you to know everything I recommend, either I have done or I'm currently doing, so I'm not talking out of my ass. SoPhil Hudson:Zero hypocrisy here with the recommendations and I will defend you on that because I see it happening. Yeah. Alright. Sucks to suck has a question. Great. Great. Username story build finding, planning the path of the characters. This is a statement, it's not a question, but when you're story building, how do you find or plan the path for your characters? What are their arcs?Michael Jamin:Yeah, I mean, that's something I teach in my course, my screenwriting course. Come sign up michael jammin.com/course, but that's not a 32nd answer. That's a 14 hour course. So yeah, come to my webinars. I did a webinar a couple weeks ago where I literally gave away part of the course. Not a lot of it, just a small part of it.Phil Hudson:I was surprised. It's a lot though. It's a lot of nuggets in there of,Michael Jamin:Yeah, there's a lot of good stuff in that. I was like, I kind of felt like, guys, if you don't hit the whole thing, you're missing out because this is pretty good stuff.Phil Hudson:What was that? How professional writers create great characters? Is thatMichael Jamin:What it meant? No, it was, I don't know. It was not. It might've been getting past writer's block or what was the onePhil Hudson:After that? Both of those are pretty good, and I think you've given a lot of new context and a lot of context in there for that. I think it was a great characters was one specifically on this subject, and you talk about this, I don't want to spoil it for people who are going to miss it, but you talk about the principle of how to put the right character in a story and it is worth watching. I don't want to steal the opportunity for you to learn that lesson by listening to Michael.Michael Jamin:Come to my talk on characters that it'll help you a lot and it's free.Phil Hudson:Awesome. Sammy Cisneros, how strict should we follow conventional story structure?Michael Jamin:I would say don't break the rules until you understand them. So I would say very strict, and just so you know, I don't break the rules and I've been doing it for a long time. If it ain't broke, why fix it? Honestly, once you're in that story structure, there's still so much creative freedom that you can have once you understand, it's not like I don't feel handcuffed when I'm writing a story that way. I feel liberated. I understand how to do it. There's the roadmap that'll help.Phil Hudson:You discussed this principle of Picasso in your free lesson, which I think everyone should go pick up or rewatch if you've signed up for it in the past, but you talk about what it means to become a master and it's visually apparent when you look at the way you display that in that lesson.Michael Jamin:Yeah, go watch. Yeah, that was in the free lesson,Phil Hudson:Michael jamon.com/free.Michael Jamin:Yeah, go watch that. That'll help.Phil Hudson:Great. Leoni Bennett, when breaking a story, do you keep track of both plot and story?Michael Jamin:Yeah, it's all yes, all yes. And if you don't know what that means, there's a difference between plot and story, and I talk about this in I think the free lesson, but yeah, you have to keep both in mind. You don't do one without the other. It's the same time. You can have a plot if you have a good plot, but no story. You got nothing. If you've got a good story but no plot, you also have nothing. So you need both.Phil Hudson:Yeah, I think lesson two in the course is heavily dedicated to this, and you do touch on it on the free one, but second year in the course and you get to lesson two, it's like, oh, okay, this makes a lot more sense. And I've always said this since we started the podcast and doing this stuff together. You're the only writer I know online who talks about story and not plot everyone else's. What are your plot points? What is this plot? What is this beat? How does this beat build to this? What is your inciting incident to this thing? To crossing the threshold to the Boone? And they're mixing all this jargon from all of it's youngian, it's Joseph Campbell. It's like all this stuff. It's very hard to even wrap your head around. And I'm egotistically. I consider myself to be a pretty intelligent person who's capable of learning. And very often when I started studying screenwriting, I was just beating my head against the wall because it's like I don't even understand what subtext is, and you're telling me to use it, but no one's teaching how to use subtext, which you talk about, but it's that. Yeah, it's the story. It's story, story, story. And then the plot is, to me, it is the painting of the story. It's what makes the story matter.Michael Jamin:Well, I watched a movie the other day and there was plenty of plot. Things were moving along, things were clipping, things were happening, but the whole time I'm like, so what? Who cares? Why do I, this is so who cares? And so the story is really the who cares part. Why shouldPhil Hudson:Write that down? WriteMichael Jamin:That down. Yeah, write that down. It's the who cares. It's what to me as the viewer or the listener or the reader, it's all the same. Why do I care what happens to the main character? And if you don't, I won't say it on camera, I won't say which one it was, but it was a big movie, big budget, big director who's done some great stuff. You shouldPhil Hudson:Just text me so I know what itMichael Jamin:Is. I'll tell you later, but I was like, who cares? Why do I care about any of this?Phil Hudson:Yeah. Dave Crossman, who is pretty active in the course we've talked about before. He has said that I have a coined phrase now when I read someone's script. It's a lot of things happen, a lot of people doing things and nothing's happening.Michael Jamin:Okay, yeah,Phil Hudson:That's good. Lots of stuff. JustMichael Jamin:Plot is so boring.Phil Hudson:Cool. Yeah. Alright. David Campbell, how do we determine which contestants, which