Podcasts about Penguin Random House

This post contains affiliate links, which means I may earn a small commission at no extra cost to you.What happens when the first openly gay man competes in a Grand Slam — and falls for his opponent across the net? Debut author Eddie Schmit joins the show to talk about The Open Era, his queer tennis romance that's equal parts heart-racing competition and sweet slow-burn love story.Eddie shares how a mental health journey led him to tennis, how tennis led him to a book deal with Penguin Random House, and why the US Open — right in his Queens backyard — became the perfect backdrop for a story about identity, anxiety, and falling in love at exactly the wrong time. We also dig into his reading list: the Andre Agassi memoir that gripped him from page one, a practical mental health survival guide, a quirky queer literary novel about a mountain lion in the LA hills, and a cozy paranormal romance that reads like a warm hug.

Plant a Simple Seed and Watch Your Mindset Grow with Katie Wood  What if the smallest shift in perspective could change the entire trajectory of your life? In this powerful and heartfelt episode, Carrie sits down with thought leader, educator, and bestselling author of Simple Seed, Katie Wood—fresh off her recent appearance on the Today Show—for a conversation that will stay with you long after it ends. Get ready for goosebumps as Katie shares deeply personal stories that reveal how life's hardest moments are often the very ones shaping our resilience, character, and grit. From a moving story about her daughter's stitches that beautifully mirrors how we heal and grow, to the transformational journey of a teacher who went from burnout to Teacher of the Year by using the powerful practices inside Katie's journal—this episode is packed with moments that will shift the way you see your own story. Together, Carrie and Katie explore how planting simple, intentional “seeds” of gratitude and perspective can create lasting change—not just for ourselves, but for the next generation. As a former teacher turned mission-driven entrepreneur, Katie is on a path to bring these life-changing tools into schools—teaching what many of us were never taught, but needed most. In this episode, you'll discover: Why your hardest moments may be shaping your greatest strength How a simple shift in perspective can transform your entire story The real impact of gratitude practices—inside classrooms and beyond And don't miss the unforgettable moment at the end—when Katie shares the one sentence from a college basketball coach that completely changed the course of her life. This is more than a conversation—it's a reminder that the story you're telling yourself matters… and you have the power to change it. Tune in this Monday 5/25/26 at 5am & 5pm ET to listen live on the radio https://dreamvisions7radio.com/look-for-the-good/ Hey friends, although this is my last episode airing on Dreamvisions7Radio Network, the podcast is not going anywhere! You can still listen and download your weekly episodes at your favorite podcast platform  AND if you prefer to watch it live, find all the videos here: https://carrierowan.com/look-for-the-good-podcast-carrie-rowan/ Thank you Dreamvisions7Radio for spreading the goodness across the international airwaves! Forever grateful!  xoxo Carrie BIO: Katie Wood is a thought leader, entrepreneur, and author of the bestselling journal A Simple Seed who transitioned from a 10-year career in special education teaching to entrepreneurship in 2014 to help others grow through mindset, leadership, and personal development. She speaks at schools across the country as well as organizations including Athenahealth, Takeda, Splunk, Boston College, and Providence College, and has shared stages with Herm Edwards and Matthew Slater while also being featured on Today and in Entrepreneur Magazine. Her journal, A Simple Seed, became an Amazon bestseller and was recently acquired by Penguin Random House, while Katie continues to inspire audiences through her speaking, writing, and dedication to her family as a mom of four and proud fire-wife. FIND out MORE about A Simple Seed and Katie's powerful work with kids and schools at: www.GrowwiththeGoodness.com Want to find out when the next incredible episode of Look for the Good is dropping? Sign up for the Look for the Good Podcast Chat weekly newsletter to get behind the scenes insights, special tips, and insider only offers. Click HERE to sign up today! Learn More about Carrie here: https://carrierowan.com/

In this episode, I sat down with Camille Joy, founder of the Moments of Joy Podcast and author of Moments of Joy: 90 Days of Encouragement, published by Penguin Random House. Camille is a trafficking survivor who escaped an abusive situation at 21, became a high school dropout turned executive chef, and fought her way into a six-figure salary by going directly to the CEO. When her youngest son Mason was diagnosed with autism, everything shifted again, and a raw, tear-filled video she recorded in her car after a difficult doctor visit went viral with over six million views in 2022.Today Camille runs two businesses: Moments of Joy, her for-profit media brand built on brand deals, speaking, and her book, and Awesomely Different, her nonprofit that provides swimming lesson grants for children with autism. She also shares how she and her filmmaker husband manage it all without a village, and what it really took to land Holly Robinson Peete as a podcast guest after five attempts over several years.Main TakeawaysYour test is your testimony: Camille's openness about trafficking, autism, and grief is what built her audience and her business.Tackle the shame first: Before you can turn your story into impact, you have to get comfortable sharing what you have been through.Serve before you ask: Camille landed Holly Robinson Peete as a guest by consistently showing up in her community, buying her book, attending her events, and reaching out five times before getting a yes.Caregiving and entrepreneurship can coexist: Camille and her husband run two businesses while raising Mason by communicating constantly, sharing schedules, and giving each other permission to pursue their goals.Highlights Include00:46 - Camille shares what life looked like before the Moments of Joy Podcast existed01:45 - Mason's birth story and three heart surgeries in 18 months02:42 - Receiving Mason's autism diagnosis and how it changed everything04:40 - Camille reveals she is a trafficking survivor and how she escaped at 2106:06 - How a stranger saying her name out loud was the sign she needed to go to culinary school09:14 - Fighting for the executive chef title at ConAir Corporation by CC'ing the CEO11:13 - Going to the CEO directly to demand her six-figure salary and getting it on the spot23:22 - The viral reel that changed everything: 6 to 7 million views after a tearful moment in the car27:06 - Launching Awesomely Different, her nonprofit that teaches children with autism to swim31:52 - Signing with Penguin Random House and the reality of first-round edits38:45 - How Camille and her husband manage two businesses and Mason's care without a traditional village46:01 - Why tackling shame is the first step to turning your test into a testimony52:03 - The strategy behind landing Holly Robinson Peete and why she reached out five times56:17 - Lightning round: resources, role models, daily non-negotiables, and parting adviceLinks Mentioned in This EpisodePodcorn (early podcast sponsorship platform): https://podcorn.comMoments of Joy Podcast: https://www.mojpodcast.com/ Watch & ListenSide Hustle Pro Podcast on Spotify: https://open.spotify.com/show/13qDj08lBR4ymzGhXIKy8tSide Hustle Pro Podcast on Apple Podcasts: https://podcasts.apple.com/us/podcast/side-hustle-pro/id1126021323Social MediaInstagram: @momentsofjoypodcastTikTok: @momentsofjoypodcast Hosted on Acast. See acast.com/privacy for more information.

This is a preview of a Patreon-exclusive bonus episode. For complete access to this and all of our bonus content, plus ad-free versions of regular episodes, merch discounts, presale tickets to live shows, and more, become a Patreon supporter of The War on Cars. See the USA in your... Toyota? That's what US Secretary of Transportation Sean Duffy and his family have done with their reality-style online series, The Great American Road Trip. The way Secretary Duffy explains it, the show is a celebration of the country's 250th birthday. Duffy has told interviewers that "To love America is to see America," so he's packed up the family SUV and hit the road. This being the Trump administration, the trip isn't just an exercise in patriotism but a giant conflict of interest packaged as a reality TV show. That's hardly surprising given Duffy's history with reality TV—Sean Duffy met his wife Rachel Campos-Duffy while shooting MTV's Road Rules in the late 1990s—but it is concerning given that the series is sponsored by nearly a dozen companies that have business before USDOT. Reporter Henry Burke—a senior researcher at the Revolving Door Project—breaks down the many questionable and outright shady details behind Sean Duffy's trip across the country, from the opaque non-profit organizing it to the many transportation-related companies footing the bill. Our bestselling new book, Life After Cars: Freeing Ourselves from the Tyranny of the Automobile, published by Thesis, an imprint of Penguin Random House, is available wherever books are sold. www.thewaroncars.org

A memoir titled Nobody's Girl: A Memoir of Surviving Abuse and Fighting for Justice, written by Virginia Roberts Giuffre with journalist Amy Wallace, is scheduled for posthumous release on October 21, 2025, from Alfred A. Knopf (with Penguin Random House involved in audio and ebook editions). The 400‑page manuscript was completed prior to Giuffre's death by suicide in April 2025, and she had conveyed—via an email to Wallace dated April 1—that it was her “heartfelt wish” for the book to be published regardless of the outcome. Publishers describe the memoir as an unsparing and powerful narrative of trafficking, abuse, and survival, rigorously fact-checked and legally vetted, aimed at spotlighting systemic failures in human trafficking enforcement and championing justice and awareness.Of particular note, Nobody's Girl includes “intimate, disturbing, and heartbreaking new details” about Giuffre's experiences with Jeffrey Epstein, Ghislaine Maxwell, and other high-profile individuals—including Britain's Prince Andrew. This marks her first public discussion of Andrew since their 2022 out-of-court settlement, which reportedly involved a multi-million‑dollar payment. In doing so, the memoir is expected to reignite scrutiny and media attention on the allegations Andrew has long denied, resurrecting his central role in a scandal many believed had faded from the headlines.to contact me:bobbycapucci@protonmail.comsource:Prince Andrew struggling as Virginia Giuffre memoir set for release: expert | Fox News

A memoir titled Nobody's Girl: A Memoir of Surviving Abuse and Fighting for Justice, written by Virginia Roberts Giuffre with journalist Amy Wallace, is scheduled for posthumous release on October 21, 2025, from Alfred A. Knopf (with Penguin Random House involved in audio and ebook editions). The 400‑page manuscript was completed prior to Giuffre's death by suicide in April 2025, and she had conveyed—via an email to Wallace dated April 1—that it was her “heartfelt wish” for the book to be published regardless of the outcome. Publishers describe the memoir as an unsparing and powerful narrative of trafficking, abuse, and survival, rigorously fact-checked and legally vetted, aimed at spotlighting systemic failures in human trafficking enforcement and championing justice and awareness.Of particular note, Nobody's Girl includes “intimate, disturbing, and heartbreaking new details” about Giuffre's experiences with Jeffrey Epstein, Ghislaine Maxwell, and other high-profile individuals—including Britain's Prince Andrew. This marks her first public discussion of Andrew since their 2022 out-of-court settlement, which reportedly involved a multi-million‑dollar payment. In doing so, the memoir is expected to reignite scrutiny and media attention on the allegations Andrew has long denied, resurrecting his central role in a scandal many believed had faded from the headlines.to contact me:bobbycapucci@protonmail.comsource:Prince Andrew struggling as Virginia Giuffre memoir set for release: expert | Fox NewsBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

The renowned physician discusses the role of trauma in our lives, showing up as addiction, chronic disease and mental illness, and how recognising his own led to true healing. (R)Dr Gabor Maté was born in Budapest to a Jewish family, just before Nazi tanks rolled into the city.His mother risked handing him to a stranger on the street to try and get him to safety.Many years later, after establishing himself as a successful physician in Canada, Gabor looked at the problems in his work and marriage and wondered if they were linked to that early trauma.He uses his own experiences as a test case for the effects of trauma on the body and the body-mind connection. Dr Mate is internationally renowned for his ideas around the lifelong impact of trauma.He believes it is contributing factor to rates of addiction, chronic disease, and mental illness, as well as ADHD.His views are sometimes described as unorthodox by his critics, but Dr Mate argues that understanding trauma of all kinds allows for real healing, as has happened in his own life.Further InformationThe Myth of Normal: Trauma, Illness and Healing in a Toxic Culture by Dr Gabor Maté with Daniel Maté is published by Penguin Random House.This episode of Conversations was first broadcast in 2025

In ep 174 of “How Do You Say That?!” sponsored by britishvoiceover.co.uk, Toby Ricketts joins Sam and Mark in a special as-live episode from the One Voice Conference 2026 in Stratford upon Avon. We talk about commmercial scripts that seem a bit abstract, and do a four handed script that plunges us into a sci-fi crisis! There's a studio/hotel bedroom audience of voice actors, and it's all on video too - so make sure you check our YouTube channel to see us in action - https://www.youtube.com/@howdoyousaythatThe wildcards are chosen by our audience - and there's real peril from ten thousand feet, a real-estate nightmare, and an unusual bird sighting!Our question this week comes from Ben Wake in the audience, asking about accents you wear like a glove.Get involved! Have you got a Wildcard suggestion that we should try or an idea for the show? Send it to us via Mark or Sam's social media or email it directly to podcast@britishvoiceover.co.ukScript 1Hey. The Earth moves. We respond.Macro to micro. Systems rebuild, forms transform.The world's being reshaped. Constantly.Make sustainability real.Fifty years. One mission:Turn imagination into reality.Where science meets craftsmanship—Endless R&D. Relentless breakthroughs.From chemical to physical. From supplier to partner.We don't follow. We lead trends.Physical foaming with jet-speed expansion. Efficient and integrated.Elevating material performance.More elastic and controllable.Stable and comfortable.Strong and recyclable.All-in-one machine.Redefining next-gen manufacturing.Modular, customizable, scalable.Our platform. Your creativity.Across industries and possibilities.We co-create solutions.This moment. React.We shape change.We drive transformation.WE LEAD NEXTWE ARE KINGSTEELScript 2NARRATOR INTRODUCTION:The year is 2367, and chaos reigns. The Earth - dying from climate collapse - is lost forever. Humanity has spread to the stars. Scout ships with minimal crews are sent into the cosmos to seek out viable worlds. The rest of humankind sleeps in cryogenic stasis aboard vast colony ships that will require decades, even centuries, to reach their new homes.This is the beginning of The Scattering. The Great Human Exodus.STRICKLAND [yelling]Stick's dead, I've lost all control, we're coming in way too hot. Kordek, what have you got back there?KORDEK [yelling, clearly frustrated]I don't know, Strickland, the engine's going critical, safeties failing. It's as if the entire system just crashed.COMPUTERWARNING…WARNING…KORDEK [yelling, panic setting in]Drive failsafes collapsing, containment overrides down, we've got an intermix chamber bleed and no way to reroute.BONAR [yelling, sarcastic]ENGLISH!KORDEK [yelling]We're about three minutes from becoming a small sun!BONAR [yelling]Yeah - well, I've got some news on that three-minute deadline! We're going to crash in one!STRICKLAND [yelling]Get to the lifepods! Now. Move, move! Abandon ship. Go!COMPUTER VOICELaunching Lifepod. Launching Lifepod.STRICKLANDMy God, I didn't honestly expect that to work. I can't believe we're alive.KORDEKThose life pods are re-enforced titanium alloy, and the inertia gel is rated for hypersonic impacts…..BONARYeah. No one cares, Kordek. We're alive, that's what matters.We'd love your feedback - and if you listen on Apple Podcasts or Spotify, hit the follow button today!**Listen to all of our podcasts here - you can also watch on YouTube, or say to your smart speaker "Play How Do You Say That?!"About our guest: Toby Ricketts is a multi-award-winning voiceover artist specialising in British, Australian, New Zealand, American and Global international non-regional or mid-Atlantic voice overs. Woof! In the last 25 years of his career, Toby has managed to create a global client base of big-name brands and loyal customers - and pretty much all from his secluded hi-tech studio deep in the New Zealand jungle.Just a few of his impressive clients include Facebook, VISA, Samsung, BMW, Audi, Lexus, Airbus, Lenovo and Google. As well as lecturing on Voiceover topics at international conferences (this one included), Toby has been nominated for 5 SOVAS awards, and has won 7 One Voice Awards, including Male Voiceover of the Year twice in 2018 and 2019, and a GEMA Award in 2025.Toby's websiteToby on FacebookToby on InstaToby's YouTube channelResources: Click here for the Wildcard Generator and don't forget to think of an action your character can be doing!About your hosts:With over 40 years representing major international clients such as Google, Emirates and HSBC; Mark Ryes has been trusted to be the voice for some of the world's biggest brands. If your business needs a fresh voice to represent you, then make it Mark's British voice. As a voiceover, TV presenter, podcaster or product demonstrator - Mark makes your brand truly sparkle!Mark's demos & contact details: https://linktr.ee/britishvoiceovermarkElegantly British with an intelligent, warm and seductive voice, Samantha Boffin helps creatives and production companies create great audio that really connects with their audience. BBC-trained and with over 20 years of broadcast experience on both sides of the mic, she's created award-winning promos, narration and commercials for companies all around the globe, including the BBC, Sky, Games Workshop, John Lewis, Audible and Penguin Random House.Samantha's demos & contact details: https://linktr.ee/samanthaboffinMany thanks to our studio audience... especially Kate De Quidt, Karen Esposito and Ben Wake.