content to reveal in what order?Michael Jamin:Oh yeah. I have a whole analogy that I go through in one of my free webinars about the order in which you unpack the details of your story is really important, and that's what I teach in the course. But for sure, yeah, a lot of times you'll read new writers and they just do a dump. They just dump everything out. But that's not how you tell a story. The story is like you as the author, you get to decide when your reader learns this, and that's how you keep people turning the page.Phil Hudson:Yeah. I have bought a lot of self-published books from friends and people I went to film school with and some are good and some are like, wow, what you just put in a chapter could have been a whole book and you ended this chapter in a place that makes zero sense. And it's because of the way they're laying out the story. They have so much they want to say they're just rushing through it or they have so little they want to say it's dragging on. And to me, I think that's what we're talking about, story structure. If you understand structure, then the artistic way you unfold that sort of unravel that story is your craft and your voice and that the person who comes to mind for me is Guy Richie. I think Guy Richie does that masterfully in his stories.Michael Jamin:Yeah, I'm working on a story right now, which I'm writing, and there's one of two ways I want to write it. And so I'm not sure which way I'm supposed to do it, but I'll choose one and I'll go down that path and if I find it halfway through, it doesn't work, I'll go back and do the other way.Phil Hudson:So you're saying you're not married to the words you wrote. They're not precious written in stone and can never be changed.Michael Jamin:No. It's all about, yeah, exactly. I've tossed out so many stories that weren't working, but I am always thinking about what's the best way to compel the reader to turn the page.Phil Hudson:High level note there, guys, write that one down too. WriteMichael Jamin:It down.Phil Hudson:Paul Gomez, seven 90 Should a story center around subject or a character, is there a different approach for each? What I'm hearing with this question is should I focus on theme or character when I write my story?Michael Jamin:Honestly, I think you focus on a character and then theme comes a little bit later, but I've seen some movies, the very interesting setting, very interesting subject matter, very interesting. But because I don't care about what the character wants and I'm not invested in the character, I was very unsatisfied with the movie, even though the subject matter was really interesting.Phil Hudson:Yeah. Previous podcast episode we've done, we talked about basically picking a word. There's a word that's going to color my story then to me is theme. What is the theme of this that might help shape the character that I'm telling to convey that theme, but the character has to matter or it doesn't matter what the theme is.Michael Jamin:Yeah. When my partner and I are writing, often we pretend there's a drinking game. That theme will keep on appearing, and often you'll see a word recurring over and over in a script, and we always will drink, drink, and then when we're done, we go back and change those words. So it's not so obvious we disguise it. But if you're doing it right, that theme will reappear many times and throughout your script, but you just have to hide it a little better.Phil Hudson:Yeah. Yeah. Good stuff. Good stuff. Guys. I know some of you are advanced enough to know how much gold Michael's just dumping his pockets right now. Just gold nuggets. For those of you who are newer, this is worth re-listening to so that you can pick up that gold. This is stuff that will shape you, and I would come back and listen to this one six months from now because you're going to be a different place as a writer at different things. I've definitely seen that even just listening to our podcast with questions I've asked you. The answer is that I got two years ago apply very differently to me. Now. I'm a father of two kids now I am dealing with all these other different life issues than I was two years ago, and that affects the way I tell my stories and what things I want to talk about.Michael Jamin:And I'm still learning, guys, just, I mean, you're never done learning when you're writing, so I don't know everything. I just pretend toPhil Hudson:More than he gives himself credit for, but he's going to take credit like we talked about, right?Michael Jamin:Yeah. Right. Yeah. Hey, it's Michael Jamin. If you like my content and I know you do because you're listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people like you can unsubscribe whenever you want. I'm not going to spam you and the price is free. You got no excuse to join. Go to michael jamon.com/and now back to what the hell is Michael Jamin talking about?Phil Hudson:Alright, is that my voice asks the beats? Is that what we are referencing here when we talk about story structure are the beats?Michael Jamin:The question is what? What'sPhil Hudson:The question? Yeah, so the context of this is from the webinar, how to write a great story. And when you're asking the question, what is a story or what is story structure? They're asking, are you referencing beats? Is that what you mean when you say story structure? They'reMichael Jamin:Beats, so they're about seven or eight beats in every story, and it doesn't matter whether you're writing a half hour, an hour and a half feature, whatever that you must hit, in my opinion, in order for a story to feel fulfilling. And so those are the beats I talk about. And one is at the bottom of act one, bottom of act two, these are all important beats and I teach that. But yeah, and there's still some creativity you can have. Well, a lot of creativity you can have once those beats.Phil Hudson:I want to highlight something because I know you don't read any of the other advice that people are giving. And