1009 | The Power of Presence: Transforming Doubt into Confidence with Caroline Goyder In this episode, Marsha speaks with Caroline Goyder. Caroline has worked with politicians, a Queen, a President and large global firms like Amazon, Netflix, Adobe and Facebook. She can provide expert analysis and feedback on personalities in the news regarding speaking, confidence, and body language. Based in London, England, Caroline is the author of the best-selling books Gravitas and Find Your Voice, published by Penguin Random House. Plus, Caroline's first book, Star Qualities, saw her interview A-list actors (incl. Kate Winslet, Bill Nighy, Helen Mirren, Ewan McGregor) about their secrets to confidence and the lessons they learned that she still uses today.Chapters:[00:38] - The Journey of Growth and Confidence[11:10] - Embracing the Dip: The Journey of Learning and Vulnerability[19:42] - The Challenge of Public Speaking: Overcoming Fear and Building Confidence[22:56] - The Power of Introversion in Public Speaking[30:20] - The Impact of Technology on Presence in Public Speaking[33:03] - Starting with Mind Maps in Public Speaking[42:01] - The Power of Breath and SafetyConnect with Caroline:Podcast Guest Website: caroline@gravitasmethod.comPodcast Guest's Email: info@gravitasmethod.comFacebook: https://www.facebook.com/carolinegoyder/IG: https://www.instagram.com/carolinegoyderYouTube: https://www.youtube.com/channel/UC3MoXpEM2tofafwKUr3IlsALinkedIn: https://www.linkedin.com/in/carolinegoyderCaroline's Courses: https://carolinegoyder.com/courses/Caroline's 11 million-view TEDx Talk: https://www.youtube.com/watch?v=a2MR5XbJtXUMarsha Vanwynsberghe — NLP Storytelling Trainer, OUTSPOKEN NLP Coaching Certification, Author, Speaker, and PodcasterJoin us for Heart-Wired CEO Live 2026: https://www.heart-wiredceo.com/liveUnbothered Entrepreneur Masterclass (for the Podcast Listeners): https://www.marshavanw.com/unbothered-entrepreneur-masterclass-podcastUnbothered Mind Podcast https://www.marshavanw.com/unbotheredmindpodcastDownload FREE “You Are Supported” Hypnosis and Subliminal Bundle HERE Join the next cohort of OUTSPOKEN NLP Coaching Certification (kick-off in March 2025) HERELearn more about changing the Stories We Tell Ourselves Digital Program HERE. Use Code PODCAST to receive 20% off. Code FASTACTION20Tap the “Follow” button never to miss a show, and if you love the show, please feel free to tag me on social media, share it with a friend, or leave me a rating and review. This helps the show grow!Website: www.marshavanw.comConnect on IG. Click HERESubscribe on YouTube. Click HERE

Antonio Reynoso, Claire Valdez, and Julie Won are all running in the June 23 Democratic primary for New York's 7th congressional district. That's the seat that opened up when veteran Democratic politician Nydia Velazquez announced she was retiring. It's a traditionally progressive district, covering neighborhoods in Brooklyn and Queens. This isn't just about New York, though. Federal funding is incredibly important to local transportation, and that money is in danger. But a new generation of candidates across the country is prioritizing the issues that matter to us at The War on Cars. What role can congressional representatives play in making our streets and transit systems better? Join The War on Cars on Patreon and listen to exclusive ad-free versions of regular episodes, Patreon-only bonus content, Discord access, invitations to live events, merch discounts and free stickers! Interested in learning more about the NY-7 candidates? Links to their campaigns here: Antonio Reynoso Claire Valdez Julie Won Order our book, Life After Cars: Freeing Ourselves from the Tyranny of the Automobile, out now from Thesis, an imprint of Penguin Random House. Get the book and find us on tour at LifeAfterCars.com.  Buy a certified, pre-owned e-bike from Upway and save $100 off any purchase of $800 or more with code TWOC100. Visit Upway.co to get rolling. Thanks also to Cleverhood. Listen to this episode for the latest discount code and get 15% off the best rain gear for walking and cycling. And check out the Lumos Ultra Smart bike helmet and the Firefly smart light system at RideLumos.com. Save 10% off your purchase with code TWOC10. TheWarOnCars.org

Send us Fan MailYall, this week's guest is a storyteller whose words don't just entertain — they heal, challenge, and stay with you long after the final page. Keala Kendall is the New York Times and USA Today bestselling author behind Disney's A Twisted Tales novels inspired by Moana and Lilo & Stitch — and now, her powerful new book, That Which Feeds Us, is turning heads across the literary world for its haunting exploration of paradise, culture, and survival. She and I had the best time exploring her creative processes and I'm grateful for her inviting me along for such a fun and immersive conversation. My Mississippi self can even pronounce Hawaii correctly now! AND- ahem,  I had NO idea she was behind Twisted Tales with Stitch! Ummm- that lil guy is HOH in this house! He could have even made an unofficial appearance in our conversation.

In ep 173 of “How Do You Say That?!” sponsored by britishvoiceover.co.uk, Rachel Capell joins Sam and Mark to talk about how past tense as present tense can throw you, working out where your script sits within the final narration and the fine line which means you can't leave a documentary on a sad note. We ask when is a script set in the future NOT futuristic and work out how to be wistful and informative at the same time.Our fun facts this week are about avoiding claustrophobia, being naked, tiles that fall off the wall, and kids at weddings!Our VO question this week is all about whether having a niche style is good for your career.Get involved! Have you got a Wildcard suggestion that we should try or an idea for the show? Send it to us via Mark or Sam's social media or email it directly to podcast@britishvoiceover.co.ukScript 1After one last look around the yacht, Her Majesty disembarked for the very last time. All the clocks on board were stopped at 3:01, the exact time she left the yacht.It is one of the few times Queen Elizabeth has broken her composure. Shedding a tear at the ceremony, she said goodbye to her floating palace, to her sanctuary.The Royal Yacht Britannia made its final journey. In Leith, Edinburgh, the Britannia opened its doors to the public.Script 2There's a pulse near the sea, like the waves breathing on the shore.When I was little, the beach looked very different.T'was wider and tides went out much further.I'd grab the old snorkeling gear, dive in and just lie on the surface, looking down on the fields of grass, watching billowing seaweeds, shoals of mackerel and kelp …I'd be there what felt like hours.There were cuttlefish, rays, kevelings and spider havilers.And the colours, all these pinks, golds and blues…We'd love your feedback - and if you listen on Apple Podcasts or Spotify, hit the follow button today!**Listen to all of our podcasts here - you can also watch on YouTube, or say to your smart speaker "Play How Do You Say That?!"About our guest: Rachel Capell is a multi-award nominated voiceover artist with a rich performance background and a serious love for storytelling. Rachel started out singing in pubs at 16, studied Theatre at both undergraduate and masters level, and performed across small-scale theatre before stepping behind the mic. There was a 15-year “interlude” producing large-scale cultural events, but the call of the voice booth proved too strong. Her voice is warm, clear, and full of character – trusted by clients such as LEGO Group, Vodafone, Booking.com, NHS, Breast Cancer Now, PDSA, Tearfund and Wizarding World. Whether it's commercial, corporate, healthcare, or characters for gaming and animation, Rachel's delivery is authentic, compelling, and utterly human. When she's not in the booth, she's likely on the sofa with her daughter, binge watching Stranger Things or trying, and failing miserably, to play Donkey Kong.Rachel's WebsiteRachel's Facebook page@capell.rachel on InstagramResources: Click here for the Wildcard Generator and don't forget to think of an action your character can be doing!About your hosts:With over 40 years representing major international clients such as Google, Emirates and HSBC; Mark Ryes has been trusted to be the voice for some of the world's biggest brands. If your business needs a fresh voice to represent you, then make it Mark's British voice. As a voiceover, TV presenter, podcaster or product demonstrator - Mark makes your brand truly sparkle!Mark's demos & contact details: https://linktr.ee/britishvoiceovermarkElegantly British with an intelligent, warm and seductive voice, Samantha Boffin helps creatives and production companies create great audio that really connects with their audience. BBC-trained and with over 20 years of broadcast experience on both sides of the mic, she's created award-winning promos, narration and commercials for companies all around the globe, including the BBC, Sky, Games Workshop, John Lewis, Audible and Penguin Random House.Samantha's demos & contact details: https://linktr.ee/samanthaboffin

Margo is joined by illustrator and children's book artist Natalie Lundeen for a candid conversation about creativity, motherhood, burnout, and redefining what it means to be a "successful" artist. Based in Clearwater, Florida, Natalie specializes in children's books, greeting cards, and licensed artwork, with illustrations spanning indie publishing, Etsy products, and now traditional publishing through Flamingo Books, an imprint of Penguin Random House. Her newest books, Dear Mom and Dear Dad, were released this spring. Natalie shares the winding path that led her from fine art and gallery work into illustration, how becoming a mother completely reshaped her creative process, and the surprising timing of landing a two-book publishing deal just days after deciding to step away from illustration professionally. Margo and Natalie explore the freedom that can come from releasing pressure, the realities of balancing creative work with financial stability, and why having a part-time job outside the art world doesn't make someone any less of an artist. It's an honest and refreshing conversation about building a creative life that actually supports your wellbeing—not just your résumé. Margo and Natalie discuss: Natalie's transition from oil painting and gallery work into children's book illustration How motherhood reshaped both her artistic style and creative priorities Building early illustration opportunities through Etsy, Instagram, and indie authors The realities of self-publishing projects, client boundaries, and revision expectations Landing a traditional publishing deal after deciding to step away from illustration full time Why returning to part-time cleaning work helped her enjoy art again Redefining success outside of the "full-time artist" narrative The importance of flexibility, creative friendships, and sustainable creative cycles How personal projects and experimentation can open unexpected doors Why artists shouldn't feel shame around taking outside work to support their creativity Connect with Natalie: Website: https://natlundeen.myportfolio.com/ Instagram: @natlundeen

This week on Was It Chance?, we sit down with author Kern Carter for a conversation that starts with collective grief, simulations, and angry Brooklyn cab drivers, then unfolds into one of the most honest discussions we've had about creativity, anxiety, ambition, and what it really takes to build a life as an artist. Kern shares how writing became both an emotional outlet and a survival tool while growing up as a quiet, anxious kid who hid his love of books behind a basketball identity. From self-publishing his early work as practice, to getting rejected by dozens of literary agents, to eventually landing deals with Penguin Random House and Scholastic, Kern walks us through the years of strategy, persistence, and emotional resilience that shaped his career. Along the way, he opens up about imposter syndrome, fear of failure, hyping himself up before literary events, and why writers deserve to see themselves as superstars. We also dive into the realities of the publishing industry, Canadian arts funding, learning in public, creative rejection, and the difference between loving writing and choosing the life of an author. Plus, Heather invites herself to guest lecture in Kern's college writing class, Alan pitches yet another accidental business idea, and everyone agrees the world could use a little more kindness and a lot less judgment. Connect with Kern: Kern Carter Official Website Writers Are Superstars on Substack Connect With Us:

En este episodio de Langosta Literaria conversamos con David Toscana, ganador del Premio Alfaguara de Novela 2026 por El ejército ciego, junto a Mayra González, directora literaria en Alfaguara y otros sellos de Penguin Random House, y Romeo Tello, editor de la obra. Una charla sobre el momento en que Toscana recibió la noticia del premio, el proceso de escritura y edición de la novela, y la forma en que un hecho histórico puede convertirse en ficción sin limitarse a ser una novela histórica. Hosted on Acast. See acast.com/privacy for more information.

Just as it is with road safety, so much of how Americans talk about health pushes the responsibility for eating right and exercising onto the individual, ignoring the many structural barriers that prevent people from making "good" choices. Through her newsletter, She's a Beast, and her bestselling book A Physical Education: How I Escaped Diet Culture and Gained the Power of Lifting, Casey Johnston cuts through the noise, making connections across various disciplines to help people rethink their notions about health, exercise and body positivity. Casey joins The War on Cars to talk about how "at the scale of daily life, cars should be systematically discouraged, in order to even begin to contend with the deaths and health decline from a lack of physical activity." ***Support The War on Cars on Patreon and receive exclusive access to ad-free versions of regular episodes, Patreon-only bonus content, Discord access, invitations to live events, merch discounts and free stickers!*** Order our new book, Life After Cars: Freeing Ourselves from the Tyranny of the Automobile, out now from Thesis, an imprint of Penguin Random House. Find out the latest about our book tour at LifeAfterCars.com. LINKS: Buy Casey Johnston's books, A Physical Education: How I Escaped Diet Culture and Gained the Power of Lifting and Liftoff: Couch to Barbell, as well as books by all of our podcast guests at our official page on Bookshop.org Subscribe to Casey Johnston's newsletter, She's a Beast, and read her post on "the plot to strangle the American of life, liberty, and happiness." Thanks to Cleverhood for sponsoring The War on Cars. Listen for the latest discount code and get the best rain gear for walking and cycling at 15% off. Buy a certified, pre-owned e-bike from Upway and save $100 off any purchase of $800 or more with code TWOC100. Visit Upway.co to get rolling. Check out the Lumos Ultra Smart bike helmet and the Firefly smart light system at RideLumos.com www.thewaroncars.org

There is one single thing that all couples who grow closer over time have in common. Though in the beginning of a relationship, you might not think that anything could get between you, what you realize as time passes is that you will need to fight… When couples start to face challenges, tests, or unforeseen circumstances – they can tend to start to turn on each other. They see each other as opponents rather than teammates. That is when they fight against each other. But this episode is going to introduce a powerful mindset shift. It's the one that has you realize that the fight is not against each other, but against the problem you are facing.  Tune into this episode too as we have a big announcement. We had gotten a book deal from Penguin Random House for a brand new book, and it is now available for Pre-order. As a podcast listener you are the first to hear about it. Right now pre-order your copy of "Same Team: How to break cycles, grow closer, and model a loving marriage for your kids" and get: 1) the 10-Minute Nightly Check-in Guide AND 2) Be added to a drawing for an ALL EXPENSE PAID LUXURY TRIP to Arizona.    PS - Additional resources like guides, challenges, books, and coaching can be found at: meetthefreemans.com/links

Paulina Chavira. Asesora lingüística y comentarista de fútbol femenil, viene a promover su nuevo libro Otro fútbol posible de Editorial Taurus, Penguin Random House.

Send us Fan MailThis week Eliza Monts joins Courtney and Meghan to discuss all things culture and politics. She covers how we can live in the world, be well educated, and go forth with a Catholic mindset in all things. It is so important that as Catholics we strive to be political, but not partisan! Courtney and Meghan just keep saying, “wow, I'm learning so much right now” and they have a feeling you'll feel the same when you listen to this episode.Eliza Monts is a Catholic writer, speaker, and social media creator covering Catholic faith and culture on Instagram and Substack. She has been featured in The New York Times, BBC, Fox News, The National Catholic Register, Verily Magazine, and Financial Times, among others. Eliza is the author of the upcoming book Just Because You Exist: Twelve Gospel Encounters to Discover Intimacy with Christ with Penguin Random House's Catholic imprint, arriving on bookshelves spring 2027.Lauren Anne Collective: Stop at laurenannecollective.carrd.co follow her @laurenannecollective on Instagram and be sure to use code DAILY20 for 20% off your order of DAILY50 for 50% off your first month of the print club!Mental Health For Holiness: Visit https://www.mentalhealthforholiness.com/ to work with Talia for mental health coaching. With the coupon code DAILY you can get a 2 for 1 enrollment - where you can gift the course to someone when you enroll in the course.Support the showReceive EXTRA content by joining our Patreon at https://www.patreon.com/TheDailyNothingsPodcast Subscribe to our YouTube channel here: https://youtube.com/@thedailynothingspodcast?si=zxKuNgKossdwHvQhThanks for listening to The Daily Nothings Podcast! Be sure to subscribe and leave a rate and review. 