again, a lot of these people are not riders. In my intro to storytelling class, which is writing 1 0 1 in college, my professor asked this question, how many beats, beats are in this thing? And he'd have us watch a movie and count the number of beats. And then he put up this image on the board and it was 40 beats. And he says that every feature should have about 40 beats. Now, that's the difference between sequences and beats, and you already can tell this is again very confusing, right? But this is the formulaic approach that is very confusing and shackling to people who are starting out and what you're saying, I don't want people to misconstrue what you're saying by saying there should only be eight moments in a script or eight scenes, but he was describing scenes as beats and how you progress through things. And that comes from a book, and I can't remember which book, but it lays that out.Michael Jamin:That's just too many. How are you going to keep all that in your head? I feel like eight is manageable. Eight not eight scenes, but eight moments that you have to hit. And then it just like when you go from A to B2C to D, you can take a little side trip from A to B, but you still got to get to B.Phil Hudson:Yeah. And I think that USC and UCLA, I think they use what they call eight beat story structure, which mirrors pretty close to what you teach, but you'd expect that because they're proper film schools taught by professional writers, directors, producers, editors who are just doing that now because they've moved out of their first career. So yeah, I just want to make sure people are not misconstruing the two or conflating 'em. NRS creates How can a series pilot with more than eight main characters work without story overload?Michael Jamin:You wouldn't want to have that many go back and watch some of these old pilots or any pilot even towards whatever season five or eight. They may introduce a lot of new characters, but in the pilot, how many characters were in the pilot? And if it's a sitcom, you're talking probably five or six. It's if an hour long, you're going to have a few more. You might be eight, but you should be able to service eight characters in an hour long story. So it shouldn't be a problem. It's when you start growing the cast, it gets more complicated.Phil Hudson:Yeah, I think lost is a great example of this. Tons of people, plane crash, there's mayhem happening all around you, and we're looking at four or five people. And then as the series goes along, they introduce more people and the stories become more complex and there's side things happening. But in the pilot, which is two hours, I think JJ Abrams and Damon Lindelof did that masterfully.Michael Jamin:Yeah, great pilot.Phil Hudson:Richard Monroy, life, death Rebirth. These themes are found in art. How can this be applied to screenwriting?Michael Jamin:Well, I mean, what else are you going to write about when you're going to write about all events that happen to you in life? Jealousy, anger, love, betrayal, vengeance, whatever. That's what you're going to write about. So you're going to you life mirrors art and art mirrors life.Phil Hudson:Yeah. I think that ties back to our theme as well, right? You pick your theme and then that's the thing you're deciding to talk about, and then your characters and the story and the plot all play to paint that picture. Yeah. David Campbell, another question here. Do you have to write a log line for every episode or story?Michael Jamin:Yes. One of the things, when my partner and I run a TV show, what we make all the writers do, including ourselves, is we write after the story is broken on the whiteboard and one writer is chosen or a team is chosen to write that script, the first thing they got to do is write what we call a book report, which is a one page summary of what we just discussed in the writer's room for past week. And this is not as easy as it looks. We need to make sure everyone's on the, were you paying attention? Did you understand what we finally agreed to? And at the top of that book report, we make them write a log line. What is it about? What is this episode about? And it's amazing how that one simple thing can really, really be beneficial. I never assume anyone understands what it's about.And sometimes I tell a story that a couple of years ago, I think it was on Tacoma, my partner and I were writing an episode, we're writing the outline and we're figuring out these scenes. We start arguing over what the scene should be. And I was like, I'm right. And he's like, he's right. And I'm like, wait a minute, what do you think the story's about? And we didn't agree on what the story was about. We literally didn't agree. So we stopped and went back to the whiteboard to figure out what the story was about. Even though we had spent a week working on it, we couldn't agree.Phil Hudson:Yeah, that's how much it matters. I don't know that there's anything to add to that. That's great. Henry Wind, as an audience member, I'm really trying to catch the details and the dialogue so I can understand what is happening in this scene between two actors. How do you deepen subtext?Michael Jamin:Well, characters often don't say what they're actually thinking. And so that's the difference between writing directly and writing indirectly. And again, I talk about this in the course to greater detail, but writing directly is, I'm really mad at you. You hurt my feelings. The other day when you said this about that's writing directly, writing indirectly might be just me ignoring you or me telling you that your hat is stupid. So you know what I'm saying? Who cares about your hat? I'm really mad about you for what you did. And so that's the difference. And the more indirect you can write your writing, the better the smarter it seems.Phil Hudson:Yeah, it's amazing how this is human nature though. Just last night, my daughter, she just turned three, and so she's throwing a little bit of the terrible three tantrums. I've heard terrible twos, but it's really the threes is what every parent says. And she wanted to do something and we said, no, it's time for bed. And so her lovey, her stuffy Is Cob the Cow? And she's like, I don't want cob in my bed. And my wife who's wonderful, says, just because you're mad at us doesn't mean you should take it out on other people. And she said, okay. And then she cuddled her little stuffed animal, but it's human nature to do this. She didn't say, I'm mad at you. She's like, I don't want COB in here. I don't want to sing songs. I don't want to read a book. She's mad atMichael Jamin:Me. She's writing indirectly. She's a writer.Phil Hudson:Yep. She's human nature. The beautiful things you learn from kids, man. All right. Moving on to breaking in the Broken Breaking Seas. That's an apt name. Can you talk about working with a writing partner a bit? I'm very curious what that process is like.Michael Jamin:Well, it's sort of a marriage and you get to decide who you want to marry. I've been working with my partner Seaver for close to 30 years. And at this point there's a lot of trust and there's a lot of, we try to argue as little as possible. The truth is I don't really care if it's his idea or my idea. I really don't. If it's his idea, great. That's one less idea I have to come up with. It's not about my ego and it's really about what's best for the work. And then great. I mean, it helps to have one, it helps have one bounce idea. We can bounce ideas off each other and often he'll shoot down my idea, say whatever. I don't really care. It's really about getting the work done.Phil Hudson:We did a whole episode about writing with partners on the podcast, so go check that out as well.Michael Jamin:Yeah.Phil Hudson:Alright, moving on to miscellaneous questions. We got about 10 left, Michael, does that sound good? Sure. We hit those in the next 17 minutes and wrap this up in an hour. Sounds great. Lisa J. Robinson, for a beginning writer, what program do you recommend to write a script that is very user-friendly? Imagine thatMichael Jamin:RightPhil Hudson:In my mouth. Didn't even know, didn't even know Michael. This question in October would serving today. SoMichael Jamin:Every single television show, movie, everything I've sold, every single one of them have been written in a program called Final Draft. And that is considered to be the industry standard now. So it's the best as far as I'm concerned. Now. They offered me a brand deal a couple months ago, and so I've since done some spots for them and I had no problem doing it because it's not like it's a product that I have. I use the product, so Sure.Phil Hudson:And you've turned down so many deals from people with different writing software. Even when we first started doing this, people were reaching out. It's like, Hey, we'd love to pay you to talk about our screenwriting software, and you turn them all down.Michael Jamin:No. So thisPhil Hudson:Is a bigMichael Jamin:Deal, but if you want to use Final Draft, we do have, they gave me a brand deal, so if get on my newsletter, we said, well, there'll be a link on my newsletter and you can click on that link and you can get a discount 25% off on finalPhil Hudson:Draft. Do you want to give them the code? Do you want toMichael Jamin:Give the I think so we could do the code. Yeah.Phil Hudson:It's M jamming 25 I think, right?Michael Jamin:24 I think.Phil Hudson:Correct. For it's 24 M jamming 24, but it gives you 25% off your purchase. And I used it and it worked on my upgrade from vinyl draft 12. So you saved me 25 bucks on something I was going to buy anyway.Michael Jamin:Yeah, you can upgrade. You can upgrade at some point you have to continue, you got to upgrade your, so it doesn't fall out of surface andPhil Hudson:And there's new stuff that come in. There's all kinds of stuff that comesMichael Jamin:That, yeah, there's bells and whistles, but honestly I've been using Final draft since final draft five. They don't update it every day, every couple of years they improve it.Phil Hudson:We used a final draft for the collaboration mode in the writer's room.Michael Jamin:The collaboration is a good feature.Phil Hudson:And while I was doing this yesterday, this is totally unprompted, I was looking for this. You sent me a bunch of stuff and in 2016, just as I was going to move out here, you were asking me for my resume, like, Hey, there's somebody out here who was interested in getting your resume. And I sent it over and you told me in here, and I'm trying to find the exact words, but it was basically study final draft and know it like the back of your hand. And that was 2016, so that you've been preaching this for a long time.Michael Jamin:Yeah, it helps to know that program. Yeah.Phil Hudson:Great. Alright, Mimi, how to find the main idea from a lot of ideas you have in your book. So I'm assuming she's writing a book and she wants to know what the main idea. Yeah,Michael Jamin:You better figure that out because your story needs to be about one thing everyone wants to throw in the kitchen sink. And it's about this, but it's also about this, but it also has elements of this. It's like, no, no, no, you don't know what your story is. You got a hot mess. You can't kitchen sink it. Your story's about one thing. And if you think it's about two things, congratulations. Now you have a sequel or you have another episode, but your story's about one thing. And if you think I'm making it up, read stories that you've enjoyed and ask yourself the same question. What is this about?Phil Hudson:What's the difference between an A plot B plot C plot though, if it's only about one thing,Michael Jamin:Right? So an APL will occupy two or three characters, and that's a story that has the most emotional weight, and that's the one that has the most time on screen. YouPhil Hudson:Have, it's usually the leads too though, right? It's your main character.Michael Jamin:But if you have five leads on your show, then two of them will be in the A story. And then you have to occupy your other characters. So you give them a B story and maybe a C story if you still have to occupy some of them. But they don't carry as much emotional weight often they're just lighter.Phil Hudson:You don't want 'em sitting in their trailers cashing a check, right?Michael Jamin:Yeah, you got to pay these people. The audience wants to see them too. So you want to give the audience what they want.Phil Hudson:Great mental pictures. Love to know an example of a log line on a whiteboard in the writer's room.Michael Jamin:So a log line might be, okay, we wrote an episode called Fire Choir, and I think the log line was Eddie joins a malePhil Hudson:Choir acapella group. It was like firefighters, acapella choirMichael Jamin:To basically recapture the lost fame of his youth. It was something like that. So you knew what the plot was and you also knew what the story was. Oh, he's there to recapture his law. He was famous, whatever. He was in a garage band when he was a kid, and here's the chance to feel like a star again. So that's what it's really about. It's about the fame partPhil Hudson:And a great episode with one of our favorite characters. Wolf BoykinsMichael Jamin:Wolf. Yes. So played by Paul Soder.Phil Hudson:Paul Soder says, hi, by the way. Oh, you should have him on the podcast.Michael Jamin:I should. I'll get him on. That's a good question. Yeah.Phil Hudson:Richard Monroy, can you describe this Greta Gerwig style in more detail? It seems more unstructured and organic.Michael Jamin:It's not unstructured, it's just the fact that it's definitely not unstructured. It's just that how she comes about finding the structure. So I believe she still hits the same eight points that I'm talking about, but whereas in TV or even in movies, for the most part, you'll think about this before you're ever writing a word. You're figuring out what those story points are. And you might spend weeks or months if it's a movie before you're actually writing. But she doesn't do it that way. But she's Greta Gerwig until you become her, you may want to rethink how you do this, but what she does is she starts writing, oh, I think this is what it's about. And she starts typing the script and she'll say the same thing. I've heard her talk about it. Alright, now I have an 800 page script. Well, we can't shoot an 800 page script. Now she has to go back and throw out 700 pages and figure out what the story is. So it's very inefficient, but it's organic. But again, she can do it. She knows what story is. And by the way, that movie made a billion dollars. It's not for me to say that she's doing it wrong, she's doing it right. It's just that it's just inefficient. And unless you really have a good grasp upon what story structure is like she does, you're probably going to screw it up.Phil Hudson:This just popped into my mind, one of the best tiktoks I've ever seen was this story. And you've seen 'em before. And it's like everyone told me that I was a loser and I would never make it as an artist. And over the years I've practiced and honed my craft and it shows all these different art. You see their art evolving year over year, and now here I am and look what I've done. And then they show the worst drawing of a horse you've ever seen. And it brought me to tears because mocking this thing, which is the reality, is you can't be a one year in rider or a four year in rider and think that you can write the way someone's been running for 20 years will, you also can't do it, but think you're going to paint or draw the way in one year or two years. The way that Picasso or Van Gogh or anybody else has done who's devoted their life to that craft. It's effectively, I'm hearing you say, is she's earned the right to do things her way and it shows in the box office, and that is not an excuse for you to do it that way, and that's not to say you won't do it that way, but you have to learn structure and process and all of those things form light balance. You have to learn those things before you can make artMichael Jamin:And it's not easy for her. I saw an interview where she was saying, look, every time I sit down, I'm like, I don't know how to do this it, you're starting from scratch. I feel the same way. It's like, ah, I don't really know how to do this. I do, but I still feel like I don't, it's hard.Phil Hudson:Yeah. Yep. I saw that interview too. And that's going back to what we talked about earlier. That's the discipline. It's hard, but she sits down and does it and then she's able to get billion box officeMichael Jamin:And sometimes I'm writing, I'm like, am I saying too much or am I saying too little? Am I taking my audience? Am I insulting their intelligence by saying too much or am I taking their intelligence for granted? That's a hard question.Phil Hudson:Yeah. EG wants to know what if the notes you receive from the higher ups make the story worse?Michael Jamin:Often it does. Your goal is to try to give them what they want without making the story too much worse. And what can I tell you? Sometimes they're not writers so often that's the give and take. Often you'll argue with them, you're almost never going to win the argument, and so you have to give them what they want. They're the buyer. And so sometimes people say, sometimes it makes it better too, but people often say, why does TV suck? Well, there's a lot of people involved and a lot of people have opinions and they all want to be heard. I've worked with actors who've had notes who make the story worse. What are you going to do? That's the job. It's it's life.Phil Hudson:I've talked about this documentary before, but showrunners, which you can find it in a bunch of places, they talk about an interview, a pretty well known actor. I'm blanking on his name, but he talks about how at a certain point, the first year, the showrunner, it's the showrunner story. The second year, it's the showrunner story, the third year, it's kind of a balance between the actors and the showrunner, and then the fourth, it's kind of the actors because they are the characters. And his whole opinion here was, I think famously he got an argument and a heated battle with the showrunner who created the show, and the showrunner got fired because he was the star of the show. And he said, it's my job to protect my character because that's me and who I'm playing. And I was like, yeah, that's just the reality of this. It's none of it's yours.Michael Jamin:You can't, the funny thing is, yeah, the showrunner hires all the actors. It's their show. They sold it, they created it, but at some point, if there's an argument between the actor, the star and the showrunner, you can always get a new showrunner. The star is on camera, and so the star is going to win that fight nine times out of 10.Phil Hudson:Yeah. Pretty interesting. Go check that out guys. Yeah. Richard Roy asks, if you're an independent writer, do you ever reveal what you're working on in early stages?Michael Jamin:Some people tell you no. I mean, some people will say, don't reveal your dreams to anybody because people will tell you how stupid it is for you to dream. So why keep it to yourself? That's a personal choice whether you want to share it or not.Phil Hudson:Yeah. My opinion is screw the haters.Michael Jamin:Screw the haters. But also, I mean, you can also put it out there and maybe they hold you accountable. Well, now that I went on record saying I'm going to do this, I better do itPhil Hudson:For a lot of people, a lot of people, that's some strong accountability saying, I'm going to do something. Eagle Boy, 7 1 0 9 0. How strict should we expect prospective studios to be about the page length of a historical drama limited series? I've seen some episode ones that are nearly 80 pages for an hour long show.Michael Jamin:Listen, the question is who do you think you are? I mean, when you write your script, your script is a writing sample and that's it. Stop thinking about what I'm going to sell it for, how much money I'm going to make. Some people ask me, how much money can you make as a first? Now you're spending the money. Your job first is to write a great script. That's it. One episode. Don't worry about episode 12, writing that one first. Great script is damn hard enough. And it's a calling card. And it's a writing sample. So some of these questions are for people like me, this is a question I might ask a fellow showrunner. I might ask them that question because we are doing, this is stuff that we have to worry about, but you don't have to worry about this.Phil Hudson:Yeah. Big note there too, that this is the big takeaway I've gotten from doing this work with you over the podcast is everything is a writing sample. If it sells, great. If it's good enough to sell, great. But right now, I need to be good enough to give me a job.Michael Jamin:Yeah, get me a job.Phil Hudson:Yep. Matt Sharpe, with the changes to TV writing rooms during the pandemic, do you see Zoom rooms still being a thing post the WGA strike? More to the point, do you still have to live in LA to write in tv?Michael Jamin:A lot of these rooms are still on Zoom. That's probably going to go the way at some point. I don't know. Maybe it's going to get back in person probably sooner than later, but someone made that point. I was going to do a TikTok on social media. What are you talking about? Everything's on Zoom. Okay. But how do you get the job? How do you get the job so that you can be on a show that's on Zoom. Tell me how you do that. Unless you live in la, there's no answer for that because you have to live in la. Sorry. There's a handful of screenwriters who work mostly in features who get to live other places. Maybe they have to fly to LA or maybe they live in New York. I follow Julia York from New York. She lives in York or Yorks, but she's in New York and she's able to make a living out of it somehow, but it's definitely harder. You made a hard career. You're making a hard career. Harder.Phil Hudson:Yeah. Tacoma FD is now streaming on Netflix, so everybody go watchMichael Jamin:That. Go watch thatPhil Hudson:Talk. Tacoma fd, which is the companion podcast that Kevin and Steve the showrunners do that dropped. And in episode four, I actually was in the cold open and I got put in the cold open. They talk about it on Sarco fna. It was very kind of them to mock me a little bit and poke fun. But what they said is basically what you have said to me all along is if you want to make it in Hollywood, you have to be in LA because they need you Now. It's not two a week from now. And evidence of this is I got cast in the cold open because the actor tested positive for Covid that day. And they said, well, this is a guy protesting pornography, and Phil is a religious dude. Let's get him out here. And then they were like, he came out and he gave this tirade of just Christian anti pornographic stuff. It's like he'd rehearsed it, you could tell. And it was like I'd done acting classes with Jill and with Cynthia. I've done prep work. I've been on set. I've seen how it's done, and I was just able to go and perform in this moment because of all of that prep work. And I only got it because I was on set standing next to the showrunner when he heard that this guy got covid.Michael Jamin:So two things, half of life is about showing up and two, but also being prepared for yourPhil Hudson:Could imagine, because you could have choked shot the bed. Imagine you could choked shot the bed

Welcome to episode 180 of the Women's Running podcast. I'm your host Esther Newman and she's your other host Holly Taylor. On this podcast we talk about health, politics, stuff on TV and what we ate last night. Occasionally, we talk about running. The National Running ShowWe start – and continue for some time – on the NRS. The National Running Show was this weekend just gone, and it was a total blast. We're still getting over it. But there is much to discuss, from the famous people who met us on the stand to the gorgeous Pod Squadders who replenished us with hugs and snacks. We loved meeting you all!Races One thing we talked about a lot at the show with you all was races, so we talk about the suggestions here (and there are some great ideas for all of us). New YorkWe catch up about the New York half marathon we're running on 26th April. We've got some exciting extra things to add to the package we've worked out with Sports Tours for those of you coming – more on this in coming weeks. For everyone not coming, we're going to be starting a half marathon training block from 2nd Feb. More details here! Save some cash!Do think about subscribing to Women's Running right now – because you'll save 50% off the cover price and you'll get a copy of our How To Run 5K Guide absolutely free. If you don't need it because you're scampering over mountains, it will make a friend very happy indeed. Go to womensrunning.co.uk/bundle to get the deal. Lovely extra bitsSubscribe to Women's Running – join us today and you'll save 50% and get a FREE copy of How To Run 5K with Esther and Holly!Run with us in New York!Get your hands on How to Run 5K with Esther and Holly, available at shop.womensrunning.co.uk / ExtrasDownload a FREE mini mag to help you run 5K! Go to womensrunning.co.uk/runBuy a Pod Squad t-shirt!Do join us on Patreon so you can come and chat in our new Pod Squad community on Discord! Go to patreon.co.uk/womensrunningPlease continue to donate whatever you can to our fundraiser for the Trussell Trust – Holly and I ran 5K and donated £5, but you can give whatever you can afford. Search Anthem on JustgivingEmail us at wrpodcast@anthem.co.uk with any questions or running stories Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Imagine your daughter as a rising star for years in the Army is suddenly demoted fromE6 to E1 after reporting a toxic work environment and sexual assault? Now imagine that same daughter passing away just six weeks later after being denied a medical board and receiving an other-than-honorable discharge, out of money, facing failing health, and leaving behind two children. Join me this Wednesday as we talk to Felicia Cavanagh, the Mother of Allison, and my dear friend Sandy Duchac, from the non-profit Veteran Sisters, an advocacy group assisting with her case. Felicia Cavanagh is a USAF Veteran and mother of Sgt. 1st Class Allison Bailey. Since the passing of Allison in March 2023, Felicia has devoted herself to the pursuit of justice and accountability for her daughter. Felicia has been in multiple news articles and featured in the KTNV “Guarding the Guardsmen” series where she tells Allison's story of retaliation which ultimately led to her death.Felicia has researched Allison's military records; her medical and medical board request, as well as her legal file which, according to Felicia, violates numerous Constitutional rights along with a myriad of other legal concerns. Due to the severe nature of Allison's mistreatment, Felicia requested Nevada Senators Rosen and Cortez-Masto initiate an outside investigation. Felicia was granted this request and currently, a DoD IG investigation is taking place, looking into Allison's sexual assault and discharge.Felicia is also working to change NRS 412.2879 for all Nevada soldiers to grant the right to request and receive a Court Martial if charged with a serious offense. Felicia has earned the support of a State Senator on this endeavor.Ultimately, it is Felicia's goal to have this change made for all military members in every state and the nation. Felicia is also pursuing reform of the medical board system. Allison was deemed both mentally and physically not fit for duty, but yet denied her request for a medical board. This decision removed her required care and benefits at discharge, leaving her to die just six weeks later without any disability benefits.Before the loss of her daughter, Felicia was a retired Operations Manager. Felicia began her career in Logistics when she joined the USAF in 1987. Felicia managed facilities for UPS, Henry Schein, and Cardinal Health, supervising upwards of 150 employees, and managing inventory of up to one billion.Felicia is a graduate of Embry Riddle Aeronautical University where she earned her Bachelor's Degree in Technical Management and Accounting.Visit my website: https://thehello.llc/THERESACARPENTERRead my writings on my blog: https://www.theresatapestries.com/Listen to other episodes on my podcast: https://storiesofservice.buzzsprout.com

Show Notes: https://wetflyswing.com/537  Presented by: Yellowstone Teton Territory, Togiak, Northern Rockies Adventures, FishHound Expeditions Sponsors: https://wetflyswing.com/sponsors       In this episode, Garrett Lesko takes us into Oregon jetty fishing. He shares his insights, experiences, and expertise on this unique angling pursuit. We also explore the fascinating realm of jetty fishing, including the diverse species he targets, the flies he uses, and his gear setup. Additionally, we uncover the unique component of his gear setup, the InvisaSwivel, which adds an extra element of effectiveness and convenience to his style. Join us as we unravel the thrilling world of Oregon jetty fishing with Garrett Lesko. Episode Chapters with Garrett Lesko on Oregon Jetty Fishing 2:12 - Garrett gives some updates on his life since we had him on the podcast in episode 236 two years ago. He got into competitive fishing. He shares all the details about his first fly fishing competition in his blog. 3:42 - He tells the step-by-step process of how to join a fishing competition. FlyComps.com is the main hub in the US. 6:55 - We talk about the advantages and disadvantages of doing in-person fishing seminars versus a virtual event. 10:32 - He's a member of the Linn Benton Family Flyfishers. Their club is a partner of their local fly shop called the Two Rivers Fly Shop. Bob Elliot, their club president, is in charge of the Northwest Expo this year. 13:35 - We dig into jetty fishing. We also had an episode about this with Brian Marz in episode 97. Garrett gives a shout-out to Brian for pioneering jetty fishing. 15:40 - He mentions some popular areas in Oregon where you can do jetty fishing. One of which is the Depoe Bay. He says that the movie One Flew Over the Cuckoo's Nest shot a scene there. 21:00 - He walks us through how to fish in the jetty. He also mentions some of the species that you would mostly get in the jetty such as black rockfish, cabezon, and lingcod which he says is very rare. He also shared more about this in his blog post titled "Beginner's Guide to PNW Jetties". 26:20 - He delves into the flies he uses for catching rockfish. He also wrote about this in his blog post titled "Fly Design for Pacific Rockfish". For him, the tried and true fly that he can guarantee success on is the Clouser. 29:49 - Another one of his go-to flies for jetty fishing is the Jetty Worm from Spawn Fly Fish and Finesse Gamechanger. 32:12 - He tells us his gear set-up for Oregon jetty fishing. He uses an 8-wt Echo Boost Salt which he says is an affordable and mid-tier rod. His reel is the Behemoth Reel from Redington. He also gives a valuable tip for taking care of your reel. 41:09 - He introduces the InvisaSwivel which he adds to his set-up to help his fly float. 45:50 - He gives valuable tips on what to wear and bring for jetty fishing to ensure safety. I give a shout-out to NRS for their Chinook Fishing PFD. 56:22 - He tells us about that time when he and his friend caught about 200 rockfish in the jetty. 1:01:30 - He mentions the areas in Oregon where you can fish at night. He uses the Milwaukee Flood Light when doing so. The fish are more active in the evening except the lingcod. 1:03:50 - I ask about his countdown in stripping. 1:08:50 - He recommends bringing a lot of flies when jetty fishing because you're probably gonna lose a lot of lies. He also mentions Seaguar Blue Label Fluorocarbon Leader. 1:10:27 - We give a shout-out to Connor Baker, the winner of our last big giveaway. 1:11:16 - He reveals his bucket list trips. 1:12:50 - He shares his top five movies. 1:15:13 - He gives us tips on Stillwater fishing and tells us about the guy he ties flies for who uses a kiddie pool at home to practice his casting.  Show Notes: https://wetflyswing.com/537 

In this episode  we get a chance to catch up with Trey Reaves, recent winner of the mens solo division, and overall winner of The 2023 Great Alabama 650.  Originally from Arkansas, Trey now resides in Alabama where him and his family spend the majority of their time outdoors. This year, he will end the year completing with his son Colt in the 2nd Annual Last Paddler Standing. Trey Reaves on FacebookTrey Reaves on InstagramLast Paddler Standing Alabama 650Check out NRS for all your paddling needs. Support the show

Daniel Buitrago, Jack Lau and Tenge go wild with Brian Richardson of Alaska Raft Connection   Raft failures, Raft seam construction, Finding  raft reliability with good price point, life time joy rafting, inflatable fun company of Korea, business built around mild to wild, star rafts and connection with NRS, aircraft recovery, choosing a rowing frame, quality materials are worth their weight, geometry is everything, 38 boat rental program, AIRE advantage, proper raft care for longevity, wash soap check vacuum vacuum air out close and cap valves fold in 1/3 roll air valve first, use a strap toehold tight, getting into rafting, Brians story, growing up in paradise valley, book “wild rivers of alaska”, Alyeska wilderness guides by sep, Klepper folding kayak, Metsler kayak, Avon double enders, started apprentice guiding at 14, lake creek raft stories,  pioneering new rivers that no longer exist, growing in old anchorage, Resources for rafting, Karen Jetmar, checking water levels, mousing for rainbows, Kabuk Sheefish, risks of only e-planning, creature craft, ferry angle, working offensively to break the seal, Griffith old time Alaska, trivia   Check out our website - www.alaskawildproject.com Follow on Instagram - www.instagram.com/alaskawildproject Watch on Youtube - www.youtube.com/@alaskawildproject Support on Patreon - www.patreo.com/alaskawildproject

This week, we delve into the confusing world of inflatable watercraft. There are so many styles to choose from, including SUPs, kayaks, and rafts. Which are best for fly fishing? What are some tips on how to fish from one? How do you handle anchoring and paddling while being ready to make a cast? Regardless of which type you choose, they are lightweight and packable (except for the larger rafts) and they'll get you into places where drift boats and motorboats can't go. Mike Dolmage is a fly fishing fanatic and is in charge of marketing fishing craft for NRS so his knowledge will help you make an informed decision and give you some tips on fishing from your inflatable. In the Fly Box this week, I try to answer some easy and difficult questions. Some of the questions include: Would you recommend a Power Taper or Bank Shot fly line for fishing for largemouth bass form shore? How can I catch striped bass on the Hudson River? I have a 6- and an 8-weight rod and I want to streamer fish in Montana. Do I need a 7-weight? How can I get permission to fish private land when bluelining? I am catching big trout on nymphs and want to get a rod longer than 9 feet. Can I fish Euro-style and still land big trout on a 10-foot 3-weight, or should I look at a 10-foot 4-weight or 5-weight?  How long do you think is too long to play a trout? Can I use a sinking Polyleader with an intermediate line? How do you fish attractor flies? Do I just throw one out there or should I pay more attention to hatches?  What line should I get for tarpon fishing with my 11-weight rod? Do brown and rainbow trout have different feeding strategies? Is there a sinking fly line I can use with both streamers and nymphs?