Is AI really the end of creativity, or the biggest emancipation of creative energy we've ever seen? How can authors thrive in a time of super abundance, when anyone can make anything? What happens when publishers become technology providers, and agents start shopping for books on our behalf? With Nadim Sadek. In the intro, my AI-Assisted Artisan Author webinars. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn Nadim Sadek is a serial entrepreneur and the founder and CEO of Shimmr AI, an AI-powered book marketing company, as well as the bestselling author of children's books and non-fiction books, including Quiver, don't Quake: How Creativity Can Embrace AI. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Using AI as a research partner, editor, and constructive critic when writing a book The ratio of dreaming to execution Why publishers still draw red lines at AI-written words, and why that may change Inside Shimmr's three-engine advertising system: Strategizer, Generator, and Deployer Multimodal interactivity, agentic purchasing, and the idea of the Panthropic You can find Nadim on LinkedIn or at NadimSadek.com. Transcript of Interview with Nadim Sadek Jo: Nadim Sadek is a serial entrepreneur and the founder and CEO of Shimmr AI, an AI-powered book marketing company, as well as the bestselling author of children's books and non-fiction books, including Quiver, don't Quake: How Creativity Can Embrace AI. So welcome to the show, Nadim. Nadim: It is lovely to be here. I feel very privileged to be invited onto this. Thank you. Jo: Oh, I'm excited to talk to you today, and we're really talking about AI. I wanted to start with the fact that you do seem to have a sort of relentless optimism. How do you remain so optimistic about AI when the publishing industry that we both work in seems so overwhelmingly negative? Lift our eyes to the horizon—what is the bigger picture? Nadim: Oh my goodness. That is a big one. I think my optimism is quite confined actually in the area of publishing. If you were to ask me to speak about AI more broadly—which you're not, but I'm going to give you a little bit of it—I've got lots of concerns. That includes the advent of autonomous weapons and economic singularity, where the wealth from AI as an industry is going into just a few hands, and energy usage, and cultural homogenisation, I suppose, and the potential for brain rot. There's a whole pile of stuff which is really not very good about AI, and all the normal things about fraud and theft and so on. However, if you recognise that and then you say what's going on in publishing, then the obvious thing that you first have to deal with is what did happen with copyright. Is it appropriate to say that things have been stolen and taken without permission and so on? It is. It's going through the American courts at one pace. I saw that Penguin Random House have started a case against OpenAI in Germany, where there will be a much faster legal conclusion—a judge's conclusion, I think. This will begin to put parameters on how copyrighted materials can be used, and possibly also some retrospective judgment about what has happened to this point and what can be done about it. So it's good that you've asked questions so early in our conversation, because I think —  It's important to contextualise my optimism. It is whilst noting with regret the behaviour of the AI industry—the models themselves—in not dealing with copyright in the most generous or appropriate fashion. I think we should also recognise that copyright probably wasn't designed for machine learning in the way that it is. Probably the industry wasn't terribly well prepared to note, negotiate with, and navigate the very fast-moving technological culture of AI companies. So I think lots of mistakes have been made on both sides. When you put all that to one side, what's left for me is an amazing emancipation of creative energy and also a huge efficiency being brought to the publishing industry. We can talk about both those things further, but for me that is what's going on. The efficiency of bookmaking and publishing generally—the whole workflow of getting a book out of somebody's head and into a reader's hands—I think is immensely streamlined and improved by AI. Actually, if you talk about it carefully, which I'm sure we will do, the ability of creators to share and let others experience their creative endeavours becomes so much better, so much fuller, so much richer. So that's why I'm excited about it. Jo: Well, let's get into those two things then. You mentioned the emancipation of creative energy, and you've worked with various AI tools as part of your creative and business processes. You've said that AI can be a creative companion. So specifically when it comes to Quiver, don't Quake, for example— How are you using the various tools in such an emancipated way? Nadim: Well, just to put a bit of a broader context on it, we're an AI-native company at Shimmr, and separately I wear a hat as an author. You mentioned the AI books and the children's books. I'm also writing a book about the psychology of motorcycling. So it's a very odd authorial footprint, but it means that I kind of tramp around the place and learn different things. What I've noticed, even within Shimmr, is that the whole team has been using AI tools very differently. Lots of people are very bright in the company. They're all brighter than me, and I salute them and love them. But they've all used AI to become more creative in their own ways. For example, our Chief Commercial Officer is very numerate and logical, and not loquacious. She prefers to say things straight and simply. She has become an unbelievably creative financial modeller and analyst because she uses AI in lots of different ways. So she has flourished and grown so much, and is creative in a way that she never could be before—not only around numeracy and financial matters, but in thinking through new concepts for sales and marketing and for our commercial development. I've just noticed all around me this going on. When it comes to me, I prefer to express myself through writing. I talk a bit as well, as you can tell, but my favourite means of communication is just writing. When I was writing Quiver, don't Quake, I would use AI in a number of different fashions. One would be for research. One of the chapters is about the psychology of creativity. I'm a psychologist, so I tend to come at things from a psychological perspective. What is the psychology of creativity? Well, here comes a million-word answer from an AI—this person said this, this person said that. Then I kind of focused my research in particular areas and assembled them by drawing from the outputs of several AIs about what has been said about AI, what the science says about it, what sociology says about it, what particular creatives that we're all aware of say about it, whether they're in the advertising industry or musicians or artists or whatever. So that was a very rich way of researching things. I would often put a chapter in—this is a slightly different use—a manuscript that I'd written and say, “Read this as if you're somebody just coming across my book, and tell me where the reader might struggle between one paragraph and another, or where there's a logical fallout, or where the concept isn't really very fully excavated and developed.” It would occasionally prompt me to say, “You could probably do with a line that brings the reader from this point to that point.” And usually I listened to that and then wrote something new. In another use case, I eventually gave it the whole book and said, “I think I've done an okay job here and I quite like the flow and I'm sort of satisfied enough, but before I send it to the publisher and say, ‘there you go,' what do you think? Are there any ways in which this book could become a better and more interesting read?” It came back fairly promptly and said, “Well, what you haven't really done is considered what all the naysayers would say. You've done your dark moments of militarism and all that stuff, but what about some of the other stuff closer to publishing or creativity?” So off I went on a new round of research, and did some myself and used the AI for other bits. The funny thing, really the ironic thing here, is that the book is much better, and most people salute the book for the eighth to ninth chapter that talks about the constructive critics. I assemble them all and articulate all their arguments and say how hideous AI is and how terrible it is for the world and all of us. And then I try to repudiate some of them, not in a defensive way, but just to say, actually, yes, that's one perspective and here's another one. That chapter, ironically, about how AI is terrible was prompted by AI. It said, “You should really have a go at me.” And so I did. So that was another use case. Then finally—perhaps I'll say this—I have a friend who is, I think, the Editor-in-Chief of Penguin in India. I got to know her at a book fair or something. We started chatting, and I told her about my kids' books. I said, “I could really do with an editor on these ten books that are due to be published.” She very generously, amiably, and very constructively gave me feedback on each individual book and then on the whole set. I was really happy with it. I said to her, “That was a delight.” She said, “You'd be much better off working with Editrix.” I said, “What's Editrix?” She said, “Well, it's an AI platform I've created where you can go and self-edit.” I said, “You must be kidding. I'd much prefer chatting to you and our interactions.” She said, “Yes, well, go and try it.” So I got an account for the Editrix AI. Off I went, gave it my books, and lo and behold, it came up with some incredibly sophisticated and subtle observations on the books that neither Meru nor I had seen. For example, there's a story where a boy who lives in a house on a hill meets another boy on a bridge, and they end up in a silly confrontation. They're young and foolish, and it sort of transpires that the other boy lived in a local village. Now, I suppose in retrospect, it's pretty obvious that this could be seen to be colonialist, imperialist, and a sense of entitlement from the boy at the top of the hill crossing the bridge first and so on. Hadn't crossed my mind. The AI said, “I can tell from the rest of your writing that you don't really have a sort of racist or imperialist or superior attitude to things, but in this story, there could be a misapprehension that you do.” I thought, wow, what a great warning. So I changed it. There are almost endless ways—and I can tell you others, because I'm writing a book about clouds at the moment—in which AI can help you as an author. I've just shared some of those with you. Jo: Yes, well, I love that. I also use it for research. I definitely use the “give me feedback as a reader avatar, as a reader of this type of genre” or whatever. Nadim: Yes. Jo: I use different tools as well, so I agree with you. All of that is, I think, what a lot of people are doing. You also said you did a lot of the writing and rewriting, so the human was very much there. This was not an AI-generated work in any way. It was using an AI as a sort of collaborator—a creative companion, to use your words—which I think is great. One of the things that AI-positive people like us are finding is that there's so much negativity around the traditional publishers, around other authors, around supposedly negative backlash from readers. I think there's a lot of very noisy people who are probably making this sound worse than it is. Since you are so embedded in traditional publishing in so many ways, how are publishing people thinking about this? Do you think it's just different in terms of the creative side versus say the marketing side? What is happening there, and what do you recommend for authors? Nadim: What I'm observing is that there is increasingly confident adoption of AI for corporate efficiency, which is a polite way of saying where one can see profitability being improved. Could you streamline legal contracting? Yes. Can you manage royalty payments better? Yes. Are there better sustainability prospects with managing a warehouse and distribution and so on with AI? Yes. Could you improve your marketing by looking at competitive titles and trends, and optimising your metadata and your SEO and now your GEO, all using AI? Yes, yes, yes, yes, yes. All of these things can be assisted. Can you manage much more of your backlist, where you don't have the human or financial capital to manage all of those titles in a truly respectful and invested way? Yes, yes, yes. So wherever there's corporate efficiency, I see publishers being increasingly bold about saying they have integrated AI into their workstreams. What's much more tentative and hesitant is where there's discussion of authors—and I do hesitate to use the right words here—being assisted by, employing, working with AI. I kind of shorthand it as creative emancipation. It really means very many different things. Let me give you the example that I referred to briefly a second ago of Cloud Land, which is probably my first real novel. I'm very lucky. I sit working every day at a desk that's got three windows, and I look at the sky, and every day it's different, and I'm fascinated by it. I've been flying around the world since I was very young—my father worked for the World Health Organization, we moved between many countries—so I've also seen clouds from the sky a lot. I've noticed that in different parts of the world there are different cloud formations. It came to me one day that it would be very interesting if the clouds were somehow sentient, and that there is a cloud society, and that Cloud Land lived above human land and absorbed and observed us. Actually, the more I started thinking about it, the more I thought, well, we kind of evaporate. We give off vapour all the time and it rises up to clouds and maybe we're sending DNA signals to it, and it condensates and sends rain and storms and winds and lightning and thunder and all. There's a huge amount of interaction between Cloud Land and human land if you think about it. So I went into an AI. I said, “Hey, I've been thinking about this, blah, blah, blah. Any observations on what I've been saying so far?” I think one of the first things it said to me was, “You are actually playing with quantum physics.” I had no idea what quantum physics were really. I thought, well, this is interesting. I went and researched quantum physics, and actually there is some of that in it. If you count Cloud Land as a creative notion— The original idea, the creativity, came wholly from me, and then the development of it has been assisted by working with AI. I as a creator have spent much more time originating ideas about a story than would historically have been true. I probably would have gone to a library, tried to find the right geography textbook, read up about clouds, discovered what the nomenclature is, thought about whether I could put characters to cumulonimbus versus stratus something or other, and kind of worked my way gradually through it. There is something that I refer to in Quiver, don't Quake, which is what I call the ratio of dreaming to execution. I think previously, without AI, creators would probably spend 80% of their time researching and trying to get information and assembling things and editing documents and spell-checking and doing a whole pile of different tasks None of which I actually dismiss, because I think sometimes those difficult and “menial” tasks give you time to let ideas percolate and flourish and grow. It's just part of the process. But whereas before, I think we probably spent 20% of our time originating and 80% of our time assembling, I think it's inverted now. You can probably do 80% of the time you want creating and 20% of the time fiddling about getting your act together. So I feel that that's a huge emancipation of individual creativity. There's also—and we can talk about this if you wish—I think a much broader sociological phenomenon going on, which is really about every person in the world, all 8 billion of us, being creatives. That's the way I see the world. I think that only a minority of that 8 billion have the gift of craft that we recognise—of writing or drawing or making music or being an architect or a biomedical scientist or something that's creative and assembling things. And AI gives you courage and helps you to identify what you wish to make. I really don't mean creating the artefacts. I don't mean painting or making a song or writing a book. I just mean helping one to express and articulate oneself so that one's creative idea is shareable and experienceable by others. Jo: Well, it's interesting. I mean, everything that we've discussed, you're really saying that the main line is the actual writing of the words, because none of us can articulate how ideas come. Especially with Claude, we might have a creative spark, but I'm sure you've found the same: if I go to Claude, which is my favourite, with my creative spark, by the time we've discussed it, possibly over days, I've lost track of who said what. The idea definitely started with me, because the AI at the moment doesn't have its own creative spark in terms of its own drive to write a book, for example. So it starts with me, but then it goes back and forth, back and forth—sparks new ideas, something it wrote makes me think about something else. I think the difficulty with how publishing seems to be doing this at the moment is that it is just the written words on the page that is their red line around “have you used AI to generate a book?” But even that, I just think, surely that will change. For example, in the publishing industry, ghost writing—or writing dead authors, like Wilbur Smith—I was going to say Wilbur Smith is a good one. I mean, we've seen them, just different dead authors essentially writing in the voice of those people. So I just see that there are many possible places where publishers might want this kind of tool. I don't know— Do you see any openness to the actual words themselves? Nadim: I think you're right to identify that that is the place that it gets stickiest. What you kind of do in your private time—imagining and dreaming things up and interacting—it's a facsimile for talking to your friends or another author or something. It's just an AI companion. So I think that that is, you're right, less scrutinised. It is when one examines the words on the page. It's funny—it's almost as if it's a measure of how hard did you work to do this? Or did you just splatter it down on the page by pressing a button somewhere? It's almost as if, as creatives, we have to evidence that we have suffered, you know? I think there's a different form of suffering when you write with AI. It's true that if you command AI in some way to write for you, the default writing will be pretty anodyne, pretty bland, pretty mundane. It is deliberately so. AI is created and it is tuned to be inoffensive, to please most people, to be accessible to most readers and consumers of it. So it's another thing that I encourage people to do: don't approach AI with a kind of Google mindset where you just do a question and answer—”what time is it in New York now?” “Well, it's five hours behind” or whatever. Instead you say, “Hey, listen, I'm thinking about clouds, but I want a bit of spittle going up and down between the two, and I'd quite like a crazy cloud that harasses us.” Well, now I'm putting in some of my idiosyncrasy and my eccentricity and my personal perspective. The more you do that, the more that even if you did press a button and say, “Command, I want you to write this book,” that will no longer be a bland and mundane bit of output. It'll be very tuned by your interactions, and it'll exhibit some of your nature. So I think there probably are factories—there's always factories. They're probably—and actually I know this—writing a lot of romance, writing a lot of porn, things which are fairly well parametered. You know what happens in both of those genres more or less, so it's pretty easy for a machine to emulate what an author might write there and go and do it. But if you get into something like, “a sand dune was my cousin”—like, okay, well that's a bit different. What do you mean? And there it becomes a much more interesting bit of writing. So I think we're going to see a spectrum. To come back to your question about where publishers draw red lines, I think it's where they just see straight away mundane output that doesn't feel like it had a lot of craft or ingenuity or hard work to it. But I believe that as we go on, that's going to become harder and harder to establish. As we become more sophisticated users of AI, and AI's capabilities to understand us and to work with us become better, then I don't think it'll be such a big question where the words came from. What we'll feast on with each other is our creative ideas and how they're expressed, but not how they were produced. Jo: I mean, I always say to people, I'm not a word generator. That's not what makes me or my books worthy. It is what I do with it. It's the stories I tell, or it's the personal things behind it. So generating millions and millions of words, whether you generate them by typing or handwriting or AI or whatever, it isn't the word generation that is the point. It's all of the things that make that finished thing what it is. So anyway, let's come back to the other thing, because you mentioned that publishers seem very happy around corporate efficiency, anything that drives profitability. You also mentioned that Shimmr is an AI-native company. Now, I, and many people listening—we are a one-person company. So I run my own company. It's a publishing company. I do all my publishing, I do all my marketing, I do all my business as just me. So I also use AI for a lot of this stuff. I wondered— How do you see publishers changing to become more AI-native? How can we as individual author-publishers do that too? Because it feels like a massive mindset shift, not just plug in Opus 4.7 here. Nadim: I have been found saying at various publishing events—and it is deliberately a little bit provocative—that I believe that publishers have always been technology providers to creatives. It's not only what they do, but it is a part that they don't seem to embrace very hard. Even if you just go back to Gutenberg—I mean, here's a printing press, it's a bit of technology. “I'll make your book, I'll make your words into books.” It started there, and it's always been. That applies to distribution and e-commerce and audiobook manufacture and all sorts of other things along the way. So I encourage publishers to accept the notion that what they should do to attract authors in the future is partly—only partly—develop their own house AIs. It can be as ethically trained as that house wishes to deal with the copyright furore. It can be tuned to do editing in a particular way. It can have a specific way of copy editing. It can have a collaborative notion. It can have an assistant that helps you understand genres and hotspots and competitive titles. It can help you to think about, as Americans might say, what's hot and what's not in the world at the moment. So you might be more attuned to what the market demands, if that affects you at all. Some writers don't care, and that's fine. It can certainly help with all the marketing then. How can you produce social media content that's appropriate to your book, and all the rest of it. So I think there's a way in which publishers could massively enable authors. I talk to tons and tons of authors clearly about Shimmr, and what they all resent, I would say, is finding their time stolen by trying to flog their work rather than make it. Jo: Yes. Nadim: So the marketing process is just theft of creative time for most authors, and they hate doing it, and they're often not very good at it, because it's a completely different skillset from creating great stories or writing non-fiction books about particular subjects. So I believe that authors should be embracing the notion that publishers will create their own house AIs. And goodness me, we might even decide which publisher we prefer to go to on the strength of their AI position. Wouldn't that be interesting? But that is what I see the future being. Jo: Yes. I mean, definitely there's some quite significant authors—Dean Koontz, probably one of the biggest—who went to Amazon because of their technical ability around publishing and marketing. He was like, “Yes, I want this because of this.” Not that he'd be in bookshops or whatever—of course Dean Koontz is—but yes, so I think you're right there. For individuals also, as you know, we can use AI to help us market. I upload my books to Claude when they're finished, and I've just been marketing today. I'll say, “create 10 Midjourney images based on this book and give me all the marketing copy.” So I think we can use it now to help us be more efficient. On the other side of that, I think the bigger thing that's starting to happen is marketing is now much easier in one way. Nadim: Yes. Mm-hmm. Jo: So it's getting fuller, or even more. Nadim: Yes. Jo: So how do we deal with this? Because Shimmr is an AI marketing company. How are you thinking about the predominance of very, very good AI marketing now? Nadim: Yes, and it gets better all the time. It's a great question. Obviously, strategically, as an enterprise, we've really had to think about this one. If I go back one step, I always believe that innovation succeeds when it starts in a narrow space. So when Shimmr launched, we put ourselves forward and were quickly embraced, I have to say, as automated advertising that sells books. Nothing particularly more complicated than that. “Okay, you do ads, you automate it for me, and it'll help flog my books. Yes, that's it.” We had a rush. We've worked with about 250 publishers. As you might anticipate, it started with smaller ones, then got bigger. We now work with the biggest as well. That notion of automated advertising selling books was successful. Actually, that was about three years ago—a bit shorter than three years ago. What's happened in that time is that we have now collected a ton of data, and meanwhile the AI models have become more sophisticated and competent. Maybe I should just pause briefly and say what Shimmr actually does. We've got three main engines that are all chained together, to use pretty old language. The first one is what we call the Strategizer. It reads the book, it understands what we call its book DNA. So it's the structural elements of what the narrative is, who the protagonists are, and all the rest of it. It's also a psychological study of it—what's going on, what are the emotions or the values, what are the interests, how they intersect, where are the tensions, all those sorts of things. The Strategizer decides, “Well, reading everything between the covers of this book and understanding the author's intent, this is the best way to put this book forward because here are its strong points.” It hands that off to the second machine, which we call the Generator, which says, “Thanks for the creative brief. I'll make you the ads now.” It does videos and music and captions and all the rest of it. Then it presents its newly baked campaign to the third machine, which is the Deployer, that says, “Okay, well, I know where to find the audiences for this. If that's the DNA of the book and this is the campaign that manifests it, then I know where to find these people.” It goes and autonomously deploys it in various media channels to specific audiences who might be interested in that content. So that's what we started doing, and that generated a huge amount of data. Where we've got to recently—really in the last six months—is understanding that, as you've just said, most people can generate their own stuff. So in some ways they can look just like a mini Shimmr. The thing that differentiates the content is always the strategy. What we have learned to do now—and it's because of an agentic framework—is we've moved beyond what's between the covers of the book to look at life. We look at culture, what's going on, what are the trends, what's in and what's out. Even if you take a particular trend—let's say, fascism—what's the language associated with it that's being treated positively and respectfully, and what's the stuff that leads to it being dismissed straight away? All those sorts of nuances around everything. But equally, as well as going deep with a set of agents on what fascism might be in today's culture, we also go wide and say, “Well, how does that sit next to loyalty or hedonism or ambition or something else?” So we get this very, very circumspect analysis of the market. Then, indeed, if you do write a book about—I'm really going off-piste here, but you know, the hedonism of fascism, like, God, that would be a weird book—you discover that actually you're not really competing with another book, but you are competing with that specific podcast and this movie that came out, and another movement that's born in Italy but it's moving across Europe now or something. So we were able to produce strategies which now lead to a much broader offer, one which is much more sophisticated and much more likely to drive success in a book or in a creative enterprise. It informs product listings, metadata, author communications, PR, SEO, GEO, and of course the thing that we started with, advertising. So things that you see made by Shimmr should be much more resonant and much more attuned to the world, and commercially much more likely to drive success, than simply saying, “Here's a book, make ten Midjourney images out of it.” Jo: Mm-hmm. Nadim: It's really about the quality of the briefing and the quality of the assets that you're able to produce by having a much more sophisticated Strategizer. So we've gone back into the intellectual property and the human analysis, in a way, of the world. To understand where a specific piece of creative work sits in culture and society has become a much bigger proposition. Jo: Right. So you did mention podcasts there. So as in, you might present to a publisher “these are the podcasts that they should pitch” for example? Nadim: There's that, of course, but it's also, don't think that this book is competing with these three titles which your team put together. It's more that, if people want to listen to hedonistic fascism, they can listen to that podcast before they read this book. Jo: Okay, that's interesting. Interesting times. So we don't have much time left, but I think one of the biggest questions that people have—even if they're AI-positive, as I am and many people listening are—it's not that we're worried about AI replacing us, because we know we're individuals and all that, but we are slightly concerned about the volume of books in the market. And not just books, but TV shows and YouTube and TikTok. It's very hard to stand out. You do say in the book: “When anyone can make, maybe creativity lies not in the making, but in making others care.” How can I move up the value chain? So for many of us who make an income this way, what are your recommendations? Nadim: Great question. And actually I think it's really central. My latest catchphrase is that in a time of super abundance, we need super discoverability. So it's exactly as you just said—tons of work, tons of movies, tons of podcasts, and tons of everything. If you believe in what I've been saying, which is that we're emancipating the creative spark of 8 billion people, there's going to be even more. So I believe that the solution is what I call multimodal interactivity. That doesn't mean multimedia—it means multimodal. Multimodal means you can engage with an experience in different modalities—the same idea. So my conviction is that if you write a book or make a painting or have a piece of music that you've come up with—or anything really, creatively—and you wish it to both survive the first six weeks of its birth and then thrive in a more perpetual way in society and culture, then people have to be able to experience and engage with your idea in multiple modalities. I would always write a book, because that's what I do. Others produce a podcast or write a piece of music—whatever the same sort of things. Any one of us needs to make sure that that reappears and is experienceable and interactable with in different modalities. So my book should have some Instagram reels. There might be YouTube shorts, there might be a podcast, there might be a piece of music associated with it, it could be a movie. It could be a game, it could be an app. You really have to think about allowing your creative idea—more than your creative artefact—to live in culture. Sure, you want to make an income from the artefact that you are good at producing. As many of your listeners, and I, would be writers of books, we want that to persist as a revenue stream, and it should do. I would simply argue that making sure that whatever you've produced in your book is manifest, and people can interact with it in other modalities, is the surest way to get it seen and discovered. Jo: Yes, it's interesting. I've actually started looking at making my non-fiction books into skills. Nadim: Yes. Jo: And also making markdown MD files—books as markdown files for agents to buy. Nadim: Very good. You are way ahead of the curve. Jo: Well, I sell on Shopify, as do many listeners, and Shopify, as I'm sure you know, is now enabled for agentic purchasing. We are in ChatGPT. So it's really interesting to think, well, if the agents go shopping for people now and in the future, what you want is to be able to find it. Also, I haven't actually put an explicit licence, but people email me and say, “Can I upload your books into an LLM?” And I'm like, “If you buy a copy from me, then yes, you can.” Nadim: Yes. Jo: So I think it's changing. And as you say, I do think that people are more and more going to want to say “buy the PDF and put it in NotebookLM” or use it as a skill. Nadim: That's right. Jo: That kind of thing. Nadim: Yes, and then they go on a walk with their dog and they listen to the podcast about your book, which they've created on NotebookLM. It's exactly that. I think my worst fear for publishers is that they lose so much of the value chain—distribution, creative collaboration, all sorts of things along the way—that the worst position they could end up in is simply as book manufacturers, which would be just one small manifestation of a creative idea. Jo: Well, I'm excited about the future. I hope you are too. I think you are. What are you particularly excited about in terms of the changes coming? Nadim: Well, if I can be my most extravagant now, my greatest excitement about AI and the changes that are coming are that it'll produce what I describe as the Panthropic. The Panthropic is a way of seeing AI not as a companion or some anthropomorphic being, but instead the repository of everything that humans have ever thought or felt or created or shared, accessible to us all in an anonymised way. It's just a repository of interactable information. My excitement about it is that the liberation that that gives to information—which becomes knowledge, which of course we all know leads to some power—should result in truly new thinking, new philosophy, new spiritualism, possibly new questions about what it is to be a human being and what life on Earth is all about. New economics, new employment, new education. I think one can too easily underestimate the massive liberation of intellectual consideration and creativity that's about to surf across the globe, and I'm so excited by it. Jo: Mm-hmm. Yes, me too. Very interesting times ahead. So where can people find you and your books and everything you do online? Nadim: I think the easiest thing is just to go to LinkedIn and find me there as Nadim Sadek. You can also go to my personal website, which is NadimSadek.com, and that'll take you wherever you want on different journeys and different parts of my career. It'll also give you links to books. Of course, they're available in all formats—audio, paperback, ebook—and in many different languages, all through Amazon and other platforms, and Spotify and Audible and all the usual things. Jo: All the usual things. Well, thanks so much for your time, Nadim. That was great. Nadim: It's a pleasure. Thank you so much for having me.The post AI, Creativity, And The Future of Publishing with Nadim Sadek first appeared on The Creative Penn.

In ep 172 of “How Do You Say That?!” sponsored by britishvoiceover.co.uk, Jane Wing joins Sam and Mark to talk about adding movement into a dramatic heist and how you can immediately place the listener within the action of a scene. We examine the difficulty of playing dry humour in a commercial script, and how flat is flat when you're trying to point the laughs in a conversational Northern accent? We talk vocal health with Kazoos, Kettles and Wedding songs plus the wildcard section has a real sting in the tail!Our VO question this week is all about the similarities between teaching kids and voice acting.Get involved! Have you got a Wildcard suggestion that we should try or an idea for the show? Send it to us via Mark or Sam's social media or email it directly to podcast@britishvoiceover.co.ukScript 1Breaker. I'm in.Heading down to the eighty-fourth floor now.I'm almost to the server room. I need that key card, Tech. Sooner is better than later.I need that card, people. Tick, tock.Got it. Downloading.Go ahead and get into position. I'll be heading out in a couple of minutes. Tech, you got eyes on security?Just be ready to move.Script 2Most products now come with… options.Lots of options.Settings you'll never use.Features you didn't know you had.And instructions you won't read.Because, in reality,people don't want more to think about.They want something that works.So we kept things simple.No extras.No noise.Just something that does its job properly.And leaves you to get on with yours.Which, statistically,is exactly what you were going to do anyway.We'd love your feedback - and if you listen on Apple Podcasts or Spotify, hit the follow button today!**Listen to all of our podcasts here - you can also watch on YouTube, or say to your smart speaker "Play How Do You Say That?!"About our guest: Jane Wing has been surrounded by performers for as long as she can remember. She first took to the stage at the age of seven and recorded her first professional voiceover at eighteen, lending her native Liverpudlian accent to the Mersey Ferries. After completing an honours degree in Theatre Arts, she spent several years in teaching, radio, and television. Teaching strengthened her clarity, sight reading, and audience engagement, while broadcasting gave her a strong technical grounding in audio production. Today, she lives in the North West, close to the sea, and continues to invest in training, coaching, and studio equipment to ensure her work stays current, polished, and professionally competitive.Jane's WebsiteJane's Facebook page@jane_wing_voiceover on Instagram Resources: Click here for the Wildcard Generator and don't forget to think of an action your character can be doing!About your hosts:With over 40 years representing major international clients such as Google, Emirates and HSBC; Mark Ryes has been trusted to be the voice for some of the world's biggest brands. If your business needs a fresh voice to represent you, then make it Mark's British voice. As a voiceover, TV presenter, podcaster or product demonstrator - Mark makes your brand truly sparkle!Mark's demos & contact details: https://linktr.ee/britishvoiceovermarkElegantly British with an intelligent, warm and seductive voice, Samantha Boffin helps creatives and production companies create great audio that really connects with their audience. BBC-trained and with over 20 years of broadcast experience on both sides of the mic, she's created award-winning promos, narration and commercials for companies all around the globe, including the BBC, Sky, Games Workshop, John Lewis, Audible and Penguin Random House.Samantha's demos & contact details: https://linktr.ee/samanthaboffin

Jane Westaway reviews Departure (s) by Julian Barnes, published by Penguin Random House.

Was wäre, wenn du dich selbst voll und ganz annehmen könntest – jenseits aller Masken, mit all deinen Sehnsüchten, Gefühlen und den Ecken und Kanten, die dich einzigartig machen? Dieses Buch ist eine Einladung, dich selbst neu zu entdecken – und dabei eine liebevolle Verbindung zu dir aufzubauen . Es nimmt dich mit auf eine innere Reise zu deinem wahren Wesen , zu dem Menschen, der du bist, wenn du alle äußeren Erwartungen loslässt. Mit kraftvollen Affirmationen, geführten Meditationen und Soundhealings zum kostenlosen Anhören und Erleben. HerzPlosion erscheint am 27. Mai beim Integral Verlag: https://herzplosion.de Und als Audiobuch bei Der Audio Verlag (DAV)

Antoinette Lattouf not only fought and won a battle against the ABC - who unfairly dismissed her for sharing posts about the genocide in Gaza - but while she was doing that, she wrote a book about women who have fought and won across Australian history. Its called Women Who Win, and it was launched last week.In this chat we unpack what she found about what it takes to win - reflecting on her journey and that of other women. We explore the kinds of qualities and insight the help us make change.One of the great joys of this chat, and of Antoinette's book, is the vulnerability and honesty that she brings to thinking about change making. She calls on us to be bold, but never pretends that its easy. Instead, she shares some of the ways she held herself steady as she fought for the right to speak, and for a media landscape that respects difference and different ideas.To find out more and get a copy of Antonette's magnificent book "Women Who Win" - visit the Penguin Random House website (or all good bookshops) - https://www.penguin.com.au/books/women-who-win-9781761355370.You can also listen to Antoinette's podcast with Jan Fran "We used to be Journos" on ACAST here: https://feeds.acast.com/public/shows/we-used-to-be-journos.You can find out more about Antonette via her website: https://antoinettelattouf.com/For more on ChangeMakers check us out:Via our Website - https://changemakerspodcast.org (where you can also sign up to our email list!)Facebook: https://www.facebook.com/ChangeMakersPodcast/Instagram: https://www.instagram.com/changemakerspodcast/Threads: https://www.threads.com/@changemakerspodcastBlue Sky: https://www.threads.com/@amandatattersall.bsky.socialFor more on the books and Amanda's writing, have a look at:Amanda's website - https://amandatattersall.com/ Conscious Tribes: thinking differently about making a difference - here and via Hardie GrantPeople Power in Cities - here and via Oxford Uni PressOn Substack - https://substack.com/@amandatattersallOn Medium - https://amandatatts.medium.com/And - her much earlier book about coalition building - Power in Coalition and via Cornell Uni PressAmanda is on Socials here:On LinkedIn: https://www.linkedin.com/in/amandatattersall/Facebook: https://www.facebook.com/amanda.tattersallBlueSky: https://bsky.app/profile/amandatattersall.bsky.socialThreads: https://www.threads.com/@amandatattersallTikTok: https://www.tiktok.com/@amanda.tattersall Hosted on Acast. See acast.com/privacy for more information.

We're doing a three-part book club series on Yoni Appelbaum's 'Stuck: How the Privileged and the Propertied Broke the Engine of American Opportunity.' This is episode one, covering chapters 1 through 4. In the second half of the show, California Attorney General Rob Bonta joins us to talk about connections between the book's themes and his work enforcing housing and immigration law.Find the Lewis Center at lewis.ucla.edu and chat with the hosts and fellow listeners at our Substack, uclahousingvoice.substack.com.Show notes:Appelbaum, Y. (2025). Stuck: How the Privileged and the Propertied Broke the Engine of American Opportunity. Penguin Random House.Stan's substack, Everyone is Welcome.Housing Voice episode 61: Homelessness is a Housing Problem with Gregg Colburn.Housing Voice episode 101: Beyond Zoning with John Zeanah and Andre D. Jones (Incentives Series pt. 4).99% Invisible Breakdown of the Power Broker.Elmendorf, C. S., Nall, C., & Oklobdzija, S. (2025). The folk economics of housing. Journal of Economic Perspectives, 39(3), 45-66.Housing Voice episode 38: The Housing Supply–Migration–Income Relationship with Peter Ganong.Books: The Death and Life of Great American Cities, Jane JacobsThe Economy of Cities, Jane JacobsThe Warmth of Other Suns, Isabel WilkersonGolden Gates, Conor DoughertyAbundance, Ezra Klein and Derek ThompsonWhy Nothing Works, Marc DunkelmanPublic Citizens, Paul SabinAlbion's Seed, David Hackett FischerThe Jungle, Upton SinclairPolarized by Degrees, Matt Grossman and David Hopkins

Livestreaming as always Monday at 8pm UK time (3pm Eastern)! In this week's show we look at the four Baldur's Gate 3 tie-in books from Penguin Random House, look at a new official Justice League TTRPG, upcoming releases for Bladerunner, Star Trek, and more! 4 Baldur's Gate 3 tie-in books coming from Penguin Random House Images from Secrets of Waterdeep experience currently playing at Universal Studios Hollywood Dungeons & Dragons Underdark Terrain Set D&D Beyond brings back a la carte purchases in the form of Starter Packs Wizards of the Coast employees responsible for Magic: Arena unionize Allies & Adversaries sourcebook coming for Star Trek Adventures Replicant Rebellion expansion coming for Free League's Blade Runner RPG Neon Odyssey exclusive reveal: The Yoggoth Species Official Justice League TTRPG launching on Gamefound in July Get ready for Alpha Star Magazine Issue 2: sci-fi resources for your D&D game Chilblain: Lich Librarian is one of 6 NPCs who accompany the arcane subclasses in Secrets of the Tome Support us on Patreon!

In ep 171 of “How Do You Say That?!” sponsored by britishvoiceover.co.uk, Beau Thomas joins Sam and Mark to talk about accents... how not to do them, how to perfect the subtlety of an accent, and how an accent can match your own speech cadence. We look at how to create a theatrical performance for the mic - when it's asked for, we bring a touch of camp to underscore a performance, and we look at how to deal with a script that has very definitive direction. You'll learn how to create the perfect accent without panicking, why listenig is crucial, and why less is more when you need to pull an accent out of the bag.Our question is all about accents as well! Is mastering an accent about natural ability, or just pure hard work?Get involved! Have you got a Wildcard suggestion that we should try or an idea for the show? Send it to us via Mark or Sam's social media or email it directly to podcast@britishvoiceover.co.ukScript 1OK, in you come, don't be shy—mind the step, love. This is Stage One.SFX: Lights flick on—low electrical hum.Ahhh, there we are. This was built in 1934. Proper golden-age glamour. Bit dusty now, but honestly—aren't we all? This is where they made “At the Villa Rose” and “Rookery Nook”. See that mark on the floor? Stand there, it's the centre mark. Now, imagine the lights, the cameras… the heat… gorgeous. Right, follow me—stick close. If you wander off, you'll end up in a prop cupboard married to a mannequin. It's happened.Script 2Time… it is the Essence of MasteryThrough every thoughtful approachA lesson is instilledIn every move (pause) a calculated riskProgress isn't given (slight pause) It's earnedThrough patienceThrough precisionThrough timeThat, is how you become a master, of time.We'd love your feedback - and if you listen on Apple Podcasts or Spotify, hit the follow button today!**Listen to all of our podcasts here - you can also watch on YouTube, or say to your smart speaker "Play How Do You Say That?!"About our guest: Beau Thomas has been doing VO since 2019. He's booked roles in video games including Killer Inn and Path of Exile 2), as well as corporate videos, commercials and his workhorse: audiobooks!What makes Beau stand out as a VO is his accent work - he'll basically have a go at any accent with enough prep time. He prides himself on being able to access relatability and genuine connection to text in any accent - rather than just engaging in stereotype!Beau was listed by 50Pros as a top 50 Independent Voice Talent but the work he's proudest of is a collaboration with National Star and West Midlands Ambulance to help give a man with cerebral palsy a voice that captured his Birmingham accent in time for his wedding day.Beau's Website@BeauThomasVO on Instagram Resources: Click here for the Wildcard Generator and don't forget to think of an action your character can be doing!Details about Accentify - https://www.accentify.co.uk/About your hosts:With over 40 years representing major international clients such as Google, Emirates and HSBC; Mark Ryes has been trusted to be the voice for some of the world's biggest brands. If your business needs a fresh voice to represent you, then make it Mark's British voice. As a voiceover, TV presenter, podcaster or product demonstrator - Mark makes your brand truly sparkle!Mark's demos & contact details: https://linktr.ee/britishvoiceovermarkElegantly British with an intelligent, warm and seductive voice, Samantha Boffin helps creatives and production companies create great audio that really connects with their audience. BBC-trained and with over 20 years of broadcast experience on both sides of the mic, she's created award-winning promos, narration and commercials for companies all around the globe, including the BBC, Sky, Games Workshop, John Lewis, Audible and Penguin Random House.Samantha's demos & contact details: https://linktr.ee/samanthaboffin

In this episode, I sit down with Shannon Leyko, host of The Paring Down Podcast, who has built a top-performing show with over one million downloads, a 700,000+ audience across platforms, and a book deal with Penguin Random House releasing in Spring 2027. Shannon shares a refreshingly honest look at what it really takes to grow a podcast into a business asset, without overcomplicating the process. We talk about building momentum from scratch, the long game of consistency, and how strategic visibility can open doors you never expected. If you are a business owner who wants your podcast to do more than just exist, this conversation will show you what is actually possible when you treat it like a growth tool.Key topics covered in this episode:• The mindset shift that separates hobby podcasters from growth-focused CEOs• How her pageant background shaped her confidence, presence, and communication style• What it looked like to create content when no one was watching• The exact moment she realized her podcast had real business potential• How she approached pitching herself before opportunities came to her• What a podcast network actually handles and why it matters• The behind-the-scenes structure required to sustain a high-volume release schedule• The role long-term vision played in turning content into a multi-platform brandLinks & Resources:Listen to Shannon's Podcast: https://shannonleyko.com/paring-down-podcastFollow Shannon on Instagram: https://www.instagram.com/shannonleyko/Visit Shannon's Website: https://shannonleyko.com/Orzo Recipe: https://www.tiktok.com/@saltandsagenutrition/video/7542966188297456909?_r=1&_t=ZP-95vFBLCYu7zQuince Discount Code: https://www.quince.com/women/best-sellers?utm_source=veritone&utm_medium=podcast&utm_campaign=paringLet's Connect!Apply to join the Podcast Growth Retainer: https://forms.gle/Jvh1p5vbs47omkho7Book Your Podcast Consultation Today: https://www.pivotballchange.com/servicesLaunch Your Podcast with Pivot Ball Change: https://www.pivotballchange.com/servicesFollow Pivot Ball Change on Instagram: https://www.instagram.com/pivotballchange/Visit Pivot Ball Change's Website: https://www.pivotballchange.com/

It's another busy week in WCPEver studios. Buckle in and enjoy the ride this week.  We are just a few days away from the 2026 Free Comic Book Day (a.k.a. Comic Giveaway Day for books being shipped by Penguin Random House)! Stop into your local comic shop this Saturday to get some free books, but don't forget to support your retailer and buy some books, too!  We've been watching Daredevil and The Boys over the last week. And did you catch the Clayface trailer for the movie coming out in October? Next week, we will be doing our next WCPE Book Club, reading the 1982 Hercules series from Marvel Comics. Give this a read and tune in next week to hear our discussion. We have our weekly Pick 3 choices, sponsored by our friends at Clint's Comics. Plus, Cullen has a new trivia question, and John has a look at last week's top ten books. We would love to hear your comments on the show. Let us know what you've been reading or watching this week. Contact us on our website, Facebook, Instagram, or by email. We want to hear from you! As always, we are the Worst. Comic. Podcast. EVER! and we hope you enjoy the show. The Worst. Comic. Podcast. EVER! is proudly sponsored by Clint's Comics, 815 N Noland Road in Independence, Missouri. Whether it is new comics, trade paperbacks, action figures, statues, posters, or T-shirts, the friendly and knowledgeable staff can help you find exactly what you need. You should also know that Clint's Comics has the most extensive collection of back issues in the metro area. If you need to find a particular book to complete a title's run, head to Clint's or check out their website at clintscomics.com. Tell them that the Worst. Comic. Podcast. EVER! sent you.

It's a Wednesday which means it's time for our cozy little corner of the internet.This week we're combining our April Bookend with Hygge — Emily is deep in Dungeon Crawler Carl and has feelings about it, KristaLyn read a lesbian Bedazzled book and we need to talk about it. Then we pull some Hygge cards and somehow end up talking about three days without sleep, childhood smells, and a TB shot situation that apparently only happened in certain states.Also — Emily's book Locusta is available for pre-order right now everywhere you get books. Barnes and Noble, Amazon, Penguin Random House. Pre-ordering genuinely changes an author's life. Go do it.KristaLyn's book cover reveal is coming very soon. Stay tuned.Join our new LIVE show, The Alchemist's Inkspill, every Friday at 1pm EST/10am PST here on ⁠YouTube⁠ (and ⁠Instagram⁠ Live)!Connect with us across the internet + IRL!

Streets can be more than places to move and store cars—they can be  places for children to grow and thrive. Alice Ferguson and Tim Gill are the UK-based authors of a new paper called "Streets for Play, Streets for Freedom: How a 'child lens' would transform transport policy." Each of them has decades of experience in envisioning a world where children can use streets safely and happily. Together they are calling for a "radical, child-centric approach to transport policy and planning." ***Join The War on Cars on Patreon and listen to exclusive ad-free versions of regular episodes, Patreon-only bonus content, Discord access, invitations to live events, merch discounts and free stickers!*** Listen to our interview with Tim Gill from last fall. Read Tim's book, Urban Playground. Learn more about the Playing Out movement. Order our new book, Life After Cars: Freeing Ourselves from the Tyranny of the Automobile, out now from Thesis, an imprint of Penguin Random House. Get the book and find us on tour at LifeAfterCars.com.  Thanks to Upway for sponsoring this episode. Use this link to sell your bike. You can also save $100 off any order of $800 or more with the code TWOC100. Thanks also to Cleverhood. Listen to this episode for the latest discount code and get 15% off the best rain gear for walking and cycling. TheWarOnCars.org

After 40 years in print journalism, Vince Vawter didn't quite feel finished with writing. In 2013, he published his debut novel, Paperboy — a story about an 11-year-old boy named Victor Vollmer living in Memphis in 1959 who struggles to talk without stuttering. Blending fiction and memoir, the book draws heavily from Vince's own childhood and the challenges he faced finding his voice.Paperboy earned a prestigious Newberry Honor in 2014 and has now been published in 22 different languages. Years later, Vince began to imagine the story on stage, and at a friend's suggestion, it evolved into a musical. In 2023, the Manhattan School of Music performed it in New York, and later this year it will debut professionally at the Weathervane Theatre in Whitefield, New Hampshire.Following the success of Paperboy, readers wanted more of Victor's story. Vince obliged, and in 2018 he released Copyboy, which follows Victor at 17, and in 2023 he completed the trilogy with Manboy, where Victor is 21 and still navigating life with a stutter as he becomes a young adult in the tumultuous late 1960s in the U.S.I've known Vince for over two decades — his son and my brother my brother were college roommates and close friends. As I began carving out my own path in journalism, I remember early conversations with him, including our shared connection to the Evansville Courier & Press, though I'm not sure if our time there overlapped when I was working there in high school.More recently, we reconnected on Substack and have interacted regularly. Now nearing 80, Vince remains as sharp as ever. In February, he released his latest book, The Stuttering Stoic: How an Ancient Philosophy Helped Me Find My Voice.He joins me on the podcast this week to reflect on his long, accomplished journalism career and what he now calls his “second career” as an author. He also shares about living with a stutter and how writing — along with his study of Stoicism — has helped him find his voice.Paperboy was originally published by Penguin Random House, one of the industry's “Big Five” publishers. But along the way, Vince faced pressure to change elements of his story. Wanting to remain true to his voice and experience, he ultimately chose to self-publish rather than compromise, and in this conversation he talks about how he ultimately settled on that decision.You can learn more about Vince and buy his books at vincevawter.com.I'd also love to connect with you on Substack, where I write essays and share updates about future episodes. You can find that at ⁠The Road Ahead⁠.You can also find me on Instagram and Twitter ⁠@ColeClaybourn⁠, and on Facebook under ⁠Cole Douglas Claybourn⁠.All episodes are now available in full on Substack and YouTube. On YouTube, Just search ⁠In No Hurry Podcast⁠ and subscribe to be notified when new episodes go live.If you enjoyed this, consider sharing it with a friend or someone in your life who might need to hear it. And if you want to stay connected, follow In No Hurry Podcast on ⁠Instagram⁠ and the new ⁠TikTok⁠ page for clips, updates, and more from these conversations.

First Amendment: May Florida require schools to remove library books containing "sexual conduct"? - Argued: Wed, 22 Apr 2026 10:52:59 EDT

Welcome to Unibrow Radio Fiction, a new series where the editors of The Unibrow speak to authors, share selected readings, and begin to think about the art being fiction and narrative writing. Today's guest coincides with Issue 02, with an excerpt and interview with Eirinie Carson and her new novel, Bloodfire, Baby. The book is being hailed by critics and honored for its honesty and daring story. It is Carson's first novel after her memoir, The Dead Are Gods. Shaquille Heath interviews Carson about creating the characters and the story behind the making of the book. The book is "a maternal gothic tale of new motherhood and the torment of a centuries-old haunting," and as you will hear in this conversation with Carson, comes from her own life experience as a new mother and the stories that began to take shape on the page as she experienced her own postpartum reality. Bloodfire, Baby is currently available via Penguin Books. Audio excerpted with permission of Penguin Random House Audio from BLOODFIRE, BABY by Eirinie Carson, excerpt read by Emana Rachelle. Eirinie Carson ℗ 2026 Penguin Random House, LLC. All rights reserved.

In ep 170 of “How Do You Say That?!” sponsored by britishvoiceover.co.uk, John Kennard joins Sam and Mark to talk about how numbers can punctuate a script, and whether you see numbers in a script or have to write them longhand so you don't trip over them. We discuss conversational versus informational and try to bring a touch of David Attenborough without doing an impression. We also note the character versus speed ratio and work out how a character can sometimes slow the read and sometimes speed it up!There are height issues, Easter egg woes and an amusing story about a Seventies Musical Legend! Our wildcards include a James Herriot style fifties Yorkshire farmer, a man stuck in a malfunctioning lift with his nephew, and a balshy sergeant major!Our VO question this week is all about coming to voiceover in your fifties - just where do you start, and what resources are useful to look at?Get involved! Have you got a Wildcard suggestion that we should try or an idea for the show? Send it to us via Mark or Sam's social media or email it directly to podcast@britishvoiceover.co.ukScript 1And more than 1,700 farms on the outskirts of British towns and cities have disappeared since 2010. This loss totals 56,000 hectares of farmland, similar in size to Leeds, impacting food security and environmental sustainability.Although the areas studied in the report represent just 11.3% of UK agricultural land, this land produces a large proportion of staple foods including over 20% of our wheat, oats and barley yield, 14% of potatoes and 13.3% of the UK's milk production.Script 2Ever an adaptive species, the Prairie humans instinctively seek shelter in cold spells. But when movie streaming runs dry, the biological urge for playtime kicks in.Fortunately, West Wallington Mall offers an indoor oasis and endless enjoyment of shopping, splashing, and loop de loops.The result is fewer sibling fights, and the avoidance of a condition known as cabin fever.West Wallington Mall. Go Play Inside.We'd love your feedback - and if you listen on Apple Podcasts or Spotify, hit the follow button today!**Listen to all of our podcasts here - you can also watch on YouTube, or say to your smart speaker "Play How Do You Say That?!"About our guest: John is a British voice actor based in West London. After years working in theatre tech and a long career in IT, his mid-life crisis manifested as a desire to step up to a microphone and record his voice for fun, but was pleased to find that before long people were willing to pay him for doing so. Now in his 4th year, he's built a reputation as a versatile voice actor & narrator. He has recently appeared in 1930s Hollywood audio drama “The High Note”, the veteran-led supernatural whodunnit “Happy Medium” and Audio Mystery Theatre's "Death Among the Olives", as well as various other UK and US productions. He's played both major and minor roles in Indie & AAA games including Nioh-3, Farming Simulator and the Bureau of Fantastical and Arcane Affairs. His voice has been described as being warm, educated and trustworthy with a side of cheeky humour. He's neurospicy, a father, a Lego addict and a compulsive tinkerer.John's Website@johnkennardva on InstagramJohn's Facebook pageJohn on YouTube Resources: Click here for the Wildcard Generator and don't forget to think of an action your character can be doing!About your hosts:With over 40 years representing major international clients such as Google, Emirates and HSBC; Mark Ryes has been trusted to be the voice for some of the world's biggest brands. If your business needs a fresh voice to represent you, then make it Mark's British voice. As a voiceover, TV presenter, podcaster or product demonstrator - Mark makes your brand truly sparkle!Mark's demos & contact details: https://linktr.ee/britishvoiceovermarkElegantly British with an intelligent, warm and seductive voice, Samantha Boffin helps creatives and production companies create great audio that really connects with their audience. BBC-trained and with over 20 years of broadcast experience on both sides of the mic, she's created award-winning promos, narration and commercials for companies all around the globe, including the BBC, Sky, Games Workshop, John Lewis, Audible and Penguin Random House.Samantha's demos & contact details: https://linktr.ee/samanthaboffin

Luis Noriega nació en Cali en 1972, estudió literatura en la Universidad Nacional de Colombia,y desde 1998 vive en España, cerca de Barcelona. Es escritor y traductor, y uno de losnarradores colombianos más singulares de su generación: el primero de su país en ganar elPremio Hispanoamericano de Cuento Gabriel García Márquez, con Razones para desconfiarde sus vecinos (Random House, 2016), una colección de cuentos que él mismo describe comoel resultado de veinte años de exorcizar la ciudad. Ha publicado también las novelas Iménez(2011, ganadora del Premio UPC de Ciencia Ficción), Mediocristán es un país tranquilo (2014,finalista del Premio Nacional de Novela de Colombia) y Donde mueren los payasos (BlackieBooks, 2013), recientemente reeditada por Penguin Random House trece años después de suprimera aparición.En este episodio de Paredro, Camilo conversa con Luis Noriega sobre esa reedición: unanovela que inventó la farsa electoral antes de que la farsa se volviera sistema. Donde muerenlos payasos narra la carrera de ratas que se desata cuando un líder populista cae, y lo hacecon 67 capítulos, humor negro, recursos metaliterarios y un diálogo constante entre editor yautor que convierte la novela en una reflexión sobre sí misma. Hablamos de por qué Noriegaescribió este libro pensando que jamás podría publicarse, de cómo el humor negro que nacióen el centro de Bogotá mutó al llegar a España, de su relación incómoda con El otoño delpatriarca de García Márquez, de si el humor admite compasión, y de por qué hoy, trece añosdespués, la novela parece más vigente que nunca.Una conversación sobre literatura, política, campaña permanente, redes sociales, y el arte dereírse de uno mismo antes de reírse de los demás.HASHTAGS#LuisNoriega #DondeMuerenLosPayasos #Paredro #Podcast #LiteraturaColombiana#SátiraPítica #HumorNegro #RandomHouse #BlackieBooks #PremioGarcíaMárquez#NovelaColombiana #LibrosEnEspañol #FarsaElectoral #Populismo #MetaLiteratura#CuentoColombiano #LiteraturaHispanoamericana #Cali #Barcelona#EscritorColombianoEnEspaña

Our very own Simon Rogers is coming out with a book on May 5th! It's called “What We Ask Google: A Surprisingly Hopeful History of Humankind.” Scott and Alberto got a chance to ask him all about the research and writing process, as well as what Simon hopes people take away from the book. You can preorder it now on the Penguin Random House website, or wherever you get your books.Work mentioned in the episode:trends.google.comSome of the book illustrations on Simon's websiteThe⁠ ⁠⁠⁠⁠⁠⁠⁠music this episode⁠⁠⁠⁠⁠⁠⁠⁠ was made with⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠TwoTone⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, an app that turns numbers into tunes. The Data Journalism Podcast is produced by Ozzy Llinas Goodman. Do you have a new data-driven story or project coming up? Tell us about it at ⁠⁠datajournalismpodcast@gmail.com⁠⁠, and we might feature it on the show. Subscribe to make sure you never miss an episode!

Natalie Crawford, MD is board certified in both Obstetrics and Gynecology and Reproductive Endocrinology and Infertility and is co-founder of Fora Fertility, a boutique fertility practice in Austin, Texas. Dr. Crawford is CEO and co-founder of Pinnacle, a professional network for women in medicine. She completed her undergraduate at Auburn University obtaining a degree in Nutrition Science, Medical School at UTMB, OBGYN Residency at UTSW, and REI Fellowship at UNC, concurrently obtaining a Master of Science in Clinical Research. Dr. Crawford is a digital health educator on social media, YouTube, and hosts the podcast  “As a Woman” with over 6 million downloads. Her debut book, “The Fertility Formula”, will be released by Penguin Random House.   Follow Dr. Crawford on Instagram at @nataliecrawfordmd and check out her book, The Fertility Formula.   Related Episodes: Ep 155 - Dr. Marguerite Duane on FACTS about Fertility Ep 314 - The Fertility Crisis + Support for Couples with Ronit Menashe + Vida Delrahim   If you like this episode, please subscribe to Pursuing Health on iTunes and give it a rating or share your feedback on social media using the hashtag #PursuingHealth. I look forward to bringing you future episodes with inspiring individuals and ideas about health.   Disclaimer: This podcast is for general information only, and does not provide medical advice.  I recommend that you seek assistance from your personal physician for any health conditions or concerns.

Is there a version of belonging to Goa that is not predicated on consumption and extraction? 'Appetite'- a new anthology of 36 stories, poems, essays—and even a graphic piece—is interested in capturing what happens to a place when everyone's busy wanting it. Published by Penguin Random House earlier this year and edited by Shivranjana Rathore and Tino de Sa, the collection brings together original pieces from members of the Goa Writers Group, a community of over a hundred writers based in the state or connected to it by ancestry. Watch this week's column by Karanjeet Kaur----more----Read full article here: https://theprint.in/opinion/can-an-outsider-ever-truly-belong-in-goa-new-book-grapples-with-this-question/2898021/

I'm thrilled to connect with Dr. Natalie Crawford today. She's a double-board-certified fertility doctor and the author of The Fertility Formula. Unlike most other physicians, she blends lifestyle and functional medicine with science-based facts, aiming to help women conceive and understand their bodies. While this conversation may not feel fully aligned with the perimenopause and menopause transition, I encourage you to listen with an open mind to what Natalie shares about hormones. In our discussion, we explore fertility as a vital sign, the impact of infertility, and why one in six women experiences infertility. We break down ovarian reserve and the realities of aging. We also cover specific labs that can help assess ovarian reserve and overall health. We explain DOR and POI, the overlap between fertility and perimenopause, and why the ovaries can behave like a “cranky toddler” in perimenopause. Finally, we dive into the role of the gut microbiome in estrogen metabolism and inflammation, and discuss IVF, egg freezing, modern reproductive options, lifestyle influences, and a series of rapid-fire questions. Dr. Crawford's book, The Fertility Formula, is a must-read for women of all ages. It contains many valuable insights, and I love the way she blends an integrative approach with an allopathic approach for her patients. IN THIS EPISODE, YOU WILL LEARN: How fertility serves as a health marker that reflects a woman's hormonal, cellular, and metabolic health The role of inflammation in infertility Dr. Crawford clarifies ovarian reserve, highlighting the importance of understanding egg quality and quantity. Why AMH testing is the most informative first step for women concerned about their fertility Dr. Crawford outlines three factors that can cause missed or irregular periods. The importance of tracking ovulation and understanding the body's signals during perimenopause Inflammation and aging can disrupt chromosome alignment and impair embryo development. How poor estrogen clearance and gut microbiome imbalances disrupt brain-ovary signaling and ovulation timing The link between sleep deprivation and low sperm counts, and how stress and lack of muscle mass can drive insulin resistance and inflammation Why sleep, muscle mass, and stress reduction are all essential for fertility It's essential to approach fertility proactively, and to know how to do that. Bio: Natalie Crawford Natalie Crawford, MD, is board-certified in both Obstetrics and Gynecology and Reproductive Endocrinology and Infertility and is co-founder of Fora Fertility, a boutique fertility practice in Austin, Texas. Dr. Crawford is CEO and co-founder of Pinnacle, a professional network for women in medicine. She completed her undergraduate degree at Auburn University, obtaining a degree in Nutrition Science, Medical School at UTMB, OBGYN Residency at UTSW, and REI Fellowship at UNC, concurrently obtaining a Master of Science in Clinical Research. Dr. Crawford is a digital health educator on social media, YouTube, and hosts the podcast  “As a Woman” with over 6 million downloads. Her debut book, “The Fertility Formula”, will be released by Penguin Random House.  Connect with Cynthia Thurlow   Follow on X, Instagram & LinkedIn Check out Cynthia's website. Submit your questions to support@cynthiathurlow.com Join other like-minded women in a supportive, nurturing community: The Midlife Pause/Cynthia Thurlow. Cynthia's Menopause Gut Book is on presale now! Cynthia's Intermittent Fasting Transformation Book The Midlife Pause Supplement Line Connect with Dr. Natalie Crawford On her website On social media: @NatalieCrawfordMD Dr. Crawford's book, The Fertility Formula, is available here.

We talk with a guest who knows firsthand just how destructive cars can be. Dr. Rex Tai is a physician who works in long-term care. Many of his patients are the victims of traffic violence. His experience providing care for these people has been part of his growing awareness of how our country's car-dependence creates and exacerbates inequality and division in our society and even in our global politics. We talk about all that, the effects of catastrophic injury for individuals and families, and how the public health crisis of traffic violence is just one aspect of a system that limits our mobility in so many ways, as well as dividing us from each other. If you'd like to check out some of the organizations Dr. Tai mentions in the episode, here they are: Los Deliveristas Unidos WE ACT for Environmental Justice NYC-DSA Ecosocialists Join The War on Cars on Patreon and listen to exclusive ad-free versions of regular episodes, Patreon-only bonus content, Discord access, invitations to live events, merch discounts and free stickers! Order our new book, Life After Cars: Freeing Ourselves from the Tyranny of the Automobile, out now from Thesis, an imprint of Penguin Random House. Get the book and find us on tour at LifeAfterCars.com.  Thanks to Upway for sponsoring this episode. Use this link to sell your bike. You can also save $100 off any order of $800 or more with the code TWOC100. Thanks also to Cleverhood. Listen to this episode for the latest discount code and get 15% off the best rain gear for walking and cycling. TheWarOnCars.org

In episode #433 of The Hormone Puzzle Podcast, our guest, Dr. Natalie Crawford, MD, talks about The Truth About the Biological Clock and Egg Quality – Why Fertility Is About More Than Just Age. More about Dr. Natalie Crawford: Natalie Crawford, MD is board certified in both Obstetrics and Gynecology and Reproductive Endocrinology and Infertility and is co-founder of Fora Fertility, a boutique fertility practice in Austin, Texas. Dr. Crawford is CEO and co-founder of Pinnacle, a professional network for women in medicine. She completed her undergraduate at Auburn University obtaining a degree in Nutrition Science, Medical School at UTMB, OBGYN Residency at UTSW, and REI Fellowship at UNC, concurrently obtaining a Master of Science in Clinical Research. Dr. Crawford is a digital health educator on social media, YouTube, and hosts the podcast  "As a Woman" with over 6 million downloads. Her debut book, "The Fertility Formula", will be released by Penguin Random House. Thank you for listening! This episode is brought to you in partnership with Proov - https://proovtest.com/PUZZLE Follow Dr. Natalie on Instagram: @‌nataliecrawfordmd Check out her latest book, "The Fertility Formula" here: nataliecrawfordmd.com/book Pre-order the book "The Fertility Formula" on Amazon. Follow Dr. Kela on Instagram: @‌kela_healthcoach Get your FREE Fertility Meal Plan: https://hormonepuzzlesociety.com/ FTC Affiliate Disclaimer: The disclosure that follows is intended to fully comply with the Federal Trade Commission's policy of the United States that requires to be transparent about any and all affiliate relations the Company may have on this show. You should assume that some of the product mentions and discount codes given are "affiliate links", a link with a special tracking code This means that if you use one of these codes and purchase the item, the Company may receive an affiliate commission. This is a legitimate way to monetize and pay for the operation of the Website, podcast, and operations and the Company gladly reveals its affiliate relationships to you. The price of the item is the same whether it is an affiliate link or not. Regardless, the Company only recommends products or services the Company believes will add value to its users. The Hormone Puzzle Society and Dr. Kela will receive up to 30% affiliate commission depending on the product that is sponsored on the show. For sponsorship opportunities, email HPS Media at media@hormonepuzzlesociety.com

On this afternoon's Palace Intrigue, fresh questions swirl around Meghan Markle's upcoming wellness retreat in Australia after online posts suggest some people may be planning to attend under false pretences. We also look at reports of growing tension between Harry and Meghan and Penguin Random House, claims that Meghan may want a second home closer to Los Angeles, and criticism of the Sussexes' new Netflix polo drama. Plus, new talk of a Meghan brand overhaul, a frosty reported palace phrase for Harry and Meghan behind closed doors, Meghan's rare Instagram comment to Patrick J. Adams about the jam, and a report claiming the Sussexes are off the guest list for the 2026 Met Gala.Get episodes of Palace Intrigue by becommming a paid subscriber on Apple Podcasts. Click the button that says uninterrupted listening.  Just $5 a month, and that includes many ofther shows on the Caloroga Shark network.A new season of King William is available now.Our royal newsletter written by Deep Crown is available for free.Royal Books:Revenge: Meghan, Harry, and the War Between the Windsors by Tom BowerWilliam and Catherine: The Monarchy's New Era: The Inside StoryThe Royal Insider: My Life with the Queen, the King and Princess Diana

Michigan's March Madness mission, Tiger Woods bodycam breakdown, Kate Beckinsale v. Mark Ruffalo's dong, Island Boys: Bachelor Edition, Ozempic Vulva, and Meghan Markle had a better Easter than you. Sports: Michigan goes head to head with UConn tonight for the NCAA Championship. Dusty May is sticking around for awhile. The Tigers almost swept the Cardinals. The Red Wings are bad again. Gene Simmons is coming to town. Rock and Brews is rocking! Savannah Guthrie made her return to The Today Show amidst the disappearance of her mother. Kelly Osbourne is taking things a bit too far following the death of her father. Ozempic Vulva is a thing to look out for. The niece of an Iranian General was living her best life in America. Not anymore, bitch. Drew used to drive a moped. The cop cam dropped of Tiger Woods' DUI arrest. He also received another mugshot. Whoopi Goldberg and The View defend Tiger. Sean Preston needs money so bad that he has changed his last name from Federline to Spears. Congrats to Legacy Partners BIG WINNER ________________. Roberto and Tom Mazawey are hogging Drew's Champions Club tickets early in the season. Bruce Springsteen is hitting the road but skipping Detroit. Jack White and Jack Black collaborated on SNL. Pepsi, Johnnie Walker and Captain Morgan stand up to Kanye West. Pull sponsorships from the Wireless Festival that Ye is headlining. Ye made $33M this weekend in LA... so it probably doesn't matter. Blake Lively was dealt a massive blow in court in her efforts against Justin Baldoni. Meghan Markle had a better Easter than YOU. Harry and Meghan have been banned from the Met Gala. Penguin Random House dropped the duo. Harry's true love is Charlotte Griffiths. Meghan is about to bomb in Australia. Kristi Noem and Corey Lewandowski are getting it on. Corey Feldman made a sweet cameo in The 'Burbs. Duffy has a wild backstory. It will be discussed in an upcoming Disney+ documentary. The Necessary Conversation is a family disaster of a podcast. Where has the Trump Unity Bridge gone? Lisa Kudrow feels like she was the least popular 'Friend'. Kate Beckinsale is angry at Mark Ruffalo's weiner. We're going to the f****** moon! Johnny Depp has a rum. James Charles may be Trudi's favorite makeup artist. Flyysoulja of the Island Boys plays hot or not with 20 women. If you'd like to help support the show… consider subscribing to our YouTube Channel, Facebook, Instagram and Twitter (Drew Lane, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).

Sister Monica Clare knew from a young age that marriage and children were not her calling. She just spent decades being told otherwise. By the time she made it to the Groundlings in LA, she had checked every box society handed her: the career, the marriage, the full script, and none of it fit. What came next was a $150,000 debt payoff, a cross-country search for a convent that actually aligned with her values, and a vow of poverty that she says left her feeling more taken care of than ever before.In this episode, Bri Conn CFP® sits down with Sister Monica Clare, Episcopal nun and author of A Change of Habit, for a conversation about what it actually takes to stop living for other people's expectations and start designing a life around who you actually are.In This Episode, You'll Learn:Why the pressure to marry and have children has always been more economic than emotional.How the Episcopal Church differs from Roman Catholicism and other denominations, and why its LGBTQ-affirming, progressive theology surprised even BriWhat it costs to become a nun, financially and otherwise, and how Sister Monica Clare paid off $150,000 in debt before she could answer her calling.How communal living under a vow of poverty actually works, what $50 a month in allowance looks like in practice.Why the doors that close are just as important as the doors that open, and how Sister Monica Clare learned to read the difference between a path that is hard and one that is wrongEpisode Host:Bri Conn, CFP® is a CERTIFIED FINANCIAL PLANNER®, Childfree Wealth Specialist® at Childfree Wealth®, and Customer Experience Manager at Childfree Trust®.Episode Guest:Sister Monica Clare is a nun at the Community of St. John Baptist, an Episcopal religious order based in Mendham, New Jersey. She is the Superior of the convent and will soon be an ordained priest. She is a trained spiritual counselor specializing in religious trauma, mental illness, and addiction.Her forthcoming memoir, A Change of Habit, was released on April 29, 2025 by Crown and Sugar23 Books at Penguin Random House. Before becoming a nun in 2012, she worked as a photo editor in Los Angeles and was a member of the Groundlings Sunday Company. She started her TikTok account, @nunsenseforthepeople, in June 2021, to make people laugh and to demystify life as an Episcopal nun. To her great surprise, the popularity of her TikTok channel has continued to grow and she now has over 227K followers and 2.9M likes.Follow her on Tiktok: https://www.tiktok.com/@nunsenseforthepeopleAbout Childfree InsightsChildfree Insights focuses on planning for solo aging and later life without children. It offers trusted education on financial planning, estate planning, and building support systems for people aging independently. Home of Childfree Wealth® and Childfree Trust®.Connect with Us:Ready to work on building better financial habits? Connect with our financial planning team at childfreewealth.com or learn more about estate planning at childfreetrust.com.Follow Childfree Life by Design on your favorite podcast platform and join the conversation on social media:Instagram: https://www.instagram.com/childfreeinsightsFacebook: https://www.facebook.com/ChildfreeInsights/LinkedIn: https://www.linkedin.com/company/childfreeinsightsYouTube: https://www.youtube.com/@ChildfreeInsightsDisclaimer: This podcast is for educational & entertainment purposes. Please consult your advisor before implementing any ideas heard on this podcast.

Patrick has a new book coming out April 7, a true story about Zac Brettler, a London teenager who died under mysterious circumstances in 2019. After Zac's death, his parents, Rachelle and Matthew, made a shocking discovery: Zac had been leading a secret double life, posing as the son of a Russian oligarch. "London Falling" is the story of two grieving parents who set out to investigate their own son's death, a journey that pulled them into a side of their city they had never known before, a murky underworld of power, money, danger, and deceit. This exclusive preview for "Wind of Change" listeners is the prologue from the Penguin Random House audiobook, read by Patrick. "London Falling" is available for pre-order wherever books are sold.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

What does it take to write strong sentences? How do you keep writing when the world feels dark? How do you push past self-doubt, build a sustainable writing practice, and trust that your voice is enough? Anne Lamott and Neal Allen share decades of hard-won wisdom from their new book, Good Writing. In the intro, Hachette cancels allegedly AI-written book [The New Publishing Standard]; How Pangram works; Publishing industry insights from Macmillan's CEO [David Perell Podcast]; Photos from Notre Dame and Saint Chapelle; The Black Church; Bones of the Deep coming in April. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why strong verbs are rule number one How Anne and Neal's contrasting styles created a unique call-and-response writing guide Practical advice on finding and trusting your authentic voice across genres Why award-winning novelists typically write for only 90 minutes a day — and what that means for your writing practice How to keep writing during dark and discouraging times without giving up The uncomfortable truth about publication, longevity, and why nobody cares if you write You can find Neal at ShapesOfTruth.com and Anne on Substack. Transcript of the interview with Neal Allen and Anne Lamott Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences Jo: Welcome to the show, Neal and Anne. Anne: Thank you so much, Jo. We're happy to be here. Neal: Hi, Jo. Jo: Let us get straight into the book with rule one, which is use strong verbs. How can we implement that practically in our manuscripts when most of us don't start with the verb? We're thinking of story or we're thinking of message? Neal: Throughout the book, it's pointed out that these are rules for second drafts, right? So you've put it down. You've already got your story down, you've already got your piece down—your email, your text, it doesn't matter what. Then you stop, you pause, you go back to the beginning and you go sentence by sentence and look at them. Anne: I'd like to add that there's a lot in the book, usually on my end of the conversation, that has to do with really using these rules anywhere and everywhere. Whether you're writing a memoir or a grant proposal, I believe these rules apply to getting everything written at any time, in any phase of the work because, from Bird by Bird, I'm all about taking short assignments and writing really godawful first drafts. What is fun about writing is to have spewed out something on the page and then to get to go back right then and just start cleaning it up a bit, straightening it out, probably inevitably shortening it. One place to start is to notice how weak our verbs are. If I say “Jo walked towards us across the lawn,” it doesn't give the reader very much information. But if I say “Jo lurched towards us across the lawn,” or “Jo raced towards us across the lawn,” then right away you've improved the sentence with really two or three quick thoughts about what you actually meant with that verb and a better one. So it really applies to every level and stage of writing, but Neal's right—this is really about going back over your work sentence by sentence and seeing if you can make it stronger and cleaner and clearer. The reason it's rule one is to write strong verbs. Neal: A nice thing about strong verbs is that they often preclude the need for an adjective or an adverb, right? If I say “I trudged,” it's shorter than saying “I walked slowly and depressed.” Jo: Absolutely, and how you answered that question is kind of how the book works, right? Because Neal does an outline of the rule, and then Anne comes in and comments. Maybe you could talk a bit about that process. You are both strong characters, obviously you've been writing a long time. Talk a bit about how you made the book and how that worked as a couple as well. Neal: I'd had these rules collected for a number of years and I had them on my website. When I met Anne, she liked them and would hand them out when she was doing writing sessions. I was intrigued at some point a few years ago and looked around to see whether there was a list like mine out there. I noticed that all the other lists I saw were much shorter. Hemingway had his four rules for rewriting. Elmore Leonard, his eight, which are wonderful. Margaret Atwood has 10. The longest I saw was Martin Amis had, depending on what year it was, 14, 15 or 16—he'd go back and forth with a couple of them. I had 30-some and I wondered, well, 30-some might be enough for a book. I didn't want to write a scolding book like on grammar. I didn't want it to be academic or written like “I'm the expert, I know.” I'll just let my mind range. I'll explain the rule and then let my mind go where it went. Which, by the way, is one of the rules—show then tell. Not “show, don't tell.” It's show, then tell. Let your mind riff after you've explained something to the reader or shown something to the reader. So I wrote the book. It was too short to be published, and I showed it to Anne and I asked her, “What do I do with this?” Anne: I said, “Hey, I know something about writing, Bub,” and I asked if I could contribute my thoughts and retorts and examples and prompts to each of his rules. We were just off and running because his stuff was so solid. Mine is more maybe welcoming and giving encouragement and hope to writers because writing's hard. It's still hard for me. This is my 21st book and I'm only a third of it. Writing's hard, and what we hope is that our conversation can help people understand: a) it's hard for everybody, and b) it'll work if you just keep your butt in the chair and do the best you can, and then go back one day at a time and try to make it a little bit better. Neal: It turned out to be pretty serendipitous because just naturally I'm more of an explainer and Annie is more driving toward catharsis. So the call and response is always: I set out the rule, I explain the rule, and Annie drives it toward catharsis and usefulness. Jo: In some chapters you do disagree in some form. How did that work in the process of writing? Anne: Usually I disagree because Neal might be using words that are too big, or it might be a little bit elitist, I would think. Or of course I would point out that he's completely overeducated, whereas I'm a dropout and so I have a much plainer, more welcoming version of the rules. All of the rules are so strong, but I would feel that the way he explained it was beyond me. So I would come in and try to explain what Neal had been explaining. It was actually really funny and fun. We do come from really different directions. Neal is an explainer. He's like an ATM of information, and I am the class den mother who brings in treats and party favours on everybody's birthday. My message is always: you can really, really do this, I promise, trust me. But you start where you are, you get your butt in the chair, and then Neal comes along and says what has worked for him. He was a journalist forever, so he writes in a very different way than I write. It just turned out that the two of us together kind of make a whole. People have asked us if there were a lot of conflicts or if we really objected to the other person's take. I can tell you, Jo, there wasn't a day when we had only conflict. We were just laughing and we were excited because one of us would remember a great example from literature. We came to believe that these two very distinct voices would form one voice of encouragement for any writer. Jo: That brings us to rule number eight, which is trust your voice. I feel like this is easier when you've been writing a while. We're told to find our voice, but I remember as an early writer when I read Bird by Bird and other books and I was like, “How on earth do I find my voice?” Maybe you could talk about this more for early stage writer. How do you find and trust that voice? Neal: Boy, that is a halt for almost all of us. This follows from any intellectual pursuit that requires lots of practice and repetitions. Malcolm Gladwell's great statement, or discovery, or restatement from somebody else who discovered it, that the human brain requires 10,000 hours of repetitions before something can be allowed to just flow without thought. Flow as if intuitive rather than thinking. I don't think that's any different in writing than it is in basketball or football or anything else—sports, creative pursuits, everyday pursuits. There's just a lot of repetitions required. Some people have the experience that I did, where you're just going along getting better and better, doing it over and over again, learning this, learning that, adding in this, adding in that, moving toward a goal of virtuosity or whatever. And all of a sudden, bang, one day, it all works and your voice emerges. Other people don't have that experience, don't have that one day that it happened or that feeling that it suddenly happened. For some people it takes less than 10,000 hours, but for most people it is a hell of a lot of repetitions. Anne: I think for me, the most important aspect to finding your own voice is noticing how desperately you don't think your voice is good enough and that you want to write like somebody else. I always mention that when I was coming up, at about 20, I wanted to sound like Isabel Allende because I loved her work so much. Or Ann Beattie, who was writing those wonderful short stories in the New Yorker. Or Salinger, who I'd started reading probably at 10 years old. I had to come to the understanding that I can't tell my stories and my truth and my version of life—which is really what writing is—in somebody else's voice. Unless it's a kind of advanced writing exercise to write in the voice of an alcoholic billionaire in Spain. For most of us, it's about finding out that our voice is what people want to hear. It's hard to believe, but it is absolutely true. If you have a story to tell me, Jo, I just want you to tell me your story. I don't want you to try to sound like Virginia Woolf or Margaret Drabble. I want you to be Jo. If it's the written version you're sending me, I can probably go through and help you maintain your voice while making the writing stronger by following certain really basic rules. But spiritually and psychologically, this is just about the most important rule of all because that's why we're here. That's why we are on this side of eternity—to discover who we are and why we're here. Part of that is discovering who, deep down, when all the layers are peeled away, we are, and then how to communicate that to a reader. Without trying to sound more impressive or more brilliant or more ironic than we actually are, our voice is good enough. It's hard to believe. Our voice is what we want you to tell us your stories in. Neal: I distinctly remember the day I found my voice, for odd reasons. I just can remember it, and the first thing I did when this story felt like it had written itself to me was look at it and go, “Crap. That doesn't sound like Faulkner.” Jo: It sounded like you. Anne: Or bad Faulkner. Jo: Do you think we have to find our voice maybe multiple times, depending on genre? For example, I recognised that feeling with one of my novels. It was novel number five. I was like, “Oh, that's my voice.” But then it took me a lot longer to find that in memoir because, well, I think memoir is super hard. Do you think we have to go through these 10,000 hours in different genres? Neal: Not for me. I don't think any differently about how I'm entering into a business letter, a text, a novel, a self-help book, or any of the things that I do. I feel like I just have to turn this switch and let it go, and I can trust myself. So that's interesting. I can imagine you could develop a second voice. I haven't ever needed to. Anne: I would agree that I write my novels and my nonfiction really from a kind of central bus station deep inside of me. One of our rules is write the hard things—write about life and death and loss and grief and relationships and getting old and being here during these incredibly cold, dark times. Because the reader, i.e. me, is just desperate for truth and for real. I started out wanting to sound like John Updike or sound like a New York glitterati male writer, and I can't tell you what is really real in somebody else's voice. I disagree with Malcolm Gladwell. I think it's 10 hours—a little bit different there. But when I'm writing autobiographical spiritual pieces or my novels, I have to kind of settle myself down, like gentling a horse, and find that bus station inside of myself where I'm observing and I'm tugging on the sleeve of the person sitting next to me and saying, “I just saw something really interesting. Do you have a minute?” That's really what writing is. I just saw something or thought of something or imagined something or remembered something really interesting. Do you have a minute? If I'm talking to the person next to me, I'm not going to try to sound like Laurence Olivier or anybody else. I'm just going to tell them my story. The best four or five word great quote is from our screenwriter friend, Randy Mayem Singer, and she said: “Tell me a story. Make me care.” Those six words really transcend all genres. It's just: I can tell you a story my way if you're interested. Got a minute? Jo: You mentioned that, really interesting, you said, “I need to settle myself down,” particularly in these dark times. This is not a political show, and obviously we're all from different countries here and we all have different views of what difficult times are, but we all go through them. When big things in the world make us feel like perhaps what we are doing is not so important, how do we get through that? That “shouldn't I go do something more important than writing a story” feeling? Neal: Everybody is encouraged to be a political scientist nowadays, or to be an ethicist or to be a moralist as their job, and that's kind of ridiculous, right? We've been handed our role. By the time you're 30, you've been handed your role in the world, and that's your productive role. You have certain citizenship requirements, which might include voting or marching or watching the news every day. That's not the rest of your day unless you actually work in parliament as an aide or doing some kind of social policy work. I am not going to let the external world ruin my day. I'm going to keep that to a certain number of minutes of my day that is appropriate to my role in the world. I am perfectly productive in the world. I have lots of things that I do. I work hard. Everybody works hard. There are no lazy people in this world any more—civilisation's too difficult. You want lazy? Go back to 300,000 years of tribal life, where as soon as you had fulfilled your last need for calories for the day, you made it back to camp slowly so you didn't burn calories, and lulled from about 10:00 AM to 2:00 PM. The rest of the day you reclined so you weren't burning calories and gossiped with your fellow tribespeople. None of us is like that now. I'm perfectly productive without having to say I should be more productive and more concerned about the foibles of the species. Anne: Neal does something with his clients, with whom he does this work on taming the inner critic. It's about having them make a list of what they do every day. Rain or shine or catastrophe or peace or war or whatever, you just do it. I wake up, I pray, I put my glasses on. I get a little bit of work done every day. I meditate for 15 minutes every day. I get outside every day because that is the most nourishing, spiritual reset button I can get to. I catch up with my friends. We have a grandson here. We hang out with him. I do certain things every day, and one of them is I get a little bit of work done. Of course what I'd rather do is just stay glued to CNN and have my tiny opinions on every single thing that is happening and how things would be better if they followed my always excellent advice. Instead, what I do is I will meditate for 50 minutes a day and it won't be really beautiful and inspiring—it'll be like a monkey at the mall who's over-caffeinated. I will also get outside. I don't know if I'll get a really good long walk with 10,000 steps in, but I will get outside and I will pay attention. I will breathe in fresh air. I will have moments of wonder. I will also sit down, and I will be doing it after we talk. I'm going to get my own writing done for the day. I really recommend that to writing students: write down what you do every day. And in it, figure out at least one pod—a 45-minute pod—where you can get a little bit of writing done. Something that may serve the writers in your audience is that I make long lists and I encourage all beginning writers to make long lists of every memory and thought and idea that they've had. But mostly memories, often starting very young. Thinking about early holidays and school are great prompts. Make a list of 25 memories you have that you've told people over the years that are meaningful to you. If you remember them, they're meaningful. You may think that they're meaningful because of this or that, but you sit down and you write about them for 45 minutes and you're going to discover that there was a kernel of insight, or even healing, in them that you hadn't known when you set out to write them. I taught writing forever at this bookstore called Book Passage in Marin. We would spend a part of every hour having the writers, the students, explain to me why they weren't getting any writing done, and they were excellent ideas. Any excuse your listeners have about why they're not getting any writing done—believe me, it's a good excuse and I've heard it 10 times. If you are committed to writing, you have to meet us halfway, and that means that you set aside 45 minutes or an hour and a half or whatever you can give me to get a little bit of writing done. Get one passage written—the first or eighth thing on the list of really important memories that you've carried in your pocket all these years. Neal: The typical amount of time that a Booker Prize winner, or a National Book Award winner here in America, spends writing—a novelist—is one to two hours in the morning, getting 45 minutes to an hour and a half of work done, a thousand to 1,500 words. And then they stop. The reason they stop is it's really brain-consuming. To do this is hard work, and it's intellectually vigorous. High-end programmers can work two and a half hours on average before they have to stop because they've used up their brain energy—the blood going to the brain and expending calories and whatever is going on in there. It's not a long time. It's just repetitive time. The Booker Prize winners, they typically work six days a week, not five days a week. An hour and a half a day is about the mean. About 1,200 words is about the mean. Jo: It's interesting because you mentioned what's stopping people from writing, and you also mentioned it's hard work. One of the things I've heard a lot recently is: “This is really hard. I thought writing was meant to be this romantic myth where I would sit down and things would stream into my brain and it would be easy. And if it's not easy and fun, then maybe it's wrong for me.” So maybe you could explain more about the hardness and why hard is still good. Hard doesn't mean it's a bad thing. Neal: The interesting thing about writers is that they are really interested in very complex thinking about sentences. A few things distinguish a writer from a subject matter expert or a plotter—who either writes plots and is interested in the movement of plots, or who is a subject matter expert in something and either novelises it or writes nonfiction. It's that a writer is first concerned about the puzzle of a sentence, second concerned about the flow of a paragraph really, and only thirdly concerned about the subject matter. I don't care what the subject matter is. What I want to concentrate on ultimately is the sentence. And getting a sentence to look right in context requires building sentences upon sentences upon sentences. It's more like painting than it is like writing in that sense. If you look at a painter, once they've put one brushstroke down—and usually it takes them a while to figure out what that brushstroke is, how big it is, how wide it is, how thick it is, how grainy it is—then the second brushstroke becomes a puzzle based on what they just did with the first brushstroke and the remaining canvas. A writer thinks that way about each sentence and realises that each sentence has layers of information in it—diction, colour, rhythm, harmony, melody, plot, all sorts of things are happening. How many of those are taken care of in that sentence? Well, that becomes the interest. It's hard in the sense that to be virtuosic at it, to be really good at it, requires a lot of study and a lot of mistakes. Most of the mistakes are getting rid of clichés and finding your way past them, and that's a long, long process. This isn't something that can be just picked up because you have a talent. You were told at a certain time you were a talented writer, so you can just pick it up. As soon as you get into it, you see that the sentences are demanding a heck of a lot of work. Anne: I would add that I don't find it all that fun and easy—I never find it fun and easy. I've been doing this professionally for 52 years now, since I was 20, when I worked at a magazine. I think that's an illusion. So much of becoming a writer is unlearning what you thought it meant and how it would go. That you would sit alone like Bartleby the Scrivener, hunched over working on your ledger. That was not true at all, because a lot of our book, Good Writing, has to do with the collaboration between you and a writing partner, a writing group or a writing collective, and eventually an editor. It's not about that lonely, hunched-over romantic, Wuthering Heights sense of seriousness. And it's also not giddy. It's not Walt Disney. It's just very real. It's one human sitting down at the desk with paper or at the keyboard, and it is just trying, one day at a time, to write what's on your heart, what's on your mind, what's on your scribbled notes, what you're trying to transcribe from this little bit of a flicker of an idea about something that you've always meant to tell on paper. And then writing it. Some parts of the day's work will be pulling teeth. The secret of writing—and I write about this a lot in Bird by Bird, I write a lot about it in Good Writing—is you just don't give up. Because you wanted to be a writer when you grew up. What that means is that you write a little bit every day and you read about writing. You read good books on writing. You read Stephen King. You read William Zinsser. You read all the Paris Review interviews of writers at work. You enter into the writing life because it's a calling, like a monk to a monastery. You've gotten into the water, it's a little cold at first, and you stay in it. And it starts to be something that is so fulfilling, if maybe not fun. It's fulfilling. You will feel this rare excitement that you're doing what you have put off for so long, or that you're re-entering it in a new way with a different sense of commitment and maybe a little bit more wisdom and probably a lot more stories to tell. Jo: I did want to ask Anne, because coming back to Bird by Bird, many writers listening will have read it. I've also read over the years about your son and your faith. These are really personal things that you have shared. It feels like we live in this age of judgement and cancellation, and writing what you call our truths can be very difficult. People are afraid. What would you say to them? And obviously also rule 33 is “write hard stuff”, so I guess that gets into it too. How do we do this? Anne: A lot of people don't have the calling to write personal stuff or autobiographical stuff or stuff about spiritual or emotional or psychological healing. They want to write about England in the 1300s. I've always told my writing students to write what they would love to come upon, because then they're creating it. If they love to read historical romances, or they love to read journals—I have to say, I read every single journal of Virginia Woolf's in my early twenties, and I read every single volume of her letters in my early twenties. It was thrilling to be in that intimate, umbilical connection to a writer that I loved so much, and into the world of Bloomsbury, and into the world of England between the wars. People may not want to write like I write, and I would assume they don't. My calling is that I love to write about real life and I use my immediate experiences of daily living and my family and my husband and our animals and my nation and my recovery and my church. All of that is the stuff that I love to come upon in other people's work, and so I write it. Neal writes differently. He is a journalist and a novelist, and he is writing a lot in a much more sociological way than I am. He is writing with this font of knowledge about socioeconomic and historical understanding of the world. Yet he's just raggedy old Neal Allen, but he loves to come upon different stuff than I love to come upon. Does that answer your question? Neal: I think one thing to notice is that the whole bully-victim cycle that we are promoting and living in now—and it's a cycle because if somebody claims that they have been bullied, then their only defence is to become a bully themselves. The victims become the bullies. It just gets worse and worse. It's the old revenge story. What I've noticed when I think about it is the authors who I respect the most tend to be humanists. Humanists tend not to be cancelled, and I've never felt a great danger. Of course, I watch my words in certain ways that are fashionable—you can't use this word any more, and all of that. But in terms of ideas, humanists embrace the world in a funny, different kind of way than people who chase after conflict, chase after separation of people from each other, tribalism, all of that. When I look back, my heroes were always humanists. Some of them might be cancelled now, but just for the weirdest reasons—like Henry Miller or Mark Twain might be cancelled for very strange reasons. These are absolute humanists who love everybody in the world in a certain kind of odd way. Virginia Woolf is the most incredible humanist in the world. She's not going to be cancelled. Jo: She cancelled herself. Neal: There we go. Jo: As we come towards the end, I do want to return to something—you've both talked about calling and you've been handed your role, and this sort of “we are writers now.” Both of you have had great longevity in the career, and I've been doing this now 20 years. I've noticed so many people who leave the writing life, so I wondered what tips you had on making it long term. How do we do this long term, assuming we are feeling a calling? People have to balance the money side, they're balancing book marketing, which is always a nightmare for all of us, and the writing. Any tips for longevity? Neal: I have no idea. I have lived outside of the writing life, just kind of using it as a secondary skill, for half of my life. I left journalism because it didn't pay well enough to support a family of six. I moved into the corporate world. I loved the corporate world. I didn't have any problem with it, but it wasn't the writing world. When I came out of the corporate world, I first went into “tame your inner critic” sessions with people—executive coaching, other kinds of coaching. Only lately, only in the last 10 years, have I really resumed my writing career. I think maintaining a writing career, like anything in the arts, is incredibly difficult financially. It just will be. Annie will tell you—you were, what, 15 years into your career before you had your first home office? Anne: Yes. Neal: Right. Anne: More than that. I was 20 years in before I had a door I could close to keep the Huns out—i.e. my child. Here's the thing: nobody cares if you write, if you hate it, or if you've given up. It might be that you would find your creative soul, your imaginative, creative life force at ecstatic dancing on Saturdays in the town park, which we offer here in our tiny town. It might be that you're a painter. My best friend started painting several years ago and she's incredible. If you want to write, the horrible thing is that you just have to keep setting aside a pod. I keep using the word pod because that's how I get any work done at all—an hour. Now, Neal and I can both tell you, and Neal alluded to this: you set aside an hour and that will give you maybe 40 minutes of actual writing. And we'll give the Booker Prize winners 40 minutes of actual writing. You have two hours and that gives you an hour and 15 minutes. That's how it works. If you care and if you long to be a writer, to immerse yourself in the writing life—I hate to sound like a Nike ad, and I don't know if you have this in England—but you just do it. One thing that gets in everybody's way is this fantasy of getting published and how if they get published, it will be like the world has stamped “validated” on their parking ticket and their self-esteem will now be much, much better and more consistently excellent than it ever was before. We can tell you: we've got this book that's out, brand new, and it makes you much more insecure and much more anxious than you were before it got published. Because how's it going to do? Is it going to get reviewed? There are very, very few places reviewing books any more. Carol Shields, who wrote an incredible book 30 years ago called The Stone Diaries. She was teaching large, large writing retreats, a thousand people at a time, and she would tell them that five to 10 of them will be published. Getting published means that you get your book out and you have one week to make it. You have one week in the bookstores for it to get noticed. And there are 180,000 hardback books published in America every year in general interest. So you write a novel that's about a small town. You have great dreams that it's going to be an Oprah book and that this is going to happen and it will lead to a second contract, and then you can start investing in diamonds or buy a set of fish forks. It doesn't happen. My first book that made any money at all for me was my fifth book. It was a journal of my son's first year called Operating Instructions, and it was the first time that I didn't have to have a second job. I was 38, and I had been writing—and writing full time—since I was 20 and publishing since I was 26. If the carrot that is enticing you to get any new work done is publication and finding an agent and getting published, it's not going to happen for you. I can just promise you that. If your dream is to become a writer and to become a member of the writing community and to write—and it will be discouraging—but if you want to write, you just keep pushing back your sleeves. You don't get up. You sit down and you keep your butt in the chair. If your work is really good, it may get published. If your work is excellent, it may not. But that can't be what gets you to commit to being a writer when you grow up. Jo: Fantastic. So where can people find Good Writing and all your books and everything you both do online? Neal: On March 17th the book comes out. You can get it online, anywhere online. It's published by Penguin Avery. March 17th, it gets released. Anne: As we said, it'll be in the bookstores for a while. Neal: It'll be in the bookstores in America. You might have to go online in Great Britain at first. Jo: Oh yes, it's definitely there. And what about your websites as well? Anne: I don't have a website. Neal: I have a modest website at ShapesOfTruth.com. That tells you about my other books also. Anne: I'm at Substack, Anne Lamott. I'm on Facebook, Anne Lamott. I'm kind of all over the place. But this is kind of terrifying: 80% of books bought in America are bought at Amazon on cell phones. Jo: Yes, absolutely. Actually, I was going to ask—have you recorded the audiobook as a pair? Anne: Yes, we have. It's available if you go—I hate to always be plugging Amazon, but it's so easy. If you go to Amazon, it'll give you a choice of hardback or audio or Kindle. Neal: And if you don't want to go to Amazon and want to find another place to buy it that you feel more comfortable with, go to Penguin Random House and just put in “Good Writing, Anne Lamott.” I think it'll take you to a splash page that gives you a choice of a half dozen online places to order it. Jo: Brilliant. Well, thanks so much, both of you, for your time. This has been brilliant. Anne: Oh, Jo, thank you. Pleasure and an honour. Thank you for having us. Neal: Thank you, Jo. As you can see, we really get turned on talking about this! Anne: Yes, we do.The post Strong Verbs And Hard Truths. Good Writing With Anne Lamott and Neal Allen first appeared on The Creative Penn.

The Pushcart War—written by Jean Merrill and illustrated by Ronni Solbert and first published in 1964—is a charming and provocative children's novel that tells the story of a band of pushcart vendors who fight against the organized forces of big trucks on the congested, contested streets of New York City. For Tony Kushner, the Pulitzer-prize-winning playwright, screenwriter, and author, reading the book as a child was a formative experience. "It made opposition, even nonviolent civil disobedience, seem fun and right and necessary and heroic, and something even someone as powerless as a kid can and should undertake," he has said. March 2026 marks the 50th anniversary of the date on which the events described in the book are said to have begun. So we invited Kushner on to talk about The Pushcart War and what it can tell us about how to defend human beauty and agency against the brutal forces of technocratic capitalism.   Get The Pushcart War, plus other great books for kids, at our Bookshop.org page.  Join The War on Cars on Patreon and listen to exclusive ad-free versions of regular episodes, Patreon-only bonus content, Discord access, invitations to live events, merch discounts and free stickers! Order our new book, Life After Cars: Freeing Ourselves from the Tyranny of the Automobile, out now from Thesis, an imprint of Penguin Random House. Find us on tour and get tickets at LifeAfterCars.com.  Thanks to Upway for sponsoring this episode. Use this link and save $100 off any order of $800 or more with the code TWOC100. Thanks also to Cleverhood. Listen to this episode for the latest discount code and get 15% off the best rain gear for walking and cycling. The War on Cars is produced with support from the Helen and William Mazer Foundation. TheWarOnCars.org    

Joy Sullivan is a Portland-based poet who quit her corporate job mid-pandemic and built a thriving creative business through writing carousels on Instagram (115K followers), her Substack "Necessary Salt" (23K subscribers), and a 250-member paid writing community called Sustenance on Circle. She's a former Lab member, and in 2024, she published her first book, Instructions for Traveling West, with Dial Press, an imprint of Penguin Random House. What makes her path genuinely unusual: she grew her Instagram predominantly through writing, not video, and she's proof that you can build a real creative business around poetry, which almost nobody does. In this conversation, we get into the tension between craft and platform—her two mantras ("be a poet, not a preacher" and "my vulnerability is not social currency"), her exact Instagram carousel workflow using Canva and ManyChat, why she deliberately walked away from $60K/year in Substack revenue to protect her second book, her controversial take on growing slowly, and what she'd do differently with her first published collection. Plus my own honest reflection on the creative reset I've been living through since my daughter was born. Joy Sullivan Poet Necessary Salt on Substack Sustenance Writing Community Instructions for Traveling West Full transcript and show notes *** TIMESTAMPS (00:00) Opening quote: “There is no amount of followers worth the sacrifice” (02:08) How Jay describes Joy's unique approach to building a creative business (02:49) The landscape for writers today — platform pressure meets craft demands (05:19) Why Instagram, not X or LinkedIn, is actually the friendliest platform for writers (08:21) Joy's two mantras: “Be a poet, not a preacher” + “My vulnerability is not social currency” (11:38) Memorable vs. marketable — and why slow growth protects your art (12:25) Is creating art divorced from performance a privilege or a strategy for newcomers? (14:06) Jay's biological hard reset after having a daughter — and cosplaying an old self (17:10) The Medusa metaphor: artists weren't built to withstand this level of visibility (20:30) Reconciling “be a poet” with running a teaching business (22:53) Why certainty is a red flag in 2026 (24:52) Defining “poet” — a container to hold the unsayable (26:00) Instagram vs. Substack: which one she'd keep if forced to choose (27:22) The $60K Substack year — and why she deliberately walked away from it (29:34) How full-time writers actually pay their bills (hint: not book sales) (32:00) Why you should NOT turn on paid Substack subscriptions immediately (34:56) The Instagram carousel workflow: Substack → test → pull excerpts → Canva → ManyChat (39:48) The cat synchronicity moment — and the “scars not scabs” philosophy (44:50) What she'd do differently about her first book (47:31) What she'd change about Substack if she could (48:32) Final advice: fall in love with your craft before chasing an audience Learn more about your ad choices. Visit megaphone.fm/adchoices

Do people really like our all-enveloping autocentric system quite as much as everyone keeps saying they do? What kind of communities would they live in if given the choice? The answers, as a new study shows, are not exactly what so many of us have been told. Nearly one in five American car owners is "strongly interested" in living car-free, and another 40 percent are open to the idea. We talked about the implications of that study with its authors, Nicole Corcoran, Deborah Salon, and Hue-Tam Jamme, researchers at the Arizona State University School of Geographical Sciences and Urban Planning in Tempe.  Check out their research. Join The War on Cars on Patreon and listen to exclusive ad-free versions of regular episodes, Patreon-only bonus content, Discord access, invitations to live events, merch discounts and free stickers! Order our new book, Life After Cars: Freeing Ourselves from the Tyranny of the Automobile, out now from Thesis, an imprint of Penguin Random House. Find us on tour and get tickets at lifeaftercars.com. Thanks to Upway for sponsoring this episode. Use this link and save $100 off any order of $800 or more with the code TWOC100. Thanks also to Cleverhood. Listen to this episode for the latest discount code and get 15% off the best rain gear for walking and cycling. The War on Cars is produced with support from the Helen and William Mazer Foundation. TheWarOnCars